WHAT LIES BELOW

US, 2020, 87 minutes, Colour.

Ema Horvath, Mena Suvarii, Trey Tucker, Haskiri Velasquez.

Directed by Braden R. Duemmler.

This is a brief horror film which satisfied some fans but left others expecting more.

It develops in stages, step-by-step.

We are introduced to the 16-year-old Liberty, Ema Horvath, at a camp, reclusive, studying archaeology, picked up by her mother (Mena Suvari more than twenty years after American Beauty) to return to their house in the forest and countryside. Liberty is rather taciturn on the way home, her mother referring to her constantly as Baby Girl, trying to be cheery.

The first stage of the film is the tension between mother and daughter, the sprightly mother, the more taciturn daughter, memories of the dead father, of the grandparents, the mother’s bad memories, the granddaughter’s happy memories, the ritual of digging up tins from the grounds and putting souvenirs in them each year, the mother reluctant, telling more truth about the past.

The next stage is the introduction of the mother’s boyfriend, John (Trey Tucker) emerging from the water like Ursula Andress in Dr No, handsome, physique, Liberty dismayed and intrigued at the same time. He gives rather lengthy explanations of his work as a scientist, examining creatures in lakes, explaining survival of ancient creatures in saltwater and freshwater, going out to collect samples, revealing his laboratory in the basement and his experiments.

The next stage is his unwelcome attentions to Liberty, groping and her bleeding, the audience seeing him in the corridor and her clothes as a fetish. Liberty calls in her girlfriend and wants to challenge John. In the meantime, the mother is ill, wanting a pregnancy test, determining that they are pregnant, John having asked her to marry him. John has an answer to any difficulty.

The next stage is moving towards the horror aspects, red light appearing on the lake, the light which opened the film, John walking into the light, emerging from the lake dry, explaining to Liberty that he slept walked. Liberty also looks in on the room with John at her mother and notices sinister markings emerging from his back.

The next stage is the science fiction and horror aspect, John revealed as an alien, predatory, imprisoning Michelle in his laboratory, Liberty trying to set her free, a sense of menace, more creatures arriving, John tying up Michelle, and an eventual revelation that he is an alien monster collecting samples from earth and imprisoning women in glass cases and water.

And that is where the film ends, rather pessimistically, which may have dismayed some audiences.

However, it is something of a compendium of science-fiction/horror/alien narratives.

Who? Where? MSC in 2022. St Mary’s Tower, Douglas Park.

(A John 'Walker MSC Photo)

The professed community is smaller than it once was.

And in age respect:

Len Helm, retired

Paul Brennan, retired

Peter Harvey-Jackson, Retreat House

Josef Senjuk, House

Dominic Gleeson, Community Leader

Tru Nguyen, Pastoral co-ordinator

And prayer,

work,

/

work disguise. Josef

A sad staff death at PRS, Fiji. Australian MSC support

19^th March

It is with heavy hearts we at Pacific Regional Seminary of Saint Peter Chanel heard of the untimely death of Fr. Joe Tuimavule. It a huge loss for the Seminary, Vincentian Community and Fr Joe's family. He was a good Moral Theology lecturer who valued and lived by what he taught in the classroom.

A tribute from his Vincentian confreres:  It is with a heavy heart and great sadness that we the Vincentians Fathers and Brothers, Fiji Community, officially inform you of the passing away of Fr Joseva Tuimavule CM, Superior and Director of Vincentian Formation, Fiji. We acknowledge the gift of Fr Joe in the Province of Oceania and his creative love for the mission.

The Funeral Mass for Fr Joseva will be on the 25th of March, the Feast of the Annunciation.

The academic year had already begun.  Fr Simon Mani MSC, rector of PRS, contacted Chris McPhee who contacted Philip Malone who has just retired from teaching Moral Theology at YTU.

The first classes by Zoom with Philip and the 13 students began on Wednesday March 23^rd and will continue until the end of the semester.

Alan Neville MSC, Irish Province, with news and struggles from South Sudan.

Australian OLSH Sisters have worked in South Sudan for many years. Sister Rita Grunke is there.

It is an Irish truism that if you dig a good ditch, you don’t get time off, you get a bigger shovel. Apparently this is not just Irish wisdom, but South Sudanese as well. In addition to the work in Loreto College, I have been drafted by the Diocese of Rumbek to help run the local Catholic University. At this point of life you’d imagine I’d have learned to keep my head down.

