RAYA AND THE LAST DRAGON

US, 2021, 107 minutes, Colour.
Voices of: Kelly Marie Tran, Awkwafina, Izaak Wang, Gemma Chan, Benedict Wong, Alan Tudyk, Sandra Oh
Directed by Don Hall, Carolos Lopez Estrada.

This is a rather lavish Disney animation, computer-generated, full of bright colour, a lot of action, some comic touches (a touch corny!), But a quest, an adventure, a female hero, a female villain, and a female Dragon, who acts and talks in many ways as one commentator said, “goofy�.

The film received favourable critical comment but was not as successful at the box office as hoped for, but released simultaneously in cinemas and on the Disney streaming channel.

This is a princess story, in the tradition of so many Disney princesses. But, more in the tradition of Mulan and Moana. In fact, this story derives from Southeast Asia, one of the main writers, Vietnamese background, the other, Malaysian background (and contributed to the screenplay of Crazy Rich Asians). And all the characters have a variety of ethnic backgrounds.

Which makes the reviewer wonder why many of the public put up barriers to the film. Are they being invited into a world which is strange, which they do not understand? And, wide audiences uncomfortable with the range of the characters and their behaviour? Not necessarily consciously so, perhaps unconsciously reacting negatively?

That said, we certainly are introduced to a strange world, an exotic kingdom. Unfamiliar. 500 years ago, there were many dragons, flying around the skies, with magic powers, protecting the humans and their cities from an insinuating evil power, black and smoky, the Druun, invade, turning the dragons into stone, petrifying humans, sucking out their life force and stop all rain.

Now, in the present, it is time to fight against the Druun, to find the last surviving Dragon, Susi, to find the pieces of the broken orb which gives power to repel the evil attackers. The one chosen to lead this crusade is Raya, a spirited young woman, trained as a warrior by her father, experiencing the petrifying of her father and so much of her world. The five cities are at enmity with each other and Raya is persecuted and pursued, especially by a young woman, her age, Namaari.

We share the quest, Raya searching for and discovering Susi (who can shape shift into human form), encountering a range of allies, a large armadillo who is friendly and that she can ride, a young boy who has a boat and is a top chef, a rugged and rough warrior with one eye, and for tiny tots making eccentric sounds but able to infiltrate enemy territory with some skills!

Which means then to a climax. After retrieving some of the parts of the orb, the remaining parties held by the city of Fang, Namaara’s mother. Strategies are thought up: direct attack or, Susi’s suggestion, friendly negotiation. Which seems to go well at first, but builds up to extreme mistrust, an elaborate sword fight between Raya and Namaari, Susi wounded, the orb seeming to lose its power. But, there is also self-sacrifice as each of the characters is willing to be petrified.

Not a spoiler to say that all is well in the end and we are all delighted, peace, reconciliation, healing rains, the return of the dragons, happiness all round.

1. A Disney film? A warrior princess? The tradition of princesses? But a different mythology, Southeast Asia? Different from audience expectations of a Disney film?

2. The quality of the animation, computer-generated, characters and action, backgrounds and layout, vivid colour, editing and pace? The musical score?

3. The background mythology, a re-imagined Earth, unfamiliar names, the ethnic peoples, the cities, the different cultures? The coming of the Druun? Symbol of evil? Petrifying the humans? Petrifying the dragons? The surviving Dragon, the stones, their power, the need for them to come together, to restore peace, the coming of the rain and fruitfulness, the possibility of peoples and reconciliation? The Southeast Asian backgrounds of the creators of the story, of the writers of the screenplay, Vietnam, Malaysia…?

4. The range of characters? Eccentricities? Old and young? Male and female? Children and toddlers? Raya and the armadillo? The Dragon, her appearance, human transformations? The range of voices, accents, serious dialogue, slang comedy?

5. The kingdom, the five cities and their corresponding names to the human body, their collaboration, the magic of the dragons? The emergence of the Druun, evil power, petrifying humans and dragons, absorbing their life force?

6. 500 years passing, Sisu, the remaining Dragon, feminine, colour, transformations, jokey? The need for reviving the other dragons? The power of the rain, the flow of water, the kingdoms in the drought?

7. The kingdoms, the different styles, the orb and its power, the kingdoms having different parts? The hostilities? Jealousies? Protectiveness?

8. Raya, the distant princess, the training by her father, his commission? Her journey, finding Sisu, befriending

9. Sisu? Sisu in human form? The contrast with Namaari, from the kingdom of Fang, the domination of her mother, warrior? The different enemies for Raya, the pursuit, the leadership of Namaari?

10. Raya, her adventures, wanting to assemble the five pieces of the orb, going to the different kingdoms, the dangers, the adventures, the dark caves, retrieving the pieces?

11. The encounters along the way, the large and the armadillo, size, carrying Raya? In the adventures? The encounter with the young boy, Boun, his age, his boat, cooking skills, helping? The encounter with the old warrior, rough and ready? The little creatures and their idiosyncrasies?

12. The shared adventures, the dangers? Proceeding to the Kingdom of Fang? The wealthy kingdom, the palace, Namaari, the role of her mother?

13. The discussion of the strategies for getting the piece of the orb from Fang? Raya and the warrior solution? Sisu and the more personal approach? The debates? The sending of the Dragon emblem to Namaari, her response, coming to meet the group, the discussions, the spear, Sisu and her being speared, falling into the water? Raya and the sword fights with Namaari?

14. Sisu and a story of trust, the loss of trust in the past, her not being able to save the people? The orb, the final piece, Raya and the others willing to sacrifice themselves and be petrified, and Namaari petrified?

15. The self-sacrifice, the orb and its power dying, reviving, the rains coming, the waterfalls flowing, the petrified dust falling from everyone? Happiness, everybody reunited, prayer and her father?

16. A happy resolution? Future? A different Disney Princess and her adventures?

CAPONE


US, 2020, 103 minutes, Colour.
Tom Hardy, Lynda Cardellini, Matt Dillon, Kyle Mac Lachlan, Gino Caffarelli, Kathrine Narducci, Al Sapienza.
Directed by Josh Trank.

This portrait of famous gangster, Al, Alfonso, Capone, is not what audiences might have been the expecting. It takes for granted that audiences are aware who Capone was, his presence in Chicago, gangster domination, Prohibition and bootlegging, violence on the streets. They would also know that he was arrested for tax concerns and imprisoned in Alcatraz. They might know that he had contracted syphilis when he was a teenager and that that had consequences for his physical and mental health. They might not know that after his release from prison he retired to a mansion in Florida.

