FRIENDS AND STRANGERS

Australia, 2021, 82 minutes, Colour.

Fergus Wilson, Emma Diaz, Greg Zimbalist, Malcolm Kennard.

Directed by James Vaughan.

This is the kind of film that challenges a reviewer, who wants to mediate the experience of the film to potential viewers, but offers great scope for a critic, to analyse the film, techniques, content, cinema references…

And this is what has happened here. Friends and Strangers was very well received by critics, with comments like the following: Part absurdist comedy, part satire of colonial accidie, the film follows directionless twenty-somethings Ray and Alice as they navigate a series of prosaic but increasingly agonising situations.

And, in many ways, this is what the film is – although Alice disappears rather early in the film and the focus is on Ray, a series of encounters and meanderings. He is not the most proactive of film heroes.

And, one critic commented on the films of French director, Eric Rohmer, with his focus on individuals in their context, meaning of life, many of relationships – and suggested that Friends and Strangers is an Australian film in that vein. There are long takes of some very attractive scenery and locations, a lake in the country, vistas of Sydney CBD, the harbour at harbourside mentions (and, starting from the credits and with verbal references to the history of Sydney, 1788, the early settlement, flora and fauna…).

On the other hand, one blogger’s reaction to the film was – and here is an interesting word – a discombobulation of episodes.

Ray and Alice meet by chance, decide to go camping together, encounter and an old codger who warns that they should move on, a meeting with a young girl who is on a trip around Australia with her widower father who is home educating her – and a conversation about Australian art and culture, and a connection with the artist Boyd family. Ray then meets a friend who will work with him on videoing a marriage ceremony, a long sequence in a car, the camera inside and at the back of driver and passenger (and, probably, some will reference the films of Iranian, Abbas Kierostami, inside cars – as has been referenced here!). This is a rather long sequence and, for the impatient viewer, it does get a bit exciting when smoke emerges from the engine.

There is also an encounter with an eccentric neighbour who plays loud atonal music and the arrival at the home of the family, filled with art, which is to be the venue of the wedding – and long, eccentric conversations about art and neighbours – and Ray’s mother coming to his rescue as the film ends.

So, for audiences (most?) who are eager for a story, for some kind of narrative which will interest them and, perhaps challenge them, this will not make the top of their list. On the other hand, critics who admire cinematic experiments (and some have described Friends and Strangers in this way), it will be an arthouse must see. And then we find this information: Ranking in BFI’s Sight & Sound’s Top 50 Films of 2021, James Vaughan’s debut feature, Friends and Strangers explores displacement and disconnection in contemporary Australia.

SANS REPIT/RESTLESS

France, 2021, 96 minutes, Colour.

Franck Gastambide, Simon Abkarian, Michael Abiteboul.

Directed by Regis Blondeau.

Here is an exciting and quickly paced French police drama. But, it is not just about investigations, the main interest is in police corruption, taking money from drug deals, and police finding that they are in further than they ever dreamt, more extensive police corruption.

The title of the film in English, Restless, seem something of an understatement with the French phrase being translated as “without let up”. That seems a far better description of what happens. The film itself is a French version of an original Korean film, A Hard Day, the same plot and characters (but the Korean film running 15 minutes longer than the French version).

While the film has fast paced action, taking place, more or less, over 36 hours, it is also a character study of the central character. He is Thomas, a reputable police officer in a provincial city, divorced, devoted to his young daughter. And his mother has just died and he is taking care of her funeral with his sister. He is played very effectively by Franck Gastambide (and, with his bald pate, and his facial features, he strongly resembles Vin Diesel who might be ideal if there were to be an American remake!).

At the opening, Thomas is driving his car, under strong pressure, being warned that internal affairs are coming to inspect his locker and question his associates about money on drugs. He is also driving to the hospital, the mortuary room where his mother is resting and the lid is about to be put on her casket. A dog on the road and he swerve. A further swerve and a dead body – and a life changing decision, self-protective, in retrospect, foolish. He puts the dead body in his car, and, rather ingeniously but testing credibility, in a sequence worth watching, he is able to infiltrate the corpse into the mortuary room and put it in his mother’s coffin.

There is a mystery of who is the dead man and its revelation, Thomas examining the building where he came from and finding information about a security locker.

But, then come mysterious phone calls and the mysterious identity of who is behind the crisis, the man who is wanting the body (and the key to the security box).

This is the moment where anything further might be construed as spoilers. There is quite some action, some surprising developments, and, of course, the dangers Thomas as he confronts the arch-villain (who has absolutely no redeeming features) and a moral decision at the end – the kind of moral decision at the end of the film which has the audience wondering what they would do in Thomas’s place.

A reminder that the French can do police action thrillers well.

