PELOSI IN THE HOUSE

US, 2022, 110 minutes, Colour.

Nancy Pelosi.

Directed by Alexandra Pelosi.

An interesting personal and political portrait of longtime Speaker of the House of Representatives, Nancy Pelosi. It is the work of her documentary filmmaker daughter, Alexandra.

Some commentators have criticised the film as if it intended to be the last word on Nancy Pelosi. It is not. It is an HBO documentary running 110 minutes, assembling footage that Alexandra has taken of her mother over several decades, culminating in an extended coverage of the events of the capital on January 6, 2001.

For those who want some personal glimpses of Nancy Pelosi, this will be a satisfying documentary. For those who want political analysis, it provides some material but is not intended as an analytical film. For those with centre-left sympathies, they will be in support of Nancy Pelosi and her career. For those with the right sympathies, she is already an anathema and this audience will never be converted.

The narrative does provide some background to Nancy Pelosi, born 1940, her father Mayor of Baltimore, member of the House of Representatives, her growing up in an atmosphere of political life. Her husband is Paul Pelosi, seen at home, in the kitchen, at social is (and audiences remembering that at the time of his wife’s resignation as Speaker in 2022, he was the victim of a home invasion and assault). And super loci notes that she grew up in a very Catholic family – and there are Catholic references throughout, an interesting phone call on the morning of January 6, 2021 noting that it was the feast of the epiphany and that the sitting of the House and Senate to ratify Joe Biden selection would have the atmosphere of the epiphany. It certainly did not. And there is footage of her genial meeting with Pope Francis.

Nancy Pelosi’s importance in American politics is her election to the House but, in 2006, her becoming the first female speaker. With a Democrat loss of the house majority in 2010, she lost her role to the Republicans. However, on regaining the house in 2016, she becomes Speaker again.

The political content of the film focuses on her early pledge at the time of the AIDS outbreak, her contribution to the the passing of health legislation, Obama care – and the consequent Republican attempt to overturn it but its being saved by the change of heart of Sen John McCain after his own illness.

She obviously dislikes Donald Trump, scenes of her looks of disapproval, her not offering to shake his hand (he did not offer either), her tearing up his State of the Union speech, stating on January 6 that she would be happy to assault the President and go to jail. The film also covers the discussions and meetings about trumps impeachment, twice.

One of the great values of the film is Alexandra continually following her mother with the camera, her striding on her pantsuits and heals along the corridors of power, communicating with people, almost continuously on her phone, the captions indicating with whom she was speaking. But, there are some sequences, especially with the continued presence of her two grandsons through the film, even a home movie of dancing with them, home sequences in the laundry, in the kitchen, but, especially, sitting with her husband, watching the television and the political coverage and her making comments in the comfort of home.

Nancy Pelosi retired as Speaker at the age of 82. She had a long, active life, a person of convictions, an ability to communicate with people, persuasively, always able to crunch the numbers with her assistance, persevering on principle, and a contribution to political life in the US and the presence of women in that political life.

AGENT GAME

US, 2022, 90 minutes, Colour.

Dermot Mulroney, Adan Canto, Katie Cassidy, Annie Honzeh, Mel Gibson, Jason Isaacs, Barkhad Abdi

Directed by Grant S.Johnson.

An action thriller, centring on CIA operatives and their methods.

Audiences will have to pay constant attention as to what is going on, when it is happening, past or present, and who are the central characters, what they are doing, why, and they’re not necessarily knowing why. At the end, audiences will realise that the opening sequence is actually the end to sequence, everything else flashback, some five weeks earlier, some three weeks earlier… Attention needed!.

The film opens with Mel Gibson in Washington Street, shooting. Then the flashbacks begin, opening in Antwerp with a raid to abduct someone, then at a Base Site in Eastern Europe with an interrogation team. Some mayhem at the Base Site, shootouts, and then flashbacks to the aftermath of the Antwerp abduction, a mysterious flight, mysterious landing, another huge shootout with enormous explosions. And audiences still wondering who is who and who are the goodies and who are the baddies.

In the meantime, there is Mel Gibson in his office, calling in candidates for interviews, giving them special missions, and his continually making phone calls.

The abduction sequences handled dramatically, the attempt not going initially smoothly, shooting, deaths, the waiting car, and the central character seemingly willing to be taken, then hooded and taken to the plane. The plane sequences are also dramatic, a mysterious pilot who locks the door, the hooded captive, the three agents suspicious of each other, even to drawing guns, but that would being removed and the identity of the man revealed.