It may sound a grand affair, but it is certainly a lot more simple than you’d imagine. We have a roof, but no ceiling; windows, but no glass; and floor with no tiles. The less said about the two pit toilets that serve the campus the better. Just today we had the cleaner in to take care of the bat infestation in the library, that also serves as the office. Having droppings continually fall on the desk during an academic meeting is distracting to say the least.

“Group photo from the My First Mass at the University showing the library with all the bats right behind!”

Initially I took on the role with the expectation that it would be a short term appointment. In fact, early on there was even a discussion around closing the University altogether. Still, it is one thing to consider in a meeting room, surrounded by pages of accounts, and entirely another to act out once you have met our students.

At the moment we have a sum total of 59 women and men studying either business administration or teaching with a focus on English literature.They are almost all from Rumbek, with only a couple from further afield. Some have come straight from school, while others are looking for new opportunities later in life. All are committed and enthusiastic about their third level studies. It is something to see really.

It takes a lot of energy to get worked up about a computer class, without computers, but with a drawing of a Windows home page on a blackboard.

This was one of the first classes I visited when I began. Since that experience of ‘theoretical computing’ we have been able to set up a relationship with a Jesuit community not so far away that runs a computer course – with actual computers!

We are also seeing an exciting new development. In traditional culture here, once a woman has her first baby she leaves formal education to focus full time on child rearing and subsistence farming. However, so far I have met a number of young mothers who are coming back to study, with their new born under their arm. It is unprecedented and we are looking at ways of supporting them and their young families. I mentioned the idea of a creche, but so far I’ve been met with looks of incomprehension. Honestly, if it wasn’t for the initiative of a particularly creative Donegal MSC setting up a parent and toddler group in one of my old parishes I wouldn’t have a clue either. We’re working on it. Watch this space.

For me the main reason the University is so important is that we are the newest country in the world and we really need to develop the local economy. It has to be stimulated by well trained, committed teachers and hardworking, innovative business people. Charity is excellent for crisis situations. It’s an act of solidarity and compassion for someone you will never meet, but who you are ready to call brother or sister. However, charity is not a long term strategy and instead we need to increasingly invest in people on the ground to effect their own change, not just raising up themselves and their families, but entire communities as well.

The motto our small University is, The Truth Shall Set You Free. Our faith underlies everything we do here. Religious sisters, brothers, and priests are among the best educated in the area and they are working as lecturers in ethics, management, business, and education. We have great local educationalists who are taking the lead too. I spoke with one them today, as we were cleaning up the last of the bat droppings from the top of my desk, that in five years we’ll look back and have a good laugh at everything we went through to become a real third level college. In the meantime there is a lot of work to do. I’d better get my shovel.

Bi Nhialic arrer kek yin,
Fr Alan

Younger MSC Gathering

From left to right: Tru, Peter, Thang, Frank, Khoi, Kimi, Michael, Pat, Shane, Krish, Bartha.

This news item was lost in our files.  But now it is time to post it on our site.

The years after ordination are considered important years of formation, not just those prior to ordination. A gathering of msc ordained within the past 13 years took place at Douglas Park earlier this year. This is organised by Frank Dineen, the Director of MSC Formation.

Unfortunately, with the travel restrictions our MSC confreres from Vietnam weren’t able to join us this year.

Notification of building appeal, Fr Paul Stenhouse MSC     Residence, Campion College.

Photo of the promotion brochure. “Fr Stenhouse was a renowned scholar and had a deeply Catholic perspective of the liberal arts and of the nature of Campion as a Catholic liberal arts institution.”

Paul had a long history with Campion, encouraging, in fact, giving a lecture there not long before he died in November 2019.

If you have not had the opportunity to read the tribute book, Paul Stenhouse MSC, a Distinguished and Distinctive Missionary of the Sacred Heart.  (Available from Australian Scholarly Publishing, Melbourne.)

(A)SEXUAL,

US, 2011, 75 minutes, Colour.

David Jay.

Directed by Angela Tucker.

One would agree with the number of bloggers on the IMDb that the title raises a certain amount of curiosity. What does the term actually mean?

Put quite simply, asexuality indicates that the person concerned has no interactive sexual drive or attraction. The sexual attraction, perhaps, is in neutral. The film gives a statistic that this applies to one percent of the community, presumably the American community.