1. Strong police drama? French style? Police, corruption, drug dealing, money? Cover-ups? Connected with personal drama of death, family?
2. The setting, the French town, streets, police precincts, headquarters, guns and equipment, contrasting with hospitals, mortuary? The musical score, increasing the film’s pace?
3. The introduction to Thomas, his role with the police, Marc is his friend and godfather of his daughter, working together, Naomi and her training, assistance, the chief of the department? His initial bewilderment, his being called into action, the internal affairs investigation? His mother’s death, deadline for putting the lid on the coffin, contact with his daughter, her wanting a toy? His sister?
4. The context for his being anxious, his driving, the dog on the road and avoiding it, swerving, the dead body on the road? His dilemmas? His option for putting the body in the boot of his car? No turning back?
5. The mortuary, his arrival, sister and daughter, his mother laid out, the crucifix to be put in the coffin? Hammering the screws on the coffin, his asking for more time to be with his mother? The deadline of 10 o’clock, his getting the body, putting it in the vent, his daughter’s toy soldier and the ropes, the battery? Back inside the room, the balloons covering the surveillance cameras, opening the vent, the effort in using the soldier (firing bullets) and drawing the body into the room? The nurses hearing noises, suspicious, checking with security, rules and regulations? Getting the body, putting it in his mother’s coffin, sealing the coffin again, the irony of the mobile phone ringing? Finishing in time, the mortuary director returning?
6. Marc and Naomi, going to Thomas’s locker, finding the money, flushing it down the toilet? Internal affairs not finding anything? Marc, his confronting Thomas, Marc’s wife and her dependency, Thomas and the expenses for his mother’s illness and burial? Tension between the two? Marc later coming in the car, wanting to give up the drug, Thomas giving him the key to the box with the police chief’s cash? And the horror of the dropping of the load on the car and killing Marc?
7. Thomas, the anonymous phone calls, the pressure on him, the caller wanting the body? Defying the dead man, tracking down his accomplice in drug deals, getting the information at the laundromat? Getting the documents and the code for the money in the security box?
8. The revelation that the phone call was the head of narcotics, his arrival, threats, sense of menace? The overview of his success with the nightclubs, the money deals with drugs, mixing with alcohol, the dependencies?
9. Thomas, the meetings with the chief of narcotics, the promise to give the body, his digging up his mother’s grave? Bringing the body, but finding the key in keeping it?
10. Thomas’s reaction with Marc’s death, the narcotics chief threatening his sister and daughter, his getting them away from the city?
11. The background of guns and equipment at the police precinct, his getting the gun, the blanks, the explosives? The set up, putting the explosives in the body? The confrontation with the narcotics chief, the gun, firing blanks, the chief driving away, the explosion? But his surviving, pursuing Thomas, fighting with him, the rounds in the gun, empty chamber, the final shot? Their falling into the water?
12. Thomas, his decisions, standing at the water, Naomi coming to meet him, giving him the key that was found in the car? Decisions about the money?
13. Going to the security boxes, opening, the vast amount of cash?
14. The police officials and the decision for cover-up?
15. And the ending of the film – and audiences wondering what Thomas would do (what they would do)?

TAHARA

US, 2020, 78 minutes, Colour.

Madeline Grey De Freece, Rachel Sennot, Daniel Taveras.

Directed by Olivia Peace.

The title refers to some of the rituals for burial in the Jewish tradition.

The burial at the centre of this film is that of a teenage student who has killed herself. The action takes place at the ceremony and at a class on rituals afterwards.

At the centre of this film, brief, to fellow students. There is a focus on Carrie, rather reserved, but best friends with Hannah. The two are played by – and a reminder that at the same time Rebecca played the precocious young woman, also at funeral ritual, Shiva Baby.

Most of the film is conversation. In fact, it is girl-chat, girl-gossip. Carrey is tentative in her relationships, discovering her sexuality and sexual orientation, attracted towards Hannah but also finding her very difficult. Hannah, on the other hand, is out there, chatting all during the ritual, looking about in making comment on those present, imagining that the young man is attracted to her when he isn’t, she rather flaunting herself. She is self-centred, self-preoccupied, prone to literal pratfalls as well as conversation gaps.

Besides the girl chat, there is also some boy-chat between the young man and Hannah, Hannah making a fool of herself, the young man bewildered.

A lot of the chat is about identity, sexuality, relationships, self-discovery.

A film for its target audience, the age of its characters. Other audiences might lose interest.

STUDIO 666

US, 2022, 106 minutes, Colour.

Foo Fighters: Dave Grohl, Nate Mendel, Pat Smear, Chris Shiflett, Taylor Hawkins, Rami Jaffee, Whitney Cummings, Will Forte, Jeff Garlin, Jenna Ortega.

Directed by B.J.McDonnell.

This reviewer is indebted to a blogger for a succinct review: gory and goofy.

The main reason for seeing this film is to see Dave Grohl, larger-than-life, Kurt Cobain’s former drummer and founder of the rock group, Foo Fighters. It is an opportunity to see him and the whole group with their musical talent, plenty of opportunity. And, each of them, is able to display their prowess and finesse.