The interrogation sequences have their frightening moments, a businessman apprehended and hung up for torture and interrogation, evidence that terrorist organisations have been investing in his business. We are suspicious that this is all a set up – and it is, even to the rest of his wife and photographing her.

The main interrogator is played by Jason Isaacs, with backup from Dermot Mulroney. The interrogated man protests the truth, the female member of the team then tries the sweet talk way of interrogation but then sets up a situation where she shoots him. Confrontation with the rest of the team, a death.

Eventually, the three strands of the narrative do come together building up to a final confrontation, the fact that video was taken of the interrogation room and the deaths, that it could go public, one of the agents into sky slipping the video into Mel Gibson’s overcoat, his watching it, realising that there was exposure, his shooting at the car (which was the opening sequence).

And then the film stops. Will Mel Gibson be exposed? Will he be able to pursue the agents? Well, all that is left to ourselves!

THE LETTER, A MESSAGE FOR THE EARTH

US, 2022, 82 minutes, Colour.

Pope Francis, Aroune Kande, Ridhima Pandey, Chief Cacique Odair, Greg Asner, Robin Martin.

Directed by Nicolas Brown.

In 2015,  Pope Francis issued an encyclical letter on ecology and the environment, using the title of his now a-namesake, Francis of Assisi, his Canticle of the Sun, Praise be. The significant thing was that it was addressed to readers beyond the church, to people of all faiths, secular and none. (At the opening of the film, we can hear some dissenting voices, that the Pope should not be political, that he was doing a disservice to theology.)

How to communicate, publicise, this letter and its message? A film, Youtube, stories, visuals, and Pope Francis himself.

The Letter is a film for all audiences, telling the story of Francis and his writing Laudato Si, but the writer-director, Nicolas Brown (noting that he is agnostic but was impressed by Francis and his encyclical) takes his audience into a meeting, what might seem an ordinary day for the Pope, but he has filmed it to make this day and the meeting readily available for the whole world.

The occasion is an encounter with Pope Francis with chosen representatives coming to the Vatican to discuss environmental issues and commitments.

The film introduces us to the representatives, introducing them, Aroune Kande from Senegal, Ridhima Pandey from India, Chief Cacique Odair from Amazon, Greg Asner and Robin Martin from Hawaii. They tell the audience their stories and commitment. We see letters from Rome, written, posted, stamped, received - and the surprise of each of them to get a letter from the Vatican. And the group are representatives chosen to represent refugees, environment, youth, wildlife. We see lives and issues through stories and images.

Araone thinks of leaving Senegal, a refugee, but, as we see, flimsy boats, full, capsising and refugees drowning. He decides to be active in his home country. Ridhima Pandey is 13, confident, outspoken. In the Amazon, the chief explains the destruction of the forests and the dire consequences. (He is striking in his large feathered headgear, which he wears around Rome and for the papal meeting). Greg and Robin work in Hawaii with technology, gauging wildlife, especially underwater.

We sit in on the meeting with Francis (close-ups to see his emotional facial expressions, speaking in Spanish to express himself personally). He bonds with the delegates as they speak to him, as they commit themselves to the causes.

We also join the group as they visit Assisi, join in the spirit of Francis, suddenly interrupted as Aroune receives text and video from Senegal, his friend’s school completely flooded and the children having nowhere to stay. Some comfort for him from the group who have now bonded as a family.

The Letter is very easy to access and free. Go online, Google The Letter Pope Francis Movie – click and the film will come up. (An indication for a short Google clip appears at the end – worth having a look at, what the representatives have been doing since their meeting.)

A film for all audiences.

1. Laudato Si, Pope Francis, 2015, a letter about the environment, social awareness, ecology, development, change, spiritual ecology? And address to all the world, beyond religions, to the secular? Its impact in the time, consequently?
2. This film to promote the encyclical and its message? The use of film, individuals and stories, working together, the different countries and visuals, issues?
3. The images of Pope Francis, in the Vatican, meetings, audiences? The meeting with the group, the close-ups and his expressive face, speaking in Spanish to be authentic? His response to the group?
4. The film sponsored by Youtube, available to all audiences?
5. The device of having the representatives, for refugees, for the environment, for youth, for wildlife? The portrayal of the different characters in the contexts?
6. Aroune, Senegal, a young man, his friends, attempts to lead by boat, unreliable boats, sinking, deaths? His decision to stay at home, to work for the country? The school?
7. India, Radhima, her age, teenager, the model of Greta Berg, her enthusiasm, public speaking, causes?
8. The chief in the Amazon, the indigenous group, their rituals, beliefs, the feathered headdress, the issues of the environment, logging, farming, the consequences?
9. Greg and Robin, Hawaii, scientists, technology, underwater wildlife?
10. The writing of the letter, posting, stamping, received, the recipients and their reactions? The travel to Rome?
11. In Rome, the touch of the travelogue with the views of the city, and the chief in his headdress?
12. To the Vatican, the meeting with Pope Francis, there introducing themselves, the gifts, their speeches, the Pope and his speeches? The bonding? The message and commitment?
13. The visit to Assisi, the spirit of St Francis, his Canticle, the interruption with the sad text and video from Senegal, the flooding of the school, the boys having nowhere to go?
14. The bonding, commitment, the returning home?
15. The short Youtube sequence indicating what each of the visitors has achieved after returning home?