As with this documentary, though it is quite brief, there are quite a number of talking heads. For the audience to understand asexuality, there are quite a number of men and women who identify with aexuality and speak to camera about themselves, their experiences, the lack of sexual drive and attraction towards others, of either gender.

This gives a basis for the audience getting to understand the issue in a brief space of time, especially by hearing it personalised.

The other talking heads are observers, who explain their sexual drive, contrasting it with those who are asexual. Many of them are puzzled and can’t quite believe asexuality in reality.

There are also quite a number of meetings, gatherings of the asexual men and women, friendships, conversations, illuminating the issue.

However, the central character the film is David Jay, rather younger than expected, frequently seen throughout the film, not hesitant at all in explaining himself, his psychological make up, his sexuality, is asexuality. He is very earnest and, in a sense, he carries the meaning and drive of the film. He is also a campaigner, leading rallies and processions, a guest speaker at any number of meetings and conventions, explaining himself over a significant amount of time, proving his thesis by his own life and experience.

The film was released in 2011. Obviously, with developments in understanding of sexuality, sexual orientation, heterosexual and homosexual attraction, a documentary on the next decade would have developed these themes even more.

DOG

US, 2022, 101 minutes, Colour.

Channing Tatum, Ethan Suplee, Jane Adams, Kevin Nash.

Directed by Reid Carolin, Channing Tatum.

Nearly everybody says they love a dog film. But, the dogs can range from Lassie to Cujo! So it is probably best to say that this is not a cute doggie, nice film. Rather, it is an entertaining and interesting film about a dog who has experienced war action, been decorated, and is on her last journey. Her name is Lulu. She is a Belgian Malinois military working dog.

The opening credits are quite arresting, pages turning in a scrapbook about Lulu, photos, comments, her exploits in war, working with a Ranger. Now the Ranger is dead and the family would like Lulu to be present at the funeral in Nogales, Arizona. However, Lulu has given up on flying and it is necessary for her to travel overland. Which makes the film something of a road movie.

The other star of the film is Channing Tatum who over overcomes the warning that an actor should not work with animals or children. He works very well with Lulu. And his role here fits him perfectly.

He plays Jackson Briggs, also a former Ranger, serving up hotdogs in a diner, taking out the garbage, but continually phoning the authorities with the request to come back to work. They seem to be adamant that he cannot. And, it does emerge, that is suffering from some aspects of the PTSD. However, he is of a dislike chance for re-consideration if you will take Lulu from Oregon to Arizona.

No, there is not a cuddly relationship between the two at the outset. Lulu is large, has to wear a muscle, goes into a canine range of her ears are touched, strains on a leash. She is not going to be an easy passenger. In fact, at time she get loose, and enjoys savaging the upholstery on the front seats of the truck.

What follows is a range of generally offbeat situations along the way. At one stage Jackson would like some female company, chats up some women in a bar who do not respond well, becomes involved with a type of New Age Couple, who is strong on detecting energies and want to apply their methods to Jackson. Q upset by Lulu.

Interestingly, along the American highways, there are a number of New Age characters and psychics. Entertaining is the episode where Lulu breaks free, races into a marijuana hothouse, Jackson stunned by a dart, the owner suspecting that this is a police raid. Actually, it turns into a pleasant conversation, and the wife, psychic, detecting all kinds of futures for Jackson and Lulu.

There is a visit to San Francisco. And there is a visit to Los Angeles, a surprise when Jackson goes to visit his wife and daughter from whom he seems estranged. But, the main episode in Los Angeles is is pretending to be blind, with Lulu as a guide dog, getting sympathetic treatment from the hotels staff for veterans, dog and companion getting a luxury apartment gratis. Just as a seems to be going well, Lulu races off, creates mayhem with Jackson finishing up in jail, tangling with an unsympathetic police officer who had previously been an MP.

Of course, by this time, what we were anticipating is beginning to happen, the bonding, truck breaking down, a lift from Hispanic farmers, ultimately Jackson carrying Lulu on his shoulders into the funeral.

By this stage, audiences may well feel very cheery at the funeral, especially with Lulu lying down near the shoes of the dead Ranger.

Much more likeable than we might have anticipated.