But, Foo Fighters fans may not be definite A’s of grisly horror films. But, that is what this Juanez, some gory touches at the opening to set a tone but after the music comes all kinds of gristle and Gore, demonic appearances, and the most graphic and macabre slayings. (For those not into this kind of horror they, maybe, will have to close their eyes and listen to the music!)

The screenplay is based on an idea by Dave Grohl which could be interpreted as self-promotion. However, he is a genial presence, larger-than-life, able to send himself up. And, at times, he plays the guitar as if possessed (and, according to the plot, he is!).

To brighten the proceedings there are some guest spots, Will Forte is an unfortunate would be musician who is a pizza deliverer. Then Dave Grohl has a dream singing Hello and who should enter into his dream but Lionel Richie himself! Jeff Garlin is the manager, money-preoccupied, but also in league with the devil.

In many ways, this is a typical be film which might hope one day to be a cult film (and probably will be given the reputation of the Foo Fighters). It is B budget – especially with some of the effects for the bizarre Demons. And, the individual Foo Fighters are given a lot to do and say in the drama of the narrative, about their work, their personalities, and becoming more and more involved in the bizarre goings on in the country estate where the audience knows there has been a massacre in the 1990s and that the Foo Fighters had walked into a trap.

It may have been a condition in the contracts for the Foo Fighters that they are not required to act. Acting is definitely not their forte.

For Dave Grohl fans and the music of the Foo Fighters if they can live with the gory horror (and the non-acting).

A STITCH IN TIME

Australia, 2022, 98 minutes, Colour.

Maggie Blinco, Glenn Shorrock, Belinda Giblin,Hoa Xuande.

Directed by Sasha Hadden.

In fact, the title does not appear until the end credits – which means that we may be wondering, all the way through, what it actually means. The central character, Liebe, is a talented seamstress, making dresses in the past, deciding in her later age to branch out again, a stitch in time to give her new life. However, she has spent 50 years in partnership with a musician, Duncan (played by musician and singer, Glenn Shorrock of the Little River Band), ambitious for his music but disappointed in his partner pulling out decades earlier, leaving him floundering, and taking out his disappointments on Liebe.

Liebe is played by Maggie Blinco, a career highlight for her after 50 years in film and television. She explains her story, one of the Kindertransport, war children transported by train from Germany to Britain, Jewish but brought up as Christian. She has had to be a patient woman most of her life, supporting Duncan. But, he is angry, bitter, even vengeful on Liebe, fired from his job, making contact with the musician who walked out on him, Justin (John Greg), resentful of his wife, Christine (Belinda Giblin).

In the meantime, Liebe wanders the market stalls outside the church in Balmain, where much of the action was filmed. She encounters the stall of a fashion designer, young Chinese man, Hamish (!) And becomes friends with him, his supporting her work, her going to his stall to sell her dresses, initially slow, then some customer attention.

The screenplay has a women’s liberation theme, Liebe’s liberation from patriarchal presuppositions about her place, in the kitchen, at home, subservient to the husband. She gets a new lease of life, initially helped by Christine who is wealthy, but experiencing some of the same patriarchal dominance from her husband. There is a crisis, some unhappy memories of the past, Liebe walking out to find her own life, fortunately helped by Hamish and his Australian wife.

Which leads her to a new phase, renting garage space from a group of Chinese students, working continuously, making new clothes, becoming more successful – and this, especially, with advertising online and her getting many followers. Hamish helps but he also relies on Lieber for drawing up patterns (though she does not quite approve of his more modern styles of dress design).

Given her background from World War II, Liebe does believe in forgiveness but finds it very hard – but, that is the expected conclusion from a story like this, her finding possibilities for some kind of forgiveness, understanding and a surprising way of encouraging Duncan to record one of his songs (the wonders of social media!).

A film that will resonate with older audiences, especially women who will identify in many ways with Liebe.