ROALD DAHL'S MATILDA THE MUSICAL

UK, 2022, 117 minutes, Colour.

Alicia Weir, Emma Thompson, Lashana  Lynch, Stephen Graham, Andrea Risborough. Rose, Sindu Vee, Carl Spencer, Lauren Alexandra.

Directed by Matthew Warchus.

Matilda, the young, precocious, genius heroine of Roald Dahl’s story has been popular since its publication in 1988, encouraged by Danny DeVito’s film version in 1996, and, then, the musical version for the theatre in 2009, and continuing popular in the following years. Now a film version.

Roald Dahl’s stories have been well-loved over the decades, the books, film versions, Willy Wonka, the Witches… And Dahl has a way of creating some ugly and menacing adults (including parents).

Strong Australian interest in this musical because the many songs were written by Tim Minchin!

Of course, if you are a fan of Matilda, there is no question but that you will want to see the musical. If you are not a fan of musicals, then you may hesitate, whether you can accept the blend of realism, fantasy, and songs.

Irish born young actor, Alicia Weir, is firmly in control of the film, making Matilda quite a strong and determined character, intelligent, actually beyond intelligent at times, a reader, a way with words, making friends, leadership. But, as the lyrics of one of the songs indicate, she has to be a little bit (understatement) naughty.

And she has terrible parents (understatement as well), portrayed ultra-satirically by Stephen Graham and Andrea Risborough, introduced with a song about babies (with the mother, all make up and would-be glamour, is amazed that she is pregnant and giving birth!) They are over-the-top caricatures all the way through, contrasting with the sensible control of Matilda.

And then there is the dominating, Olympic in the past hammer-throwing champion, Miss Trunchbull, and her foreboding school, her office with many screens controlling the students, an ever present PA system, and, for those who misbehave, relegation to a mini-prison, the Chokey. But, what will intrigue most audiences, even those who are not drawn to the film as a musical, is Emma Thompson as Miss Trunchbull, all bulked up, more than ample bosom, fierce face, ascetical hairstyle, military -like uniform, military boots, and looks and voice to match (and more than a touch of Mussolini!). One would presume that Emma Thompson really enjoyed embodying this monstrous headmistress, singing her ferocious songs, considering the children as maggots, wanting to humiliate and punish them (which she does) but, of course, we are waiting for her comeuppance!

By contrast, Is a touch of sweet realism, there is a nice teacher in the school, Miss Honey (Lahsana Lynch), kind, a reader, encouraging, fostering the children’s growth.

So, while there is an underlying realism in Matilda and the action, there is also a great deal of fantasy, especially in the story that Matilda creates about the escapologist and the acrobat, in the circus, their skills, but Matilda continually adding sad and some gruesome details as she recounts her story to the sympathetic librarian, Mrs Phelps.

With a focus principally on female characters (plus some of the genial little boys at school), Matilda has appealed over the years to an audience of girls, young women, older women. (Which may mean that as the family watches this musical, Dad and the boys are probably safer off watching Willy Wonka again.)