1. A dog story? A different dog story? Comic, serious?
2. A road film, West Coast scenery, travelling South, San Francisco, the coast, Los Angeles, to Arizona, Nogales and the funeral? The musical score, the range of popular songs? Connection with the military?
3. The credits, the album for Lulu, photos, texts, tributes? The visual impact of Lulu? Audiences retaining this throughout the film?
4. The folks on Jackson Briggs, Ranger service, action, collaboration with the Rangers, with Rodriguez, the dogs? Attacks, injuries? Post-traumatic stress disorder? His working in the diner, the surly kid? With the rubbish, the phone calls, wanting to reenlist, his being put off? The attitudes of the authorities? His urging, visits, out of date pass?
5. The presentation of the military authorities, their personalities, strict, rules? The contrast with the men getting together, drinking, memories, singing? Camaraderie?
6. Jackson and the task, the death of Rodriguez, driving into a tree? The funeral plans? Lulu to be present, unable to fly, to go by car? Jackson’s task?
7. Channing Tatum’s portrait of Jackson, age, experience, PS TD, memories? The revelation of his marriage, his daughter, living in Los Angeles, estranged? His physical health, mental health, medication?
8. Lulu, the plans, service, reputation, to the funeral, for Rodriguez parents? Then to be put down?
9. The road trip, the farcical aspects, especially with Gus and his wife, Lulu’s in the marijuana, the dart, tied up, getting loose? Gus, big, apprehensive, learning how to get loose from knots? His wife, the aura? The connection with Gus? Mockery of the idea – yet taken seriously?
10. Jackson, going to the bars, keeping Lulu in the car, the various women in the bar, is talking, their ditching him? The two women, the psychic powers, energies, going home, the process, Lulu loose, the women apprehensive?
11. Various episodes along the way, bonding with Lulu? The dangers, touching her ears, fierce, in the back of the truck, tearing up the seats?
12. San Francisco, the tour?
13. Going to Los Angeles, Jackson and the visit to his wife, the audience not seeing the conversation, his leaving with the Tory, giving it to Lulu to Savage?
14. Meeting up with Noah, wife and family, the other dog? The discussions, the reminiscences, the barbecue? Jackson learning how to deal with Lulu, of the training?
15. The robbery, the two dogs sniffing, under the peer, finding the possessions, the vagrant, his being ex-military and his calling out?
16. The arrest, in the cell, the discussion with the policeman, MP, seeming to be supportive, Jackson and his insult, the police officer? Upset? Being let go?
17. Two dog owners, the breakdown, on the road, the lift from the Hispanic farmers, Lulu exhausted, Jackson carrying her, the arrival of the funeral?
18. The funeral, the ceremony, the parents, the priest speaking, the rifle salute, Lulu going to Rodrigo issues? The aftermath, with each of the parents?
19. Going to the base, the outdated pass, discussions about Lulu, to be put down, Jackson and his attachment, the consequences, Lulu rehabilitating him? And reunited with his family?
20. An emotional film, the man and the dog, antagonism, the bonding, the emotions of the funeral, hope?

THE SOUVENIR: PART II

UK, 2021, 107 minutes, Colour.

Honor Swinton Byrne, Tilda Swinton, James Spencer Ashworth, Charlie Heaton, Richard Ayoade.

Directed by Joanna Hogg.

As indicated by the title, this is a continuation of the original The Souvenir, 2019, rather than a sequel. The original film divided opinions. It was praised by critics and the intended arthouse audience. It did not appeal to the general public. And the same could be said about Part II.

A yes to this comment by a blogger: You have to pay attention and work things out on your own for the most part. A tall order these days, i know.

The film is written and directed by Joanna Hogg and is based on her experiences of being in film school in the 1980s. Which means that it immerses its audience in this film-study-making world,  an attention to detail, to production values and style, to the role of the director, camera crew, performers. And situations can become very tense – which might involve some audience tension and concern but leaves the other audiences detached, observing, looking on.

In fact, many of the sequences are the equivalent of fly on the wall observation, close, not necessarily interesting in themselves, revealing character and clashes, and something of a desire, perhaps, to fly and observe on another wall.

But, this is all offset by the sequences where the trainee director, Julie (Honor Swinton Byrne, Tilda Swinton’s actual daughter) visits her parents. She is in mourning, grieving for the death of her lover, Anthony (Tom Burke), the subject of the first film, his alleged work in the foreign office, his drug addiction, his love for Julie, his treatment of her, his death. In fact, Julie’s visits to her parents, the ever attentive mother, the rather laid-back father, something of a relief after the visits to the film sets.