There have been many films about Capone himself, especially the 1932 Scarface with Paul Muni iIt is said that Capone had his own copy). However, from the 1960s there have been many films focusing on Capone himself and his activities, with Jason Robards as Capone in The St Valentine’s Day Massacre, a portrait with Rod Steiger, Ben Gazzara, F.Murray Abraham and Robert De Niro in The Untouchables.

Here Capone is portrayed by Tom Hardy, English actor, a picture of a crumbling personality, physically handicapped, experiencing a stroke and its consequences, gruff in speech and manner. It is a portrait of dementia, a criminal haunted by his past, ghosts, fantasies which dramatises his cruelty and ruthlessness. He is supported by his wife and son, is haunted by another son, Tony, with tentative phone calls. He is cared for by his doctor, Kyle Mac Lachlan, and has a visit from a previous mentor played by Matt Dillon.

While he has spacious grounds and mansion, he is continually under surveillance by the FBI, visits and interrogations, interested parties, including family members, wanting to know where he buried his money. It was never found.

While this psychological study might be disappointing for those who wanted a story of a gangster and his action, which apparently many did want, this is a striking and different look at a man who found his place, infamously, in American history.

1. Audience knowledge of Capone? From the gangster films of the 1930s? From the tradition of gangster films, biographies of Capone, portraits of Capone? This film as different?

2. Capone in his day, born 1899, his role in Chicago in the 1920s, bootlegging and prohibition, violence and gangs? His being arrested for tax issues? Imprisonment in Alcatraz? Release? Retirement in Florida?

3. This film as a portrait of dementia, dementia of a criminal, consequences of his life, his being haunted by his life?

4. Tom Hardy’s performance, compared with other performances of Capone? Capone at 48, getting syphilis at 15, the physical and mental consequences, his time in prison? Premature mental and physical deterioration? His look, manner, speaking, gait, behaviour, mental torment? Eruptions of violence?

5. Speculation about Capone, his character, his last year? Any audience sympathy?

6. Capone in Florida, the mansion, his potential for Roman statues, affluence, arrogance? The interiors of his home? His wife, his son, the extended family, the visits and the meals, his age and questions to the little girl? Occupying himself, the cigars, fishing with Johnny, anger and shooting the fish? Wandering the house, out in the garden? The visitors, the FBI surveillance, the gardener, the visit from agent Crawford and the interrogation, his lawyer? The visits by his doctor? His being haunted by the visit of Johnny, and the gouging out of eyes? The stroke, medical care, the interrogation by his son, the question of where he buried the money? His drawings? His falling into the water, the tsunami image and the alligator? Finally getting the machine gun, the injuries, real and imagined?

7. The supporting characters, his wife and her concern, his insulting her, her slapping him, yet her care for him? The extended family, concern, interest in finding the money? His son? The mystery of the son, Tony? The tentative phone calls? The final visit? Real/not?

8. The doctor, his concern, treatment, collaboration with the FBI?

9. Johnny, background mentors, the fishing, the discussions, memories? The apparition, the gouged eyes?

10. Capone wandering the house, pyjamas and dressing gown, opening doors, the witnessing of the torture of the masked man and the violent stabbing of his neck? His going into the assembled group, Louis Armstrong singing, his being feted? The return, the dead bodies, climbing over them? Sufficient for the audience to understand his violence? His standing in the street, the image of his son?

11. The portrait of the final year of a violent man?

CRISIS

US, 2021, 118 minutes, Colour.
Gary Oldman, Armie Hammer, Evangeliine Lilly, Greg Kinnear, Michelle Rodriguez, Luke Evans, Lily-Rose? Depp, Veronica Ferres, Scott Mescudi, Indira Varma, Martin Donovan, Mira Kershner, Nicholas Jarecki.
Directed by Nicholas Jarecki.

Our 20th century has had more than enough crises. The crisis at the centre of this drama, both entertaining and challenging for an adult audience, is the current American dependence on opioids.

Writer-director (previous crisis drama concerned the world of business and corruption, Arbitrage) has decided to highlight the complexity of the crisis by telling three interconnecting stories. At the centre is the DEA, the Drug Enforcement Agency, its investigations, setting up stings. And, along with this story of investigators and dealers, there is the story of laboratory research, especially concerning painkillers, and more especially, that they do not become addictive, research feeling the pressure of the corporations who manufacture the drugs. And, the screenplay also operates on a personal story level, a woman, mother, teenage son, his mysterious death, her searching for the truth, her wanting revenge. (Some have complained that this is too much material, the three stories – but those who find the film interesting will be satisfied with its interconnections and intricacies.)

Armie Hammer is Jake Kelly, a DEA agent, with dealings with Armenian underworld criminals, drug transporters, with manufacturers of illicit drugs in Montréal, a big boss who owns a club and goes under the name of Mother, immersed in a world of harsh realities, informants, corrupt customs officials, unscrupulous criminals for whom murder is not a difficulty. He walks a tight rope, working with agents and supervisers (Michelle Rodriguez as his boss, the director at, Nicholas Jarecki, playing his assistant.) Anything could go wrong – and frequently does. Jake Kelly also has the pressure of an addicted sister (Lily Rose Depp) who defies her brother, is anguish to their mother.

With the research narrative, the focus is on a Professor, Gary Oldman, who lectures at the University but also supervises laboratory investigations and experiments, with substantial grants from the University and from the drug corporations, discovering that an experiment for a non-addictive painkiller works for four weeks but, after that, it becomes addictive. This aspect becomes a whistleblower story, crisis of conscience for the Professor, pressure from the Dean of the University, played by Greg Kinnear. There is also the pressure from the manufacturing company, board meetings, self-congratulations at success in producing the drug, unwillingness to face the uncertainties of the experimentation, willingness to go ahead, or financial considerations in play. The company chief is a tough Veronica Ferres. And her go-to man, strong arm tactics, psychological pressure, is played by Luke Evans.

The mother in the personal story is Evangeline Lilly, an intense woman who knows her own failings, wants to save her son and his sports ambitions at school, finds that he is dead from an overdose – and sets out to find his school connections, hiring a private Detective, discovering the work of Mother, getting mixed up with the DEA investigation but warned off.