1. The title, Liebe Is a dressmaker, the past, taking up dressmaking again, experiences, exhilaration, future?
2. The Sydney settings, the inner city suburbs, homes, RSL club, church, markets and stalls? The affluent country house and interiors? The Chinese students, flats and garage? The musical score?
3. Liebe’s story, the past, her love for Duncan, with him for 50 years, his infidelities, her staying with him? Her dressmaking and skills? The sewing machine and the noise? Faithfully listening to Duncan, at the RSL, going home, his tantrums? Preparing his meals, his diet? Her becoming more exasperated? The past history with Christine, the separation from Justin and Christine, Duncan’s phone call, the visit, Liebe happy to see Christine again? Her encouragement? Duncan’s tantrums against Justin? Just concerning reasonable?
4. Liebe at the church, the market, Hamish and his stall, the conversations, her taking up the dressmaking, going to buy the fabrics, the discounts, her loving care, cutting and measuring the material? Getting out the dress she made for Christine and taking it for Christine?
5. Duncan, character, musician, composer, his career, the grudge of many years against Justin? His past, relationship with Christine? Cantankerous, health, demanding on Liebe?
6. Liebe leaving him, going to Christine, the accommodation, sewing, Justin and his negative reactions, Christine and companionship, buying the new sewing machine?
7. Liebe, her diligence, making the dresses, wanting to support herself, going to Hamish, at the stall, giving away the Address and the later gratitude from the young woman, gradually getting customers, buying more material, making more dresses?
8. Hamish, his wife, fashion design, the stall, customers, kindly towards Liebe, her selling the dresses, his encouragement, his wanting her to make patterns for him, the disagreements about the style of the dress? His getting her the accommodation in the garage? Bringing the new cutting board? The Chinese students?
9. Duncan, arrival, challenge to Justin, revelation about Christine, Liebe upset, leaving, the accommodation, the garage, making the dresses, not eating sufficiently, collapsing, on the park bench, Hamish finding her? The food, her cooking for the students, the bonding?
10. Christine, her visit, moments of forgiveness?
11. Duncan, illness, her going to the hospital, not coming back to him, feeding him? His desire to make more music? Social media, the young man and the recording, its being played on You Tube?
12. Liebe, age, that the possibilities for a new lease of life?

FLEE

Denmark, 2021, 89 minutes, Colour.

A film about refugees from Afghanistan, its release made more poignant by the collapse of Kabul and the taking over the country by the Taliban in 2021.

This is a striking film, Oscar-nominated in three categories: Best Documentary, Best Animation, Best Foreign Language Film. And it has won quite a number of nominations and awards in festivals.

But the refugee at the centre of the story, Amin, takes us back to 1984, some seemingly ordinary life in the capital, an amount of freedom. However, the monarchy has been previously toppled, the Mujahadin are exercising power, there is the Communist influence. Amin’s father is arrested, imprisoned, disappeared. His family suffer oppression, an older brother drafted to the military but escaping, the family relying on help to escape to Moscow. By the mid-90s, after years in Moscow, Amin leaves Russia, with the help of a refugee trafficker, a teenager finding that instead of going to Sweden to meet with his brother and family, he is sent to Denmark, having to keep quiet about his identity, a fabricated story about the death of the rest of his family, something that he conceals for many years.

While we might say that this is a familiar enough story, repeated over the decades and relevant to 2021, it is the way that the story is told that continually demands our attention, keeps us fascinated.

While there is a voice-over from Amin, narrating his story throughout the film, the visual method used is that of animation. The style is direct and broad, bringing to life the many episodes in Amin’s life, as a little boy (prone to wear his sister’s dresses), playing in the streets, his home life, the older sister telling heroic stories about their father, then the arrest, imprisonment, oppression and fear, the effect on the mother and her going prematurely grey.

This animation device means that we probably pay more attention to Amin and his story than we might have in a direct biographical documentary. The narrative has its moments of pain, uncertainty, relief.

Intercut with Amin telling his story is the revelation that until now, even with friends and his partner, he has not revealed the truth, that his family are still alive. The director has him lie down on the carpet, interviews him like a psychologist, eliciting more and more truth from Amin.

We also learn that Amin has had a successful life, an academic career, time in the United States. He also reveals his sexual orientation, his uncertainties, the grim view of homosexuality in Afghan society, the family accepting him as he was. And, there is relationship with his partner, the buying a house, settling down, moving in, a wedding ceremony.

The animation is made all the more effective because of the wide range of newsreel and television footage inserted, bringing a heightened sense of reality to situations in Afghanistan, war, suffering and escape.

A moving story inviting audiences to be more understanding and sympathetic to refugees and appreciate what they have experienced and suffered.

1. Title, the direct? Refugees? The history of Afghanistan in the late 20^th century? 21^st-century?
2. A biographical portrait, Amin and his voice-over, telling his story? The use of animation, style, characters, situations? Bold and direct? Colour? The insertion of newsreel footage, making a highlighted contrast with the animation? Overall impact?
3. Amin, his relationship with the director, the interviews, discussions, Amin and gradual self-rvelation, when he was ready? His lying on the carpet, the director like a psychologist? Telling his story as therapy?
4. Amin as an adult, life in Denmark, studies, his career, the United States? Relationships, his sexual orientation, his partner, separations, the buying of the house, setting it up, settling down, the marriage?
5. Kabul, 1984, memories of family life, parents, brothers and sisters, the older sister and the heroic stories of her pilot father, Amin and his wearing the dress and this being taken for granted, bond with his brother? His mother? The change of government, the Mujahadeen, the father taken, imprisoned, disappearing? The consequences for the family? His brother in the military service, escaping?
6. The political orientation of the government, the family and their fleeing to Moscow, the years in Moscow, concealed? Amin growing up? His mother and her grey hair? The possibilities for getting out of Russia?
7. The people smugglers, the deals, money, the decisions about who should escape? The older brother and his family in Sweden? The decision for Amin to go?
8. The trafficking, the smuggler and his demands, creating the story, no family? The two boys and their travelling, Amin reflecting on the attraction to the young man, in the truck, the planes, Amin going to Copenhagen, in the airport, refugee status, telling his orphans story, his being accepted? Eventually ringing his brother?
9. Amin and his life in Denmark, fearful of being picked up and deported, staying to his story, no revelations?
10. The visit to his brother, the pestering about having a girlfriend, his confession to the family, his brother taking him to the club, the background of homosexuality in Afghanistan, no name, not talked about, disgrace?
11. The passing of the years, the discussions with the film director, the decision to make the film?
12. Portrait of Amin, portrait of a refugee, the past in Afghanistan, freedom in Western Europe?