1. The popularity of Matilda? Roald Dahl’s novel, the 90s film version, the musical?
2. The audience, young girls, older girls, women? The male response?
3. An adaptation for film of the stage version, opening it out, the locations, special effects, colour, action, choreography, songs and performance?
4. The screenplay, adapting the novel, the British setting, the insertion of the songs, the songs and their lyrics, the score?
5. The introduction, the focus on babies, parents, the lyrics of the song, the focus on the wormwood is, the mother, make up, caricature, not knowing she was pregnant, giving birth, the father, support?
6. The device of having realistic characters like Matilda and Miss Honey, contrasting with the caricatures of the parents and Miss Trunchbull? Realistic scenes? Satirical and caricature sequences?
7. Matilda’s story, her age, a reader, her room, devouring books, the sophisticated books? Her being ignored or put down by her parents? And her ignoring them? The issue of going to school, her desire to go to school, the uniform, meeting the children, the new girl and friendship? Meeting Miss Honey, nice, interested in literature, the happy classes?
8. The buildup to meeting Miss Trunchbull, the philosophy of the school, children in uniform, apprehensive, meetings, the headmistress’s office? Emma Thompson as Miss Trunchbull, make up, bulk, hairstyle, severity, uniform, boots? The background of Olympic hammer throwing success? Her office, the range of monsters, watching the children, correcting them? The PA system? The meetings with the children and addressing them? Considering them maggots? Discipline, and the relegation to the Chokey?
9. The issue of the boy eating the cake, her getting the large cake, forcing him to eat everything, his succeeding? The reaction of the children?
10. The range of children, the fair haired girl, older, her songs, the other children, the boys and the girls, the variety of songs, choreography?
11. The parents, the mother and her vapid lifestyle, wealth, make up? The father, his job, severe, fraud, Mathilde reprimanding him? Changing the colour of his hair? The glue on his hat? The discovery of the fraud, having to leave for Spain, confronting Matilda, with Miss Honey, Mathilde making a choice to stay?
12. The scenes at the Chokey, the severity for the children?
13. The buildup to the comeuppance of Miss Trunchbull, confronting the children? The boy trying his telekinesis? Matilda succeeding? And turning the tables on Miss Trunchbull?
14. Mrs Phelps, the library, Mathilde borrowing the books, telling Mrs Phelps her story, developing over time, the escapologist and the acrobat, their skills, the severe sister-in-law, the contract, the acrobat pregnant, giving birth, her being forced to do the dangerous act, the collapse, hospital? The grief of the father?
15. The story, Miss Honey as the child?
16. The change of the school, Miss Honey and her managing, the party in celebration, the dancing outside, choreography? The carnival atmosphere? And the old teachers coming out of retirement?
17. A fairytale, an intelligent little girl who is not afraid of being naughty, dreadful parents, dreadful headmistress, but kindly characters as well?

SIGNIFICANT OTHER

US, 2022, 84 minutes, Colour.

Maika Monroe, Jake Lacey, Matthew Yang King, Dana Green.

Directed by Dan Berk, Robert Olsen.

This is a brief film with science-fiction background and some horror moments. It is a small film, short running time, limited cast. However, it has some beautiful forest and ocean scenery.

Maika Monroe and Jake Lacey portray a young couple, Ruth and Harry, with a love for nature, she, however, with some anxiety problems, he with enthusiasm. They go for a backpacking trek into the forest, with his proposal and her having a panic attack, loving him but not wanting the commitment of marriage.

But, quickly at the opening of the film the audience has seen something flashing across the sky, something from outer space, something alien? There are further suggestions throughout the action, suspicions, a dead reindeer, mauled, some erratic behaviour, and the discovery of a cave with a mysterious blue sticky substance.

About halfway through, the film changes, a new proposal of marriage, then a sudden attack and death.

What follows is pursuit through the forest, an alien having taken over Harry, Ruth fleeing in fear, an encounter with a couple also backpacking and camping, some horror confrontations, Harry and his weird possession, Ruth and her trying to survive.

And, an ending with more flashing across the sky and more alien invasions.

1. Small film, romance, forestry, science fiction, horror?
2. The forest locations, beauty, atmosphere? Musical score?
3. Ruth and Harry and their relationship, six years, committed to each other, the books and nature, Harry and his enthusiasm, his trekking, the walk in the forest, Ruth hesitant? Camping, his cooking, her putting up the tent? His taking her to the sea, his proposal, her reaction, panic attack, explanations about love, but not commitment in marriage? The effect on Harry, coping?
4. Ruth, her walks, finding the dead deer, the cave, the blue substance?
5. The transition, the new proposal, Ruth accepting, then kicking Harry, over the cliff, his death?
6. Ruth, panic, through the forest, the couple, their help, Harry arriving again, the taken over personality, his being a scout for the aliens and reporting to them, the interchanges with Ruth, her alter ego? The death of the couple?
7. The horror touches, Harry and his personality, the alien, the weapon in the hands, deaths?
8. The confrontation between the other Ruth and the other Harry? The alien Harry and his having the kinder aspects of the real Harry? Death?
9. Ruth, her escape?
10. The finale, the alien craft in the sky?