A film like this with its entangled threads of narrative cannot have a simple resolution. What of the DEA sting? What of the dealers? What of the professor and his truth? What of the relentlessness of the corporations? And what of the bereaved mother?

1. The contemporary drama? Contemporary world crisis? North America? The impact of opioids, addictions, the number of deaths?

2. The tagline, “Addiction is Industry�? The portrait of addictions in North America, the range of addicts, help groups, the DEA and combating dealers? The world of dealers? The world of investigation? Synthetic drugs, the world of research and university grants?

3. The opening on the Canadian border, the beauty of the snow-clad mountains, the drug courier, the convergence of the police and the helicopters? Setting the tone? The transition to the DEA office, Jake Kelly, his work, associates, the planning of the sting, the contacts with the Armenians, with Mother and associates and base? The transition to the University, Tyrone Brower, lectures, laboratory, tests? And to the world of Kate, her addiction, group work, her job, her son, his death? The three strands and their eventually being united?

4. The DA story, Jake and his personality, the problem of his addicted sister, undercover in the boot of the car to rescue her, Stanley Foster as his close associate? The setting up of the sting? Jake and his visits to Montréal, Mother and the club, associates, the later visit to his laboratory, the production of the tablets, in containers, transporting them, getting them through customs into the US? The plans, the million-dollar deposit, the plan for trucks to collect the drugs and transport them? Stanley, advice and support? Supervisor Garrett, her role, in charge, the discussions with Jake, giving the go-ahead for the action?

5. The research story, Tyrone, lectures, the laboratory, the associates, the experimentation with the mice, the continued tests, the failure, their concern? Tyrone and the relationship with his wife, pregnant? His friendship with Dean Talbot, the meal? The moral dilemma, the truth about the drugs, palliative for a month and nonaddictive, the danger after the month? Tyrone and his moral dilemma? The discussions with Dean Talbot, his putting on the pressure, the representatives of the pharmaceutical company, confidentiality documents to sign? Tyrone, the threats, the issue of the past harassment accusation, the board meeting, his being dismissed? The visits from Dean Talbot? The support of his wife? His sending the information to the DEA, the meetings with the agent, the discussions? The visit to the company, the pressure on him to sign the documents, his refusal? The hearing, his not being allowed to speak, the finding against him?

6. The company, the board meeting, the hopes for an opioid painkiller with no addictive effects? Seeming success? The investment? The financial foundation? The dinner and speeches? The reaction to the findings, considering Tyrone’s workers speculation, uncertain, unfinished? The visit from the executive to Tyrone, her pressure? Bill and his role with the company, strong arm tactics, the visits, the discussions with Tyrone, the documents? The pressure from the company on the DA hearings to approve the drug?

7. Kate, her story, going to the meeting, the sharing of addiction stories, her job, her son, his visit, going to buy food from the market, her sister coming for the meal, her anxiety, the phone calls, going to the supermarket, her tantrum, the photos, the help from surveillance cameras? The mystery? The police arrival, his death?

8. Her son as a sports champion, his ambitions, a alleged overdose for his death? Kate hiring the private investigator, the information about other members of the group, the dealers, her going to the nightclub after finding the name on the phone, the information, the Montréal connection and her visit and confrontation, the initial courier at the border and his being in jail, the series of deaths by overdose? Her continuing her quest, the detective giving her the information about Mother, her following the suspicious car and the student and the headquarters for dealing, photographing the car, going to Mother’s club, the dangers? Jake finding her and sending her away?

9. The buildup to the sting, the interruption for Jake, having to rescue his sister again, his tough stance, her going home, her overdose, his bond with his mother? Going to Montréal, at the club, Mother and the discussions, the issue of the snitch, the list, tracking it down, Davis as the seller of the list, the visit to the hotel, his being dead? Jake and Mother’s associate, driving, Mother accusing him of being the leak, shooting him?

10. The morning of the sting, Mother giving the rendezvous, Jake texting it to Stanley, the buildup for the police surrounding the building? The photographer, the noise, suspicions? Shootouts? Jake shot, the bullet proof vest? Mother escaping? The rounding up of criminals?

11. Jake going to the bar, the information about Mother’s boat, the plan to go abroad? Arriving at the wharf? Kate present? Kate and her vengeance, confronting Mother, shooting him? Her being wounded? Jake and the guns, the setup as if the two criminals had shot each other over the money? Jake tending Kate’s wound?

12. Jake, throwing his badge away, Stanley being shot, his grief? With supervisor Garrett?

13. The pessimistic ending for Jake and his career, the drug dealers, for research and the spread of dangerous opioids? But Tyrone true to his conscience? Getting a new job in
Michigan?

THE TAX COLLECTORS

US, 2020, 95 minutes, Colour.
Bobby Soto, Cinthya Carmona, Shia La Boeuf, Jose Conejo Martin.
Directed by David Ayer.

This is a brutal film, a very brutal film.

The setting is Los Angeles, local gangsters, lowbrow Mafia-style. It is difficult to identify with any of the characters in terms of liking them. And, the increasingly violent behaviour is grisly and gory.

However, the film does open with a family, emphasis on family and loyalty, father devoted to his wife, a gentle scene where the young daughter has a loose tooth and the father is able to extract it, the rest of the family, the extended family gathering, celebration of a meal, prayer and grace before meals, religious icons in the house, the family helping to get the children to school.

Then David (Bobby Soto) goes to work, meeting up with his associate, Creeper (Shia La Boeuf). It soon emerges that they are the title characters, going on their rounds to collect payment, protection money, with a range of success, clients generally complying, small businesses. They get a cut of the money but handed over to the bosses.

The tone of the film changes for the more brutal when former bosses (and it is revealed that David and Creeper have robbed a bank in the past and hoarded money) step in and become extortionate. They are extremely violent towards Creeper, torturing him, killing him. They confront David who escapes, going back home, concerned about his wife and children, getting them to pack and leave.

There are also his connections and friendships, especially with a young woman, from his business.

He discovers that his wife has been killed brutally, his children abducted.

There is a buildup to a bloodied confrontation, David going to an old friend who has liked him, supported him, gathers some followers so that they can raid the headquarters of the abductors. And a shootout. But, David emerges with his friend, opting to move on with his life and children…

The film was directed by David Ayer who also wrote the screenplay, who has written and produced a number of strong and violent police films, Dark Blue, Training Day, Harsh Times, End of Watch, SWAT as well as directing war film, Fury, and the DC comics film Suicide Squad.