HIVE

Kosovo, 2021, 84 minutes, Colour.

Ylika Gashi, Cun Lajci.

Directed by Blerta Basholli.

We are taken back to 1999, war in Kosovo, many husbands and sons disappearing. We are taken back to the mid 2000s, the aftermath of war, the remnant of old men, the wives and widows, the younger generation, surviving.

At the centre of this story is a middle-aged woman, a widow, Fahrije (an intensely powerful performance and screen presence by Ylika Gashi). Those who have seen Quote Vadis, Aida? With its memories of Serb massacres in Srebrenica, July 11, 1995, will be making comparisons between Aida and Fahrije. Two very strong women, having to cope with war and aftermath. While Aida had a prominent position as teacher, as translator, Fahrije lives in a village which is, to say the least, highly patriarchal.

Which comes to a head when Fahrije makes a decision to become enterprising. She has been keeping the hives built by her husband to whom was she devoted. She collects the honey and tries to sell it at a local market. She also belongs to a women’s group in the village, who are offered a car to help them in their work. When the invitation is raised, the women are afraid to get their driving licenses, not for fear of driving, but for fear of the reactions of the men who highly disapprove of women driving or taking this kind of initiative and the consequent gossip around the village. Which is what happens when Fahrije decides to get her license. Her father-in-law, wheelchair bound, who helps sell the honey at the market, is highly disapproving. Fahrije is continually clashing with her young daughter who misses her father and resents her mother. She also has a young son.

While Hive might be the title of the film, it might have been called Ajvar.  (Google to the rescue: avjar is Balkan roasted red pepper sauce.) Fahrije, with the help of the strong-minded older widow, Zana, tells the supermarket proprietor that they have a company, establish one, start to make avjar in a shed, other women of the town gradually joining to help. And the men do not approve, throwing stones to smash the car’s window, overturning shelves and breaking bottles of avjar, looking down with disdain, and the women fearful of the men’s reaction and gossip.

This is truly – and, literally – a women’s liberation story. The village patriarchy and attitudes are extraordinarily oppressive (and for audience feelings as well). But, Fahrije is enterprising, a small town entrepreneur who creates a business, encourages the women to assert themselves, is able to make some peace with her family.

At the end of Quo Vadis, Aida? There is a scene where Aida goes to view remnants of clothes and remains of the deceased men. There is a similar scene in Hives, women surviving, the sadness of the truth about the fate of the men.

While the opening told us that this is based on a true story, there is final information about how successfully Fahrije developed her business, exports to Europe, anticipated exports to the United States – and some photos of the actual Fahrije.  Hives was Kosovo’s nomination for 2021 Best Foreign Language Oscar. The film has won many awards, including three at the 2022 Sundance Festival.

1. The title, the initial sequences with the bees and the hives, the honey, Fahrije being stung, memories of her husband?
2. The background of the war in Kosovo, battles, Serbs, resistance, the disappearance of the men, husbands and fathers and brothers? The mystery? Organisations trying to discover where the men had gone? The final sequence and the laying out of clothes and remnants, the women examining, identifying, grieving?
3. The aftermath of the war, the village, homes, streets, markets? The supermarket? The musical score?
4. Fahrije as the focus of the film, her age, marriage to her husband, happiness and devotion, her daughter and the resentment towards her mother and the absence of her father, the young son? The father-in-law, in his wheelchair, memories of his son, Fahrije looking after him, washing him, feeding him? Taking him to the market and his selling the honey?
5. The women gathering, the committee, discussions? The possibility of the use of a car? The women’s reactions, not wanting to get a driving license, the disdain of the men, the gossip in the village? Fahrije and her decision, getting the instruction, driving the car? The men, stones the car window? The women of the gossip? Her persevering?
6. Selling the honey, going to the supermarket? Her friendship with Zana? The visit to the supermarket, discussions with the manager? The decision to make ajvar? The agreement?
7. Buying the peppers, in bulk, Fahrije in the car, the man selling the peppers, his unwelcome advances and her reaction?
8. Her father-in-law’s reaction, negative, the daughter’s reaction? Making the avjar, in the shed? The issue of the circular saw, wanting to sell it, the father-in-law forbidding it? Left outside?
9. The women, gradually joining, making the avjar, bottling it, taking it to the supermarket, the display, success? But the men’s inventions, overturning the shelves and breaking the jars?
10. The issue of the DNA from the father-in-law to identify his son? The refusal? His gradual change of heart? News of the discovery, the remnants on clothes? Farhije in denial?
11. The patriarchal society, the superiority of the men and their decisions and beliefs? The women’s defiance? Liberation?
12. Farhije scene at the end, the business enterprise, in Europe, and to the US?
13. A story of war, suffering, aftermath, enterprise and hope?