THE SWIMMERS

UK/US, 2022, 134 minutes, Colour.

Nathalie Issa, Manal Issa, Matthias Schweighoffer, Ahmed Malikk, Ali Suliman.

Directed by Sally El Hosaini.

The Swimmers is a powerful reminder of some key events of the 2010s, especially the civil war in Syria and its consequences (and its long continuance), the repercussions on Syrians, decisions to flee the country, the plight of refugees, through Turkey into Greece and Lesbos, the camps, the trekking through Europe to Germany and the welcome in Germany.

And, with the title, and the ambition of the young sister, Yusra, to compete in the Olympics, there are scenes of training as well as the competition in Rio, 2016. But, the key swimming sequence concerns the two sisters, the boat crowded with refugees, jettisoning possessions, and the two sisters going outside the boat to lighten it and swimming behind the boat, heroism.

The film was written and directed by Sally El Husseini, educated in both Egypt and Wales, a filmmaker in the UK as well as in the US, cinema films and television. The screenplay was cowritten with Jack Thorne, British writer with a range of screenplays from His Dark Materials to the Enola Holmes films, to adapting Tim Winton’s Dirt Music.

The opening is deceptive, Damascus, affluent young people, partying, singing, a seemingly carefree world – until there are explosions seen in the distance. The audience is then immersed in the questions of the civil war, questions about leaving Damascus. What follows is the journey that so many undertook at that time, leaving Syria for Turkey, finding people smugglers, paying large sums of money, disreputable boats, the refugees being abandoned, difficulties on sea, eventually landing on Lesbos, this group having some money and able to survive, but then wending their way legally and illegally through Europe, borders in Hungary, into Germany where they are welcomed.

The central characters are the two sisters, both swimmers, trained by their father, the younger sister having ambitions to compete in the Olympic Games, the older sister rather more carefree. The film shows the bonds between the two sisters yet continued tensions, one outgoing, the other more introverted, continually anxious about the family in Damascus.

On their arrival in Berlin, they approach a swimming coach, demonstrates the stamina and speed of Yusra. The coach undertakes her training, leading to the Olympic Games, but not swimming for Germany but rather from the recently established refugee team.

There is some exhilaration at the end of the film, going to Brazil, going to Rio, the atmosphere of the Olympics, the competitive swim and victory.

1. The title, the focus, the sisters and their family, swimming, the Olympics? Syria, war, refugees?
2. The film based on true story and characters? Sense of realism?
3. The time period, the civil war in Syria, the increasing number of refugees, 2015-2016, the journey through Turkey, the waters to Greece, Lesbos, trekking through Europe, settling in Germany? The world response, European response, the welcome from Germany?
4. The opening and atmosphere, Syria, society, young people, the parties, song and dance? Then the glimpse of the explosions, the reality of the war? The effect on the family, their ordinary life, the two daughters, swimming, training, the strict regime? Tensions in the house, parents, loving, the father and his demands in training? The younger sister? The personality of the two sisters, Sara outgoing, Yusra more introverted, focused on her sport, and the influence of her father?
5. The situation in Syria, the decision to leave, the emotional consequences, the plan to go to Germany, to bring the family to Germany? The preparations, the documents, the flight to Turkey, the farewells? The experience of the flight and leaving Syria? The different responses of each sister?
6. Their cousin, his role in Syria, his studies, personality, accompanying his cousins?
7. Turkey, the risks, the contact with the people smugglers, the deal, the bus, the group, the variety of refugees and their origins, Afghanistan, Somalia…? The risk with the money, the smuggler, the bus, to the shore, the boat, his not going with the refugees, the old boat and its dangers, out in the sea, the risks? Avoiding the Coast Guard?
8. The voyage, people getting to know each other, night, the difficulties, the failing boat? Jettisoning everything, Yusra and her medals? The two girls out of the boat, lightening it, swimming behind the boat, the exhaustion? Eventually landing?
9. The situation on Lesbos, world knowledge of what was happening, especially later with the crowds of refugees? Walking around the town, finding the shower, the restaurants? Getting in touch with refugee assistance groups? Travelling through Europe, the Hungarian border, the help of getting over the fence, others failing? The trucks, into Germany?
10. The sisters separated, the effect, their cousin? Finding each other again? The bonds with the various people in the group, the man from Afghanistan, the mother and the baby?
11. The sisters arriving in Berlin, assistance, some accommodation, the tensions between the two, Yusra and her personality, homesick, concerned about the family, the contrast with Sara, outgoing, surviving? But the continued phone calls with the family?
12. Going to the swimming pool, Yusra and her determination, meeting Sven, work as a trainer, personality, giving Yusra of the opportunity, her swimming in style, determination, his accepting her, the training, the goal of the Olympics? The issue of the Olympics in Rio? Qualifications? Her wanting to swim for Germany? The establishing of the refugees’ team, her finally accepting a place in this team?
13. Sara, more outgoing, life in Germany, socialising? The separation between the two sisters?
14. Rio, the atmosphere, the Olympic Games, the teams, the accommodation, the experience of Brazil? Sarah and her arriving?
15. Yusra, with the other competitors, preparation, the race, her success? Sarah being present?
16. The aftermath, the family coming to Germany, Sarah and her refugee work in Lesbos – and her arrest and impending trial for aiding refugees? Yusra and the prospect of the Tokyo Olympic Games?