Interest and appeal only for those who like very violent action films.

GREENLAND

US, 2020, 117 minutes, Colour.
Gerard Butler, Morena Baccarin, Roger Dale Floyd, Scott Glenn, Hope Davis, David Denman, Holt Mc Allany.
Directed by Ric Roman Waugh.

Greenland is not the location for this popular thriller and disaster movie. It is a destination.

There has been a perennial popularity with disaster films. The audience expects a heightened story, an almost impossible scenario, special effects for fire, flood, crashes… Then there is the human element, especially family and relationships. Since the films are not meant to be documentaries, a lot of liberties are taken in creating the scenario, some impossible situations which to defy credibility (something which purists and science and fact-checking audiences condemn, as they do with Greenland).

It is over 20 years since there have been disaster films with asteroids threatening Earth. There was the outer space expedition with Bruce Willis, Armageddon. There was the more domestic drama and parable of the impending tsunami, Deep Impact. It seems that powers that be thought it was time for another asteroid crash.

Interestingly, in the screenplay, this is referred to as an “Extinction Event�, likening it to asteroids destroying the dinosaurs. Actually, this sounds rather heady, a category listing. While we have been naming disaster films apocalyptic or Post-apocalyptic, this one seems to be a cataclysmic catastrophe!

At the opening, all seems ordinary, John, a structural engineer at his building site, returning home to his wife, Allison, and seven-year-old son Nathan. John is played by Gerard Butler, not so much with the heroics of his Fallen series, but rather something of a strong Everyman (who is attacked and fights back, even causing the death of an opponent which preys on him). Allison is Morena Baccarin and a young Roger Dale Floyd is Nathan, a rather fragile boy, suffering from diabetes one, leading to quite a complication about medication and rejection from a flight.

There is talk about the impending asteroid, a lot of looking to the sky initially, then television news and images, the nearing of the asteroid to Earth, pieces splitting off and crashing to earth, the complete destruction of Tampa, tsunami repercussions, explosions and fire.

The main part of the film concerns John and family being selected for a presidential communication, that they have been chosen to survive, to make their way to an air base to get their personal wristband – but, as might be expected, cars jammed on freeways, rebellious crowds screaming, demanding selection, images of looters, and, volunteer military checking out people, getting them on board planes. But, Nathan has left his medication in the car – and there are all kinds of consequences, separation of family, John getting a lift but a fight for his wristband ensuing, Allison intending to go to her father’s house in Kentucky, being given a lift which turns sour.

But, obviously for a finale, the family is reunited and sets out again for a possible flight to Greenland. Actually, from the plane window, Greenland looks both green and snowclad, craggy mountains… And bunkers prepared for survivors who will build a new world.

Probably best to describe Greenland as a San standard apocalyptic disaster movie.

1. A popular disaster movie? Apocalyptic? Cataclysmic catastrophe?

2. The asteroid approaching her genre? The signs, the visuals? Repercussions on Earth, communities, world destruction? Survivors picked out? The masses?

3. The opening, ordinary, Georgia, with the building site, John and his work in schools, building difficulties? The return home?

4. The family focus for the film, John and the difficulties with Allison, the later revelation about his affair, and Allison blaming herself, the preparation for the party, the neighbours, his going out to buy at the supermarket, taking Nathan with him? The news of the approaching asteroid? The party, the guests, John getting the presidential message, on the screen? The urgency for packing, the neighbours, pleas, the woman with the young child, the family driving away?

5. On the road, the jammed highway, Nathan and his age, nervous, the blanket, leaving the medication behind? Going to the barrier, the crowds and the shouting, getting their wristbands, going to the planes, the discovery of the medicine missing, John going back and retrieving it, Allison and her plea, the rejection of Nathan because of his illness, Allison frantic, leaving, the note on the car? John, the return, on the plane, searching, getting off the plane, the crowd rampaging, the gasoline, the fires and explosions?

6. John and his journey, the note on the car, getting lifts with the group going to Canada, the friendly young man and the talk, the hostile man, the fight for the wristband, the dramatics of the fighting, the truck swerving, crashing? John waking, the two men attacking him, the hammer, his killing the aggressor and the repercussions? His walking, arriving at his father-in-law’s house?

7. Allison and Nathan, their journey, a pharmacy, the looters, getting the medication, given the lift, the genial couple, the husband and his mania, saying he wanted to protect the child, throwing Allison out of the car, their going to the barriers, telling Nathan not to speak, his speaking out, the rescue, the nurse and health? Allison, the lift to the airport with the Hispanic group, their welcoming? The search in the tents, finding Nathan? The military giving them the lift to the town? Her phoning, her father coming to get her, with John? Back to the house?

8. The continued threat, the television news, the images, the information and destruction of cities, Tampa, around the world? The time limit for the final crash?

9. John taking Alison and Nathan in the truck, the farewell to her father, her hearing John’s words with her father? Forgiveness and reconciliation? In the truck, the deadlock on the highway?

10. Going to the airport, the crowds, the small plane taking off, driving onto the tarmac, forcing the pilot to take them? The journey? To Greenland? The vistas of Greenland? The crash landing, walking, the bunkers, the military urging them down?

11. The crash, the repercussions, the waves, in the shelter, eventually coming out, the bird flying, some hope?

12. But the images of the destroyed cities, Sydney, Paris…?

13. The popularity apocalyptic disaster films?

MOXIE

US, 2021, 111 minutes, Colour.
Hadley Robinson, Lauren Tsai, Alycia Pascual-Peña?, Nico Haraga, Patrick Schwarzenegger, Sydney Park, Josephine Langford, Amy Poehler, Ike Barinholtz, Marcia Gay Harden, Joshua Walker.
Directed by Amy Poehler.

More than topical.

Had Netflix premiered Moxie in January 2021, most of us would have nodded our heads, a high school version of Me#Too, teenage sexual harassment, bullying, some inept responses from school authorities. But, premiering in March 2021, it is not just an American story, it is a universal story.

And, it is highly significant in the Australian social context, political context, sexual harassment context, legal context, that has provoked enormous media consideration, public and private discussions, protests.