C’MON, C’MON

US, 2021, 110 minutes, Black-and-white.

Joaquin Phoenix, Woody Norman, Gaby Hoffman, Scoot McNairy, Molly Webster.

Directed by Mike Mills.

A commentator has pointed out that there are a number of films showing the powerful relationship between an adult and a child, citing Charlie Chaplin and The Kid, the Czech film, Kolya, winner of the Oscar for Best Language Foreign Film. C’mon, C’mon has been acclaimed, already, with 12 wins and 49 nominations.

Joaquin Phoenix is Johnny, uncle Johnny, the adult. British-born Woody Norman is Jesse, the kid. Gaby Hoffman, who entered into film and television while a child, gives a strong performance as Viv, Jesse’s mother.

First of all, a comment about Joaquin Phoenix. In recent years his casting has been as diverse as his Oscar-winning Joker and his appearance as Jesus in the film, Mary Magdalene. And, looking back at his diverse career, who would have thought that at this stage of his life he would portray such a humane, generally agreeable, even smiling, adult? He seems to be really enjoying being cast in this role and in his performance.

The basic plot outline is very simple – and some audiences have tended to dismiss it as slight, that could have been got over in 30 minutes, it is over-padded. Johnny and his team cross the US interviewing youngsters, asking questions about their understanding of life, hopes, the US. He has previously clashed with his sister, Viv (flashbacks to their coping with their terminally ill mother in care). Viv’s husband is a musician but prone to strong bouts of depression. And their son Jesse is nine. When Viv has to spend face-to face time with her husband, she asks her brother to look after Jesse. He agrees. Seems rather pleased with the request.

To say the least, Jesse is a handful. At nine, he has had a difficult life, devoted to his father, upset at his father’s illness and absence, relying on his mother and her constant attention. He is intelligent. He can also be quite manipulative. Johnny at one stage wonders whether he is spoilt. In fact, he is, but this highlights his neediness. He has his moods, he has his mood swings. And he likes to imagine himself in alternate stories, as an orphan, getting Johnny and his mother to join in his dialogue and role-plays.

Of course, we see the repercussions for Johnny, asking questions all over the US but reluctant to answer questions about himself and his life, at one stage Viv talking to him on the phone, all getting him to open up about his partner is leaving him, the relationship between brother and sister and the treatment of their mother. He quietly admits a little.

Jesse on the other hand is very selective in his replies, able to ward off what he considers intrusions, making demands of his uncle, throwing back at him his uncle’s comment about a lot of responses being simply blah blah. Jesse is happy to go with his uncle back to New York and accompany him on the interviews, even getting the microphone to record sounds all about the city. But, the deep neediness leads to tantrums, momentarily running away from his uncle intense on the phone, arguments, sullenness, reconciliations.

Johnny has to go to New Orleans for his job, Jesse being particularly obstreperous and hindering, eventually going with him to New Orleans, opening up, confiding in his uncle, trusting him, and happy reuniting with his mother. At the end of the film, his uncle does a recapitulation on tape of what they shared so that when Jesse starts to forget the details, there will be a literal record.

Mike Mills has made idiosyncratic films, Thumbsucker, Beginners (for which Christopher Plummer won his Oscar), 20^th Century Women. This film is in black-and-white, striking vistas of Detroit, Los Angeles, New York, New Orleans. It is also a strongly worded-packed film, a long range of interviews, a great number of responses, and quotations from books read to Jesse, from the Wizard of Oz and other children’s books and a great deal of verbal wisdom.