Julie is present at some filming, taking photos, interested in the French director and inviting her to be the lead in her own graduation film. A great deal of attention and time is given to this film, performance, discussions of motivations, and long clashes with the director of photography who declares that he does not comprehend what is going on and how it is going on.

There are also some eccentric personalities, especially the prima donna Patrick (di therector Richard Ayoade who appeared in the first film) and some sequences, black-and-white, from the film he was making and wanting to edit.

Ultimately, Julie and her crew and friends, her parents, all arrive at her graduation screening, and the audience is treated to her finished film – an extraordinary fantasy, Julie wandering from sequence to sequence, echoes her life, her search, and then sequences with her mother, and with Anthony himself, still quite ambiguous.

The film ends with the party sequence, the time of the fall of the Berlin Wall, and the camera withdrawing and showing that this is also a film set and performance. And the final “Cut!”.

1. The impact of The Souvenir? The story continuing? Presuppositions about the first film, Julie and her relationship with Anthony, his death, the Enigma about his life and the relationship? Julie and her filmmaking course?
2. The setting in the 1980s, Julie’s family, country house and grounds? London, her flat? Film school, the sets, the filming? Socials and parties? The graduation? The film within the film? The musical score?
3. Continuing Julie’s story, her age, the experience with Anthony, love, being mystified? The Enigma of his personality, his claim to work the foreign office, drugs, his death? Her relationship with her parents, being able to come to terms with Anthony’s death by visiting them? The effect of the domestic sequences? The personalities of her parents, love for each other, concerned for her, the symbol of the pottery and her breaking the pot?
4. Julia, her age, personality, the visit of the young man, the sexual encounter – and the narrative leaving it at that?
5. Julie, photographer, on the set of the film, the details of the work, the Dir, French, her manner, the nature of filmmaking?
6. Julie, her connections, her friends, Patrick, his personality, the scene from his film, black-and-white, his tantrums, his knowing Anthony? His being sacked from the editing of his film yet his wife continuing editing?
7. The various members of the crew, casting Dir, producer, cinematographer, continuity? Julie and her dealings with them, change her mind about scenes, day or night, motivations? The exasperation of the cinematographer?
8. Her hiring the French do directed to act in the film? Her interest in the leading man, see him acting, the interview, the discussions with each of them about motivations? The filming?
9. Julie, the pressures, the graduation film? The completion of the film?
10. The graduation night, her parents present, her friends? The chairman, praising her skills? Her speech, her parents response?
11. The screening of the film, real and surreal, Julie herself, moving from scene to scene, the reappearance of Anthony, moods, behaviour? Her mother moving into the film? A film within a film?
12. The final sequence, the party, the fall of the Berlin Wall, the joviality – and the camera outside the room, tracking to the filmmakers? The final order, Cut?

THE BATMAN 

US, 2022, 175 minutes, Colour.

Robert Pattinson, Zoe Kravitz, Colin Farrell, Jeffrey Wright, Paul Dano, Barry Keoghan, Peter Sarsgaard, John Turturro, Andy Serkis, Rupert Penry Jones, Jaymi Lawson.

Directed by Matt Reeves.

Quite an achievement. Quite a significant cinematic achievement.

Bob Kane’s original comic strip, Batman, has had a long life on television and in the movies, from the fun and excitement of the 1960s, to Tim Burton’s vision with Michael Keaton, to lighter touches with Val Kilmer and George Clooney, Ben Affleck and the Justice League. Now we have British actor, Robert Pattinson, the most serious Batman of them all. (In fact, this version might appeal strongly to Christopher Nolan and his Christian Bale series but not so much to Zack Snyder with Ben Affleck seeming like a benevolent uncle compared with Robert Pattinson!)

This is a very dark version, not only in characters and themes, lawlessness in Gotham city, political corruption, Gotham’s equivalent of the mob, money, graft and assassinations, but, in its two hour 55 minute running time, practically every sequence is at night, in the dark. There is a daylight sequence at a funeral commemoration, a relief to see some daylight, but it is soon overwhelmed in disaster, chaos, and a huge chase throughout the city (with compliments to the skills of the editor to make the chase so adrenaline-exciting, putting together brief shots with accumulated dramatic effect like the chases in the Mad Max films). There is also a brief dawn sequence at the top of a high building where Batman encounters the mysterious character, Selina (Zoe Kravitz). Otherwise, ever-dark.