A bit of help from Wikipedia first: there is a definition of ‘moxie’:
1 : energy, pep woke up full of moxie.
2 : courage, determination it takes … moxie to pull up roots and go to a land where the culture and probably the language are totally foreign— M. J. McClary?.

This film is based on a contemporary novel by Jennifer Mathieu, female screenwriter, Tamara Chestna, and directed by well-known and popular comedian, Amy Poehler (who plays a significant role of the central character’s mother). This is a women-focused story, centring on a 16-year-old at high school, Vivian, played effectively as both shy and strong by Hadley Robinson.

Vivian’s mother, Lisa, was something of a rebel and protester in her day and has communicated something of this to Vivian who does not quite know how to assert herself, is in admiration of a new student, Lucy (Alycia Pascuale-Peña) black/Hispanic, who makes quite a mark in the literature class on the first day of the new school year, posing the question of why they should study The Great Gatsby (‘written by an old rich white man…’). She is brusquely interrupted by the supreme self-confident football jock, Mitchell (Patrick Schwarzenegger, quite dashing but in what turns out to be a courageous performance for a most unsympathetic character). Mitchell continues to taunt Lucy.

In the Australian context, Chanel Contos, remembering her school days at a private school, collected stories and testimonies ‘over 3,000 testimonies of sexual assault from current and former schoolgirls from across Australia, some claiming they were raped by boys from all-boys private schools, some when they were as young as 13’. Moxie illustrates most tellingly a lot of this kind of harassment. Incidents can seem small and insignificant, easily passed over – the Principal (Marcia Gay Harden) answering Lucy’s complaint by distinguishing what is annoying (can be discussed and quietly settled) from what is harassment (which requires the trouble of investigation and paperwork).

Incidents help us appreciate how hurtful and harmful male presumptions and conscious and unconscious arrogance can be – and are. Texts assessing students quickly do the rounds, ‘the most bangable’. ‘best fat ass’. Male giggling, Mitchell as super-hero, presumption that he be the only candidate for school sports representative (with a $10,000 scholarship.

Vivian is stirred and designs a small magazine to highlight the issues. She calls it Moxie, at first 50 photocopied issues, hopefully left in the restroom, that someone will pick it up. Success. The girls find a voice and begin to make it heard. They decide to nominate one of their own sports captains to stand against Mitchell. (Vivian also has some sixteen year old’s issues, attraction to a nice fellow-student, Seth (Nico Haraga) who is on her side, sexual relationships seriously considered, but difficulties with her mother finding a sympathetic friend).

There is an appeal to all the students to physically protest, going outside to gather, challenging the school status quo and the principal.

Then, in the final fifteen minutes, Moxie becomes even stronger and more topical. A girl anonymously emails Vivian to reveal she had been raped on prom night. At the protest, she reveals herself and the 17 year old fellow-student who was responsible…

Netflix offers an opportunity for accessible story, images and incidents – and serious discussion, especially for school students, teachers and parents.

1. The title and its meaning? Use? Spirit? And Vivian’s magazine?

2. An American small town, homes, streets, school, classes, sports, assemblies? The corridors of the school, toilets, principal’s office? Sports arena? The musical score?

3. Sexual harassment issues, bullying? At high school level? Students’ education, lack of sexual respect awareness? Girls as targets? Acceptance, protest, not going to authorities, fears? The role of boys, taken for granted language and insults, texting? And the issue of rape?

4. The 21st century, awareness in high schools, the Me#Too movement and consequences?

5. Vivian’s story, 16 years old, living with her mother, quiet, her room, her mother as a companion? Her mother’s memories of protest in the past? Vivian observing, best friends with Claudia, seeing Lucy in class, talking with her, Claudia upset? The other girls and their bonding?

6. Vivian observing Mitchell, the teacher’s welcome in the class, Mitchell self-confidence, arrogance, seeing himself as the star, arriving late, alleging helping people, the issue of The Great Gatsby, his talking over Lucy, putting her down? His best friend and unthinking support? The sports star? To be the school representative? The $10,000 scholarship?

7. Lucy, background, black/Hispanic, assertive, comments on The Great Gatsby, old rich white male…? Her self-assertion? Boys putting her in her place…? Going to the principal, the principal evading the issue, annoyance or harassment?

8. Vivian, deciding to do something, creating Moxie, the cutouts, the binding, taking it to the printer, 50 copies, leaving them in the restroom, hoping someone would take them? The symbols on hands? People reading, responding? Her further issues? The support of the printer? Her not revealing her role, people speculating?

9. The principal, her reaction? Her presence at assemblies, the sports meeting, the announcements, her reaction to the protest and everybody walking out of classes? The competition, boats, representative? Acknowledging Kiera? Mitchell winning?

10. Claudia, her mother, control, Claudia shy, hurt with Vivian’s reactions, friendship with Lucy and the others? Her signing up Moxie and giving it legitimacy? Her being suspended? The scenes with her mother? Her coming out of herself, clothes, demonstrations? The bond of friendship?

11. Seth, his place in the class, friendly with Vivian from childhood, her mother’s memory of him wetting himself, his growing up, hire, change, attraction to Vivian? The meetings, the discussions, discovering her authorship of Moxie? The invitation to dinner, Vivian acting up about her mother’s friend, condemning him, his leaving? The car, the sexual encounter, his reticence and wanting it to be special? Alienated from Vivian?

12. The girls, the decision to promote Kiera for the scholarship, her reticence? Her agreement, the nomination, the surprise, the campaign and promotion?

13. The match, Mitchell, the victory, his winning the scholarship? His reaction? The girls and the disappointment?

14. Moxie, the harassment, Vivian and her decision to reveal the truth, everyone wearing a tank top, the protest, her speech? The teacher and finally supporting them?The girl and the anonymous email? Speaking up? The victim of rape? Denouncing Mitchell?

15. Vivian and her mother, different generations, tensions, pride, the boyfriend in the supermarket, Vivian’s unreasonable reaction, her behaviour at the dinner?

16. Her mother coming at the end, the reconciliation, her pride?

17. The principal coming to class, summoning Mitchell?

18. The familiarity of the high school stories, comic, serious, romance? But in the context of respect for women, sexual harassment, consequences?

CHAOS WALKING

US/Canada, 2021, 109 minutes, Colour.
Tom Holland, Daisy Ridley, Mads Mikkelsen, Demian Bechir, David Oyelowo, Kurt Sutter, Cynthia Erivo, Nick Jonas, Ray Mc Kinnon.
Directed by Doug Liman.