1. The title, the tone, the later explanation, keeping going…?
2. The American city settings, the views of Detroit, the views of the LA, of New York, of New Orleans? The film immersing its audience in the cities and their life?
3. The black-and-white photography, style, black-and-white and light? The musical score?
4. The device of Johnny and his crew travelling around America, the interviews with the young Americans, their views on life, current issues, hopes? The cumulative effect on the audience of hearing this range of views on the United States, the present, hopes for the future?
5. Johnny’s story, asking people questions, reluctant to answer questions? His age, travelling alone, the past relationship and his being left? Reluctant to speak? The flashbacks to his mother, her illness, using hands to communicate, his sister, their clash? His nephew?
6. Viv, the situation, her musician husband, his mental condition, flashbacks to the past, seeing him with his son, happy times, but his collapse, having to go into care, Viv needing to be with him, to support him?
7. The phone call to Johnny, asking him to look after Jesse? His agreeing? In Los Angeles, the decision to go to New York, Jesse accompanying him, the job in New Orleans, ready to go to the airport, Jesse’s tantrum, eventually going with him?
8. Jesse, age 9, love for his mother, her telling stories, reading stories, the role-plays for stories, his being an orphan and identifying, the drama? His missing his father? The effect of his absence? Jesse’s personality, lively, imaginative? But sport in many ways? Manipulative? Staging tantrums? Influenced by the adults, aping their style?
9. Johnny and Jesse, the bond between them, company, storytelling, sharing the details of life, Jesse going to the interviews, having the microphones, recording the sounds? The phone calls to his mother? Johnny and the telling stories, the role-plays? The ups and downs, Jesse wanting attention, Johnny on the phone on the street, Jesse disappearing, Johnny searching for him, the episode and the explanation?
10. The effect on Johnny, being a father figure, enjoying it, finding it stressing? His continued conversations with a view, an outlet for his feelings and coping?
11. The issue of New Orleans, Johnny going to the airport, the camp, Jesse and his tantrum, wanting to go to the toilet, the setup?
12. Jesse and Johnny in New Orleans, a greater peace, the range of people, with the interview crew and their care, the young man taking care of Jesse?
13. His mother’s arrival? Happy together?
14. Johnny, his decision to record the memories of these episodes with Jesse so that when he grew older and began to forget, there would be the record?
15. An effective story of an adult and relationship with the child? Difficulties? Hopes?

THE TIGER WITHIN

US, 2020, 98 minutes, Colour.

Ed Asner, Margot Josefsohn, Diego Josef.

Directed by Rafael Zielinski.

From the outset, we know where this story is going. That is not the important thing – it is how the story gets there.

First, we are introduced to Casey, in her mid teens, touches of punk and Goth in her clothes and piercings, going to school, instantly taunted and her firing back, expelled. The seventh school she has been to. She is already angry and bitter. Angry with her rather slatternly mother, the current man who is living in the house, abusive and violent. She decides to leave home, to find the father who had abandoned her who has remarried and has three daughters.

Next, we are in Los Angeles, at the Jewish cemetery. Samuel is an elderly widower, originally from Germany, memories of the Holocaust. He lives a very simple life in his rented apartment.

When Casey overhears her father’s family comments, she hides, wonders, her bag snatched in the street, sleeping in the cemetery, Samuel visiting his wife’s grave, then having second thoughts and returning to watch Casey till she wakes, inviting her for a meal. A strange odd couple.

Samuel is a character all that we might have expected him to be, a dignified old gentleman, devoutly visiting temple, sad memories of his dead wife and twin children, putting up with Casey’s abrasiveness, language, but what touches him most is her ignorance. To that extent, the screenplay is directed towards an American audience which is ignorant of the Holocaust or is in denial (as has been Casey’s mother who told her that the Holocaust was a lie and that all Jews are liars).

While there is a lot of sentiment in this film, it continually has a hard, very hard, edge in Casey’s immature, unformed, angry personality. While Casey is appreciative of Samuel’s kindness, she is innately suspicious of anybody doing anything good for another. And she goes off to work in a massage parlour – and, fortunately for Samuel, Casey and us, she witnesses some boys robbing Samuel and gives chase. They renew their friendship.

In the final credits there is a tribute to a great range of religious leaders of Los Angeles who have supplied wise sayings, aphorisms, words of advice that are incorporated into the screenplay. Samuel offers Casey the image of the Tiger, her inner Tiger as the title suggests, and her need to overcome her fears of her inner Tiger. She follows his advice, seeks out her family, once again overhears critical comment and angrily leaves.

We know there is going to be greater bonding but the screenplay keeps us waiting, anticipating but uncertain, listening again to Casey’s hesitations and outbursts. And Samuel is patient. Eventually they do make a deal and Casey goes to school (angry at admissions requirements but Samuel, ever-patient, travelling with her to get her mother’s permission). And it proves that Casey is intelligent, can be thoughtful, has an artistic temperament – and attracts one of the students at school.

This reveals her vulnerability, never having been on a date, never having been kissed, thinking she was ugly, not only in appearance but her inner ugliness, hesitations to open up – but Samuel going to buy her a dress for her first date with Tony.

And we guess that there will be sadness in the ending, but images of Casey going to the zoo, close-ups of tigers, and her making some kind of effort to control her Tiger within. And, so, an ending not without hope.

Admiration for Ed Asner in his late 80s for embodying Samuel so believably. And interest in the further career of Margot Josefsohn who really gets into the skin and soul of Casey.