MOJA VESNA

Australia/Slovenia, 2022, 80 minutes, Colour.

Loti Kovacic, Mackenzie Mazur, Gregor Bakovic, Claudia Karvan, Flora Feldman.

Directed by Sara Kern.

The unusual title is actually a combination of the names of two sisters. The names are Slovenian. And this brief film is a coproduction between Australia and Slovenia.

Filmed in the Melbourne suburbs, the film also uses the older box screen framework, making the film look something of a home movie – and, in a way, it is.

At the centre of the film is Moja, aged ten, but telling performance from the very young Loti Kovavic, not always saying a great deal, but very expressive with her body language, expressive and inexpressive facial responses. While the other characters are well drawn, it is Moja who keeps our attention.

The family is living in Melbourne having migrated from Slovenia. At the outset, the mother of the family has died and each of the family members, father and older sister, react in their different ways, the father somewhat in denial, a touch remote, the sister, Vesna (Mackenzie Mazur), pregnant, sad at her mother’s death, no explanation of who the father of the child is, clashing with her father, bonding with her sister, but moments of reckless activity and driving, going into the ocean, which seems something of a death wish.

So, it is left to Moja to try to keep the family together even when she does not quite understand what is going on. She is concerned about her sister, trying to buy baby clothes, inspecting a pram. The three have meals together, sometimes happy, sometimes tense.

There is an unexpected sequence, some moments of calm, when Vesna recites an emotional poem that she has composed for Moja, something of a pause in the drama, glimpses of happiness and hope.

A local mother, Miranda, and energetic daughter, Danger, played by Claudia Karvan and Flora Feldman, befriend Moja, the two girls deciding to become friends and enjoying playing together. Finally, with all the difficulties and the inner grief at her mother’s death, relating to her father, her sister giving birth and seeming carefree, Moja finally finds a mother figure in the kindly neighbour.

It is a slice of life film, a slice of migrant life in Australia, a slice of sad life, but held together for audience response by the presence and performance of Loti Kovacic.

1. A brief film? Slice of life? Migrant life in an Australian city?
2. The Melbourne suburb and settings, ordinary, flat, streets, shops, homes, the coast, the ocean? Musical score?
3. The title, the two sisters? The focus on Moja, aged 10?
4. The situation, the death of the mother, the different responses from the family? The father, migrant, difficulties in language, accepting his wife’s death, his relationship to his daughter, her pregnancy, tension, happiness at meals? His relationship with Moja, her age, greater reliance on her?
5. Moja, aged 10, language, quiet, body language, facial expressions, sometimes impassive? With her father? With her sister, concern about the pregnancy, the clothes, the pram? The encounter with Miranda, friendly, meeting Danger, their playing together, friendship? At home, her family support, strength?
6. Vesna, age, the death of her mother, pregnant, no explanation of a father, her behaviour, sometimes careless, in her room, driving, going to the water, going to the ocean, seeming touch of the death wish? With her father, sometimes cheerful at meals? With her sister, the importance of the sequence with her reciting the poem, a gift to her sister?
7. Miranda, the kindly neighbour, the visit, talking, Moja going out with her, the shop, the pram? The friendship with Danger, playing together?
8. The increasing effect on Moja, responsibilities, yet her young age?
9. The birth of the baby, Vesna leaving the hospital, again carefree, the father holding the baby?
10. The overall effect on Mojo, going to see Miranda, Miranda and her comfort, substitute mother?
11. The impact of this slice of life, migrant life, family difficulties, griefs, responsibilities?

RUN AND GUN/ THE RAY

US, 2022, 96 minutes, Colour.

Ben Milliken, Brad William Henke, Janel Parrish, Richard Kind, Mark Dacascos.