Chaos and does not usually walk. Rather, it hurtles along. There is some hurtling here, especially a journey and a quest, but the initial information announces to us that chaos occurs in the confusion of the male human mind, chaos walking can be men walking.

The film is based on a trilogy of science-fiction, science-fantasy, futuristic fable by Patrick Ness who contributes to the screenplay of the film. Its appeal is certainly towards a younger demographic. Its director, Doug Liman, has ventured in the past into science fiction and fantasy with The Jumper and, especially, the Tom Cruise saga, Edge of Oblivion.

We are introduced into a world of 2257. Not our world, exactly. Rather, a planet which takes 64 years of space travel from Earth to reach. There is a colony, made up solely of men, an explanation of the disappearance of women coming rather later in the film. The central character is a young adult, Todd Hewitt, played by Tom Holland who has had quite a spectacular career even though he is in his early 20s, known especially as Spiderman. Todd works on a farm with his father and friend.

But, we are introduced to Todd’s mind, the voice-over of his thoughts, the projecting of his thoughts in images, some revelations which he tries to conceal from others. This phenomenon is called The Noise and, with the voice-over, there are visuals of whisps of smoke, coloured fumes, swirling, so that we can see something of The Noise – and long shots of clouds of Noise rising from the gatherings of men.

The strange thing about the narrative is that this world of the future looks remarkably like the American frontier West of the 1890s. We do discover a motor bike but the transport is by walking or by horse. We do see some capsules of pills. But, by and large, this seems a very primitive, elementary community. It is ruled by the Mayor, an opportunity for Mads Mikkelson to do something of a villainous role again. His obnoxious son is played by Nick Jonas.

So far so 2257. Then, a young woman, Viola, Daisy Ridley (who has had considerable experience in fantasies in her Star Wars films) is seen in a crashing spacecraft, landing near this village, having to hide, under suspicion and eventually pursuit by the men of the town. What we expect happens. Todd encounters Viola, they bond (even as he tries to control his thoughts and Noise), make their escape from the pursuing men, on that motorbike, then by foot, encountering strange river keep creatures which Todd kills for their food, an encounter with gangling aliens, then finding refuge in a normal village, men, women and children, and their mayor, black, woman, Cynthia Erivo.

So, journey, quest, and eventual struggle, conflict between good and evil, the discovery of the vast hulk of a crashed spacecraft, radio contact, peril for Todd, rescue by Viola, leaving us wondering - or, perhaps, this has been enough for us - what the futuristic future holds for the two.


1. Science-fiction, science-fantasy? Futuristic fable?

2. Based on young adult literature? The appeal to younger audiences? Heroes, quests, struggles?

3. 2257, the setting on distant planets, the lifestyle, like the American West of the 1890s, frontier style? The landscapes, mountains, rivers? The variety of communities? The contrast with spaceships and futuristic technology? The musical score?

4. The technique for expressing The Noise in the minds of the males? Smoke and fumes? Confusion? The ability of some men to create avatars of their thoughts? The explanation of the confusion in the mind turning into The Noise?

5. The community, no women, the later explanation, the lies and myths? Todd, his age, working for his father, Ben and Killian? In the town? Controlling his Noise? The clashes with the young Davey Prentiss?

6. Prentiss, his control of the town, the mayor, his achievements, support of the community? His relationship with his son? The contrast with Ben and Killian and their work on the farm?

7. The space ship, Viola, the crash? Her being stranded? Her abilities, her knowledge? Her telling the background story to Todd? The 64 year journey from Earth, her grandparents, parents, her training, education on the spacecraft? Lack of experience of actuality? Her age, personality, being pursued, hiding, Todd and his finding her, the bonding, his Noise? Fantasies?

8. The story of their quest, the escape, the river and the capture of their food? The aliens and the struggle? Finding the new community, men and women, the female mayor, black, her welcome? Life in that community, the contrast with that of the original community, the enmity?

9. The mayor, rounding up his posse, the confrontation with Ben and Killian, wanting the information, Killian’s death? Their writing out, the mayor and his son, on the war path? The trekking through the countryside?

10. Todd, telling his story, Viola and her listening, Todd and trying to remember is mother?

11. The buildup to the climax, the demands on Todd and Viola? The fighting? The discovery of the space ship, the wreck, Viola wanting to find the radio contact, the struggle, her achievement? Todd, Ben, the truth about Todd’s mother, her appearing in the Noise? The destruction of the women? The confrontation with the mayor, his killing Ben, Viola’s appearance, the struggle, his falling to his death?

12. The arrival of the space ship? The beginning of a new era? And the future for Todd and Viola?

THE FATHER

UK/ France, 2020, 97 minutes, Colour.
Anthony Hopkins, Olivia Colman, Olivia Williams, Rufus Sewell, Mark Gattis, Imogen Poots.
Directed by Florian Zeller.

Bewilderment. That might be the key word for appreciating this powerful cinema experience. It is the bewilderment experienced by the elderly Anthony. It is the bewilderment that the screenplay skilfully exercises on the audience, making them share in upsetting and mystifying experiences with Anthony.

The film was directed by the French writer-actor-director, Florian Zeller. And the screenplay is based on his play, collaborating for the screen with the veteran playwright and screenwriter, Christopher Hampton (Dangerous Liaisons, A Dangerous Method, Cheri). As the audience experiences the film, we come to realise how intricately clever the screenplay is.

But, it is brought to the screen by Anthony Hopkins in one of his greatest performances (and that is saying something). His character announces that he was born in December 1937 – and that is the date of Hopkins own birth. Which means that he is acting a man his age, but playing a man who is not able to act his own age. Hopkins plays with great subtlety, often quiet, sometimes bombastic, seemingly sure of himself, then becoming, that keyword, bewildered.

The setting is London. Anthony is seen living in his quite comfortable flat. He is visited by his daughter, Anne (another quite different performance from Olivia Colman, The Crown as Queen Elizabeth, Oscar Winner for The Favourite as Queen Anne) is middle-aged, divorced, looks after her father, bringing in food, cooking for him. However, she has met someone, Paul (Rufus Sewell) and is planning to move to Paris with him. Anthony objects, repeating several times of the don’t speak English in Paris.