1. The title? The image of the Tiger, the interior Tiger, energy and initiative, needing to be controlled and channelled? The final images of the actual Tiger at the zoo?
2. The Ohio settings, homes, school, ordinary? Yet the difficult home and Casey moving to Los Angeles? The Los Angeles settings, the apartment and corridors, the cemetery, the massage parlour and interiors, the diners, the streets, school? The musical score?
3. Introduction to Casey, age, sullen, piercings and rings, new school, her being taunted, reaction, principal, expelled, the seventh school? At home, resentment of her mother’s boyfriends, her absent father and his never visiting, the violence of the boyfriend, talking with her mother, her mother siding with the boyfriend? Decision to leave, her mother’s support?
4. Travel to Los Angeles, waiting for her father, the family arriving, her hiding, overhearing their comments on her? Going off on her own, sleeping rough, sketching and the robbery of her bag, sleeping in the cemetery?
5. Introduction to Samuel, age, German, migrant, memories of World War II, Jewish? Widower, the death of his children? Visiting his wife’s grave, the rituals with stones? Seeing Casey sleeping, going back, their encounter, his giving her a meal?
6. Casey, abrasive, suspicious, the influence of her upbringing? Resentments? Not believing anybody could like her? Thinking she was ugly, exterior and interior? Her ignorance, Jews, denying the Holocaust, the influence her mother? Samuel’s firm talking with her?
7. His taking her home, washing, meal, talk? Her leaving?
8. Casey and her age, at the massage parlour, her clothes, conversation, the men, massage, sexual? Money? Seeing Samuel in the street, seeing him robbed, the pursuit of the children in recovering his wallet? Talking again, the meal?
9. Casey and her staying with Samuel, the conversations, his opening up about his life, his severe hatreds from his past? But encountering her ignorance, helping her? The deal, that she go to school, surly with the authorities, travelling to her mother to get her permission, the violent boyfriend and his aggression, Casey blunt with her mother?
10. Samuel and controlling the Tiger within, urging her to go to visit her family, Christmas Eve, tentative, her father and his reaction, his wife and her negative comment, the children, Casey overhearing the discussion, leaving? The bitterness? Back to the massage parlour?
11. Going to school, the class, the discussion about photography, her thoughtfulness? Tony and his interest, attraction, meeting with her, her self-deprecation, not believing in herself? Their company, his inviting her out? Samuel and the buying of the dress? The date, enjoying it, never having been kissed, awkwardness?
12. Samuel, going to the synagogue, the neo-Nazis and bashing him? In hospital? Casey, upset, the visit to the hospital?
13. Samuel dying, his influence on Casey and her life? Her going to Samuel’s wife’s grave? Seeing her celebrate her birthday with her father and his family, bonding with Tony – her future and Samuel being her saviour?

I AM HERE

South Africa, 2020, 73 minutes, Colour.

Directed by Jordy Sank.

The I of the title is a vivacious elderly lady, Ella Blumenthal. This is her story.

At the outset, this reviewer would state that this is a film that should be seen by everyone. For older audiences, it evokes memories of the 20^th century past, especially World War II, the Jews in the Holocaust, the aftermath. For those of the next generations, it is acknowledgement of the past and learning from the past. And, it should be recommended for viewing for secondary school students, only 73 minutes of viewing, time for reflection and conversation, a valuable emotional and intellectual experience – that such experiences should not be lost, not forgotten.

Early in the film, Ella is celebrating her 98^th birthday, surrounded by family. She takes the opportunity to open up about her past life, more than she had in the past. Ella knows how to tell a good story, to involve her audience, to lead them on, wanting to know more. So, at age 98, at the party and afterwards, her family records her memories, her reminiscences, her regrets, her joys.

But the filmmakers have added a wonderful extra dimension. So much of Ella’s young life, separation from family, the years in the concentration camps, the aftermath, her engagement, wedding, family, all told via animation. So, the real Ella speaking while we are moved, excited, saddened, joyful with Ella and her niece, Rachel, through these animated characters.

And, as happened with the animation/documentary/portrait of the Afghan refugee, Amin, in Flee, footage is included, this time from World War II, from the camps, photos, are inserted within our looking and listening with Ella and within the animation. A very effective cumulative impact, especially in about 70 minutes.

Ella had a happy life after the liberation from the camps, finding her loving life, marriage, moving to Johannesburg – but finding that her husband’s family did not want the war experiences to be talked about, Ella then becoming accustomed to keep these memories to herself, finally released at age 98.

There is no mention of apartheid or Ella’s experiences living in South Africa for so long – but, she is a devout woman, continually referencing God, faith and prayer, and a firm belief in the equality of every human being no matter what race or colour.

Fine and moving documentary-making. And we are glad to have met Ella, not only to make her acquaintance, but to have the privilege of hearing her confidences.