Directed by Christopher Borelli.

This is a B-budget, small action film – without Bruce Willis or Nicolas Cage!

It is the kind of straight-to-video film of the past, no major stars to attract, action, and some tantalising dialogue with a touch of twist. The title is very much for the B-picture although the original title focused on the central character, Ray.

The star of the film is British-born, Australian growing up, Hollywood career, Ben Milliken (who keeps something of the Australian accent, calling people mate, and with a map of Australia in his trailer). Brad William Henke makes a large villain and Richard Kind has the opportunity also to be a villain, of the elegant paranoid kind. There is a striking opening with Ray about to be lynched but breaking free – then two years later in an office job, shrewd, with his girlfriend and her son.

However, he is tracked down, his past as a criminal remembered, his being a given a job by Grayson (Richard Kind) who has a sinister associate, Brando (Mark Dacoscos) who is in league to betray his boss.

The mission that Ray is sent on is sabotaged and he is wounded but escapes to an old factory site in the Salton Sea, encountering the security guard, Billings (Brad William Henke) who tends his wound, seems agreeable, then turns out to be more of a villain than we would have suspected, imprisoning Ray, violent towards an assailant, and then involved with sex trafficking.

The latter part of the film shows Ray imprisoned, escaping many times, confrontations, the appearance of Grayson. Grayson is quite odd, talk about multiverses, talking about a film with Sindbad which will prove his theory, spending $440,000 to get a copy of the video…

Which means that there is a lot of oddball and ironic dialogue throughout the film as well as the final action.

SHE SAID

US, 2022, 128 minutes, Colour.

Carey Mulligan, Zoe Kazan, Patricia Clarkson, Andre Braugher, Jennifer Ehle, Samantha Morton, Zach Grenier, Angela Yeoh, Sean Cullen.

Directed by Maria Schrader.

In sexual harassment trials, He Said has had more standing than She Said.

She Said is the title of a series of articles by New York Times journalists, Megan Twohey and Jodi Kantor, who followed leads on issues of sexual harassment in the workplace, taking them to the entertainment industry, to Hollywood and to the now-jailed producer, Harvey Weinstein. They won a Pulitzer Prize for their investigations.

Here is a drama which keeps the attention all the way through. It is in the tradition of newspaper investigation films, thinking Watergate and All the President’s Men, clerical abuse and Spotlight, the Pentagon papers and The Post. We are with the journalists every step of their investigation, taking some moments out for their private lives, Megan Twohey pregnant and then experiencing post-natal depression, Jodi Kantor, Jewish background, husband and two children. They are supported well by their husbands and care for the children.

Journalists spend a lot of their time on the phone, making contacts, contacts hanging up, some leads, anonymous tips, exercising patience, and always trying the power of persuasion. Carey Mulligan and Zoe Kazan certainly bring the two journalists to very active life. And, at the New York Times (much of the film shot in the actual offices), there are the sympathetic, but demanding for accuracy, always backup, powers that be, Patricia Clarkson and Andre Braugher, Editor and Executive Director.

With Harvey Weinstein in jail and a long sentence, other charges pending, this material is in the public arena. Rose McGowan who was at the forefront of accusations against Weinstein, is heard, via an actress, in phone calls. There are quite a number of mentions of Gwyneth Paltrow. But, most strikingly, Ashley Judd, appears as herself, re-enacting scenes of her making complaints, her accusations, her decision that the journalists could go public with her name.

Especially effective are interviews with women who worked with Weinstein in Hollywood, in London, in Hong Kong. Well worth seeing are the interviews with the three women, introducing them with some background contacts, two of them in England with Jodi Kantor venturing to meet them. Zelda Perkins is played by Samantha Morton, a powerful performance, most of it with the two women sitting in a cafe and the quietly impassioned telling of the story. This sequence remains in the memory. We are also introduced to Laura Madden, suffering from breast cancer, a mother, unwilling to talk about her experiences with Weinstein but eventually relenting, another very powerful interview sequence, this time by Jennifer Ehle. In a way, these two sequences, and a third with a young woman from Hong Kong (Angela Yeoh) are the heart of the film.

There is also reference to Ronan Farrow at the New Yorker, his parallel investigations – and he later shared the Pulitzer Prize.

There are many male characters in the film, executives who worked for Weinstein, some who controlled the payoffs to quite a number of women (an important area of fact-checking for the journalists), lawyers, agents, some eventually prepared to give hints, and some to talk.