And, then we the audience become bewildered because suddenly Anne appears again, bringing chicken for a meal, but she is played by Olivia Williams. So, who is the real Anne? And further complications because Anthony suddenly finds a man sitting in his flat, reading the paper, telling him that he lives there, that he is Paul (Mark Gattis).

And, there are further complications. Anthony has been asserting his independence. He doesn’t need a carer – and picks quarrels with them, dismissing them. However, Anne introduces him to a young carer, Imogen Poots, Laura, who momentarily gets on with him but then he taunts her and humiliates her. She does come back, trying to do her best.

And then, the layout of the flat and its pictures change, and it is Anne’s flat was mysterious corridors and doors.

We realise that we are being invited to share the experience of ageing, of possibilities of dementia, of possibilities of Alzheimer’s, experiences of senility and the consequent bewilderment.
While there have been some powerful portrayals of ageing and mental and emotional confusion on screen, The Father can be wholeheartedly recommended.

1. The impact of the film? Anthony Hopkins’ presence and performance? The emergence of the audience in the plot, in Anthony’s bewilderment, shifting perspectives of mind and imagination and memory?

2. The original as a play, the writer as co-writer of the film, directing the film?

3. The London setting, the interiors of the flats, of the institution for the elderly? Rooms, corridors? The musical score? The classical themes? Anthony listening to the music?

4. The title, the focus on Anthony, his relationship with Anne, the memories of his daughter, Lucy, the revelation of her accident, the glimpse of her in the hospital bed? His role as a father in the past? In the present? His dependence on Anne?

5. A story of dementia, senility? Anthony Hopkins’ skill in presenting Anthony as seemingly normal, in his imagination, in his bewilderment, in his strong stances and demands, and his fantasies? The audience sharing the bewilderment, not knowing exactly what was happening, what was real, Paul in the house reading the paper, the different Anne, the actual Anne and her plans to go to Paris, the real Paul? Laura coming as the helper? The audience gradually being able to differentiate between Anthony’s imagination and the reality?

6. Anthony is a character, Anthony Hopkins’ actual age, his acting his age, but acting his age with mental deterioration? The past as an engineer, his thinking he was a tap dancer, in the circus, elephants? No memories of his wife, confused memory of his daughter Lucy? Demanding, short-tempered, tantrums? Bewilderment in his own flat, in Anne’s flat, in the hospital, the corridors and his opening out indoors? Yet the view from the windows, the park? His treatment of others, sharp comments, his criticisms of Laura? Antagonism towards his imagination of Paul? The alternate Anne? His harsh treatment of the real Anne?

7. Anne, a character and personality, devotion to her father, visiting his flat, his staying in? The past and her divorce? A relationship with Paul? The plan to go to Paris? Anthony’s criticism, the repetition that they don’t speak English in Paris? The devotion, shopping and cooking, discussions with him? The detailed scenes of seeing Anne and all the domestic work? At home?

8. Paul, the real Paul, relationship with Anne, discussions with her, the Paris plans, some of his sharp remarks and demands on Anthony?

9. The alternate Paul, sitting in the house, sharp remarks, the slaps? And the revelation that he was the orderly in hospital?

10. The alternate Anne, repeating the words of the real Anne, the shopping, cooking, relationships? The discovery that she was the carer in the hospital, her manner as carer, the discussions with Anthony, explaining things to him?

11. Anthony, his physical health, his mental health, discussions with the doctors?

12. The symbolism of his looking at the window, the boy playing with the ball (performed by the director son)?

13. The final image of his looking at the window, the park and the trees?

14. The impact of the drama, the performance, the supporting cast, an exploration of themes of ageing, immersing the audience in some of the mental and imagination aspects of ageing?

JUDAS AND THE BLACK MESSIAH

US, 2020, 126 minutes, Colour.
Daniel Kaluuya, La Keith Stanfield, Jesse Plemons, Dominique Fishback, Ashton Sanders, Lil Rel Howery, Martin Sheen.
Directed by Shaka King.

For so many reasons, the 1960s was an extremely turbulent decade. A decade of change, a decade of challenge, a decade of revolution. This was especially true of the United States. It was a decade of civil rights, of Martin Luther King, of the March on Washington, of assassinations. 1968 was a particularly significant year, in the Vietnam war, in the election of Richard Nixon, of student revolutions in Paris, in uprisings in Czechoslovakia…

And, 1968 in the United States was a key year, not only in the election of Richard Nixon but in the protests, especially in Chicago, as recently seen in Aaron Sorkin’s The Trial of the Chicago Seven. Meanwhile, in Chicago, there were movements of protest and revolution with the Black Panthers. This film takes us into the local chapter of the Black Panthers, the leadership of the local chairman, Fred Hampton. He is the Black Messiah or at least that was the hope of his followers.

In fact, the film opens with a speech by J Edgar Hoover declaring that the Black Panthers were one of the chief threats to American society. It is a fiery, antagonistic speech, racist tones. Later, there will be another appearance by Hoover interrogating one of his agents, fomenting racist sentiments so that he will pursue Fred Hampton, asking the agent to imagine his daughter bringing home a black man to the house… (It is rather hard to recognise through the strong prosthetics, Martin Sheen appearing as Hoover.)

At the end, it is something of a surprise to find that Fred Hampton was only 21 when he was killed. He is played by British actor, Daniel Kaluua, 30 years old at the time of filming, (an interesting phenomenon to see British actors effective in key black American roles, David Oyelowo as Martin Luther King in Selma, Chitwitel Ejiofor In 12 Years a Slave, John Boyega in Detroit, Delroy Lindo in Da 5 Bloods, Idris Elba). Daniel Kaluua won a golden globe as Best Supporting Actor, particularly strong in two sequences where he speaks, preaches, exhorts his followers.

However, the first word in the title is Judas. And the film opens with a 1989 television interview with William O’Neal? what his children will think of his activity with the Black Panthers. In 1968, O’ Neal was a petty criminal, Fleshly dressed, holding up an FBI agent badge, rough handling young black men, stealing their cars. However, he is caught, interviewed by agent Mitchell, Jesse Plemons, a firm believer in FBI philosophy, a family man, with a hold over O’Neal?, threatening years of imprisonment, especially because of the false FBI badge, and getting him to infiltrate the Black Panthers. And, so successfully, that he becomes the security chief, a friend of Fred Hampton, seen going to swanky hotels and smartly dressed to give information to the agent. And, yet, having some bonds with Hampton and sympathy with the Black Panthers’ philosophy. This is a fine performance by La Keith Stanfield, a callow and conflicted man.