The visuals of this Gotham more than ever resemble those of New York City. But, there is a focus on churches, Gothic architecture, even within Bruce Wayne’s hermitage home. And, the film opens with a version of Schubert Ave Maria, recurring throughout the film as a kind of motif to alert the audience to potential tragedy, even sung at the end by the mysteriously villainous, The Riddler (generally seen masked but a virtuoso performance by Paul Dano at the end).

The film opens with the assassination of the Mayor, the opening up of a new campaign, a young African-American female contender. Further killings, the introduction to a mob boss in his nightclub, The Penguin (this reviewer was jawdropping at the final credits to discover that he is played by Colin Farrell – disguised to look rather like Al Pacino’s character in Dick Tracy). Then there is the mob boss, smooth-talking and arrogant, dominating the city and its past, an effective John Turturro.

And, what about The Batman himself? When the sign goes up in the sky, it is his chance to rendezvous with police Commissioner Gordon (Jeffrey Wright efficient in the role). The Batman is big, brawny, full of vigour and, when he goes into action, initially against a group of louts mugging an Asian American, he is a vigorous and violent fighter. And we see this throughout the film – reluctant to kill, ready to maim, a masked vigilante. And denounced by many as such.

We do see him at home, with Andy Serkis this time as Alfred.

The development of the plot, as so often with Batman films, takes us back to Bruce Wayne’s parents, their role in Gotham, politics, finance, philanthropy – but this time with some sinister twists. And they reinforce the basic stands of Bruce Wayne and his disguise, initial fears, violence and vindictiveness, relentlessness. We might say that Robert Pattinson’s version of Bruce Wayne (and that of director and co-writer, Matt Reeves) is one-dimensional as described. However, with his interactions and the encounters with Selina, there is a further reticent emotional response – perhaps he is a half dimension character.

The film is strikingly photographed, many strong close-ups dominating the action, yet quite an amount of action and effects.

The long running time passes quite effectively, the action intriguing, as is the mystery of who was behind the corruption and the identity of The Riddler, sinister atmosphere making the film something of a parable about contemporary cities, government, corruption and the victimisation of ordinary people.

1. The long tradition of Batman, the comic strips, graphic novels, animation, comic interpretations, serious? The hero but not a superhero? This film is a Batman for the 21^st-century?
2. The city of Gotham, dark, action at night, a few sequences in the light, the funeral sequence moving into the car Chase, Selina and Batman in the twilight?
3. Gotham, its look, the cityscapes, like New York City, the public buildings, the clubs, interiors, the world of the criminals, the world of Justice, the Commissioner? The Wayne house, interiors, the Batmobile? The Gothic architecture of the city and within the Wayne mansion? The musical score?
4. Audiences familiar with the basic Batman story, Batman’s parents, his father and his roles, governments, philanthropy, the deaths of his parents? Bruce, growing up, his inheritance, the house? Alfred as his servant, advice? Alfred making mistake, reprimanded, remedying the situation? Commissioner Gordon, law enforcement in Gotham? The sign in the sky, for action, Bruce Wayne and his vigilante action, his Batman costume? Loan, serious, frequently under the mask, unrecognisable? His fellows, the Catwoman and the change in the storyline? The Penguin as a gangster? And the intervention of the Riddler?
5. The political situation Gotham city, the mayor, his family, the young son, his murder? The interview with his co-politician, his killing? The campaigns against corruption? The new candidate, African-American, female? The other politicians, the threats?
6. The Riddler, the warnings, the messages, his not being seen, the notes, the riddles, his knowledge of what was happening, the deaths? The search for the Riddler, the revelation? In himself, age, experience, obsession and motivations, his orphan experience, antagonism towards the Wayne family? The link with calm mind and the criminals? Arrested, in jail, searching his room? The ultimate confrontation? A creature of pathos? The criminals, the clubs, the connection with the politicians, the mayor and his link with the girl? Her fears? The visit to the bar, Selina, the revelation about her relationship with calm mind, her wanting revenge? The Penguin, his henchmen, his manner, the club? The buildup to the confrontation, the car chase? Gordon, the challenge?
7. Come on, the criminal boss, his role, the money, corruption, control in the past, defiance, ordering the killings? Selina? The ultimate confrontation?
8. Batman and Selina, sharing the stories, the revenge? The buildup to the election, the candidate, the pledge to the people? The Riddler, the sabotage, water, the flirting, disaster, the attack on the candidate?
9. The resolution, open-ended?