And, at the end, Weinstein himself appears, that is an actor who, from the back, look like Weinstein, and has him visiting the New York Times offices. And there are his phone calls to the editors, when it seems that he is beginning to run scared.

In recent years there was the television series, The Louder Voice, and the film, Bombshell, exposing the sexual harassment and behaviour of Fox News Roger Aisles, so harassment material has been seen recently on our screens, but the series and film were about investigations within Fox News and its journalists.

But, together, they form what will be the beginning of many films and series tackling the issue, challenging societies consciousness and confidences, and exposes which must be made.

1. The importance of this film? Violence and sexual violence against women? Workplace violence? In entertainment industries? The #MeToo movement? Journalist investigations and publication?
2. The film based on facts, investigative journalism, the New York Times journalists, the editorial support (and Ronan Farrow at the same time with his New Yorker exposes)? The book published in 2018?
3. Audience response to the me too movement? The revelation is in the 2010s? Harvey Weinstein? Roger Ailes at Fox News? Their being disgraced? Harvey Weinstein and imprisonment?
4. The tradition of investigative journalist films, the focus on the journalist themselves, personal, this time a focus on families and obligations, median to eat, pregnant, the birth, postnatal depression, relationship with her husband and his care for the children? Jodi Kantor, Jewish, her husband, supportive? The domestic sequences filling out the background, at home, happiness, difficulties, outings, the women busy, the husbands at home?
5. Authenticity, sequences filmed at the New York Times building?
6. Jodi Cantor, strong personality, work as a journalist, dedication? The contact from Rose McGowan, the voice on the phone? Later the connection with Gwyneth Paltrow? Ashley Judd? The initial investigation about domestic and sexual violence, in general, the leads to the entertainment industries? Discussions with the editor and the Director of the New York Times?
7. Megan Twohey, strong personality, work as a journalist, the aftermath of the birth, needing to work? The encounters with Jodi, some wariness, discussions, at the office, information, the investigation, the agreement to work together? Going to the editor, the endorsement by the editor?
8. The follow through with the actresses? Rose McGowan, the phone call, hesitations? Gwyneth Paltrow, information, not using the names? The importance for this film of Ashley Judd appearing as herself, re-living what she did, the information, the accusations, and the later sequences of her being persuaded to give her name, her final consent?
9. The work of the journalist, the continued phone calls, interstate, international, at any time? Going for interviews? Frustrations? The lead for the Hong Kong employee, Jodi visiting her husband, his not knowing anything about what happened?
10. Sharing notes, sharing jobs, time passing?
11. The employee giving information about the women in England? Jodi arranging to go to England for the interviews?
12. The interview with Zelda Perkins, Samantha Morton’s performance, strength of character, intensity, memories, the reality of working with Weinstein, the hopes, his advances? Eventually too much? Losing her job? The impact for Jodi, Zelda Perkins leaving, seeing her through the window of the London cafe?
13. Laura Madden, her family, her cancer, her reluctance to communicate? The scenes with family? Jennifer Ehle’s performance, gentle? Her eventually agreeing to see Jodi, the intensity of the interview, the personal touch is, the memories, giving permission to use her story?
14. Tracking down Rowena Chiu, her reluctance, her personality, her experience, keeping Weinstein’s behaviour secret? Agreeing to the interview?
15. The men in the background, the range, the interviews with the various men, memories of their past, acknowledging their past, some of their wives and the shock? The managers at the Weinstein company? The lawyers, the arrangement for payments, the gradual revelation of documentation? Legal authorities? Agreeing to be interviewed but anonymous comments? The men willing finally to expose Weinstein?
16. The information to Harvey Weinstein himself, his reaction, attacking the journalist,s his apology if he heard anyone in the past, his coming to the New York Times office, the actor looking like Weinstein from the back? Ashley Judd and her final confirmation?
17. The articles, the deadlines, the legal checking, the presence of the Editor, of the Director, their personalities, discussions with the journalist, the strategies, the final okay?
18. The achievement of the article, the achievement of the book, the film?

Christmas Blessings and New Year Hopes

Cathnews and other sites are going on Christmas and holiday breaks.  Our MSC site also. We will return on Friday January 6^th (including an acknowledgement of Noel Mansfield MSC who will be turning 90 on January 1^st).

In the meantime, a Christmas card.

We celebrate Jesus coming as one of us at Christmas – to give voice to the poor in spirit, the pure of heart, the gentle, the mourners, the peacemakers, the persecuted.

In 2023, may we listen to and recognise the indigenous Voice.

 Peter Malone MSC  -  site editor