The film takes us inside the organisation, Fred Hampton and his loyal supporters and friends, his attraction to a young worker, Deborah Johnson, love, her becoming pregnant. And he is is betrayed by his Judas, spends some time in jail, is released pending an appeal.

The racist ruthlessness of Hoover, American fears about black uprisings, lead to violence, and a ruthless attack for the elimination of Fred Hampton.

There are some sombre pieces of information before the final credits, some footage and photos of Hampton and his friends, and audience Discussed at the Hoover-inspired ideological assassination – but the continuation of the work of the decade by Deborah and Fred Hampton Jr.

1. The title and its implications? Fred Hamilton and his role with the Black Panthers, hopes? Bill O’ and the infiltration, informant, betrayal, final Judas-payment?

2. 1968, American society in the 60s, the political assassinations, the death of Martin Luther King, the March on Washington, Civil Rights, Lyndon Johnson and legislation? Uprisings? Revolution? Riots, violence? 1968 in the election of Richard Nixon, the trial of the Chicago seven, Eldridge Cleaver, Malcolm X?

3. The Chicago setting, the city, the black neighbourhood, homes and apartments, streets, meeting places? The headquarters and the facade in the street? The interiors? The contrast with the FBI, offices, meeting places? The action in the Chicago streets? The musical score?

4. The story of Fred Hampton, his age, 21 at his death? Influenced by the Black Panthers, becoming the Chairman? His personality, seen in his rousing speeches, his command of crowds, loyalty amongst his associates? His beliefs? The Black Panthers? Revolution, violence? The Muslim background – how evident in the storytelling? With his close associates, Bill O’ Neal coming on board, head of security, relying on him? The office workers, the meeting with Deborah Johnson, the attraction, the relationship, her pregnancy? His being the target of the FBI, informants, arrest, treatment in prison, getting out, his appeal, the FBI influence, the continued presence of the police, Hampton violent, his being the target of assassination? The raid, the shootout, his death? Witness to his cause? A rallying point?

5. The story of Bill O’ Neal, the opening, the television interview in 1989, Eyes on the Prize 2? The reprise of the end? His declaration about himself? Proclaiming innocence? And the final information that he committed suicide the night of the broadcast? His personality, the criminal on the streets, ambitions, smart dressing, his FBI badge, the attack on the young men in the pool room, violence, the car keys, their exposing him, chasing him, getting away in the car? The police? The interview with Agent Mitchell? Time to be served in jail, the years for the false FBI badge? His being persuaded to infiltrate the Black Panthers? His personality, engaging with Fred, with the other members, promoting security? His seeming loyalty, at meetings, his chanting, his believing in the cause? His fear of jail?

6. Agent Mitchell, ordinary American, wife and family, committed to the FBI, to J Edgar Hoover? The meetings with Hoover? The other authorities? His meeting with O’ Neal? His being the contact point? The meetings, O’ Neal and his smart dressing, restaurants and hotels? The rally when Fred Hampton came out of jail, his being one of the ordinary members of the audience, his applauding, yet keeping watch on O’ Neal? The plan to kill Fred Hampton, the poison, persuading O’ Neal? O’ Neal not administering the poison, the raid and the shootings? His being vindicated?

7. The two scenes with J Edgar Hoover, Martin Sheen’s performance, the prosthetics, his voice? Policy, the Black Panthers as top enemy for the United States? His racist attitudes? The interview with agent Mitchell, the speculation about his daughter bringing home a black man, emphasising the racist supremacy?

8. Deborah, her work, commitment to the cause, her personality, devoted to Fred, her love, her pregnancy, the friends and her work, while he was in jail, getting out, the possibilities for a future? His death? The information about her continued work for Black causes over the decades, and her son, Fred Hampton Jr?

9. Fred Hampton’s associates, friends, advisers, company, his enjoying their company, their sharing his beliefs? The violence, demonstrations in the street? Shootings? The focus on Jimmy, young, the gun, his attack on the police, arrest, his death?

10. The impact of Fred Hampton, at such a young age, his personality, the sequences where he addressed his followers, early in the film, on his release from prison? Speculation about what might have happened had he not been killed?

BELOW ZERO/ BAJOCERO

Spain, 2021, 106 minutes, Colour.
Javier Gutierrez, Karra Elejalde, Luis Callejo, Andres Gertrudix, Isak Ferriz, Edgar Vittorino, Patrick Criado.
Directed by Lluis Quilez.

Below Zero is a strong Spanish drama, a police drama. While it is focused on Spain and characters, the story and characters are universal.

There are two prologues, a hooded man threatening another, dragging him by chain to an open grave, burying him, demanding he give information about the location of a body. This will be crucial to the later development, the character of a former policeman, Miguel, the violent rape and assault on his 13-year-old daughter, the criminals disposing of her body but not revealing where it was. The second prologue focuses on Martin, with his wife and daughters in the car, his going to work, a family man, police, assigned to accompany six prisoners from one jail to another.

The film then introduces the six prisoners, their being checked, getting onto the bus, separate cells, one of the police sitting in the back of the bus, Martin driving.

It is night, cold, spikes are put along the road, the company police car veers and crashes, the bus also swerves and comes to a standstill. The accompanying policeman in the back gets out, is wounded, later revives, finds Miguel’s car, tries to shoot Miguel as he drives the bus, crashes.

The main drama is in the back of the bus, Miguel making radio contact with one of the prisons, the ambush being planned, and eventually, revealed, that the target is a young man who was the companion of the initial victim, a rapist who knows where Miguel’s daughter’s body lies. However, in the fight on the back of the bus, he seems innocent and is put in the cell with Martin who has fought the other prisoners asserting his integrity as a police officer.

Included in the other prisoners are a crooked politician, an actor on hard times who is taken to burglary, a drug addict, a man who has taken vengeance on his sister’s rapists, a Romanian thug.

The action is quite melodramatic, Miguel driving the bus, putting it on a frozen lake, shooting holes in the ice, the bus submerging, the attempts to open an emergency exit, Martin and two of the prisoners surviving leading to a showdown with Miguel and the revelation of the truth about the young man.

There is some criticism of the plausibility of the plot, especially with the cold, the lake, the immersion… However, the film has quite some tension, most of the characters emerging as more rounded characters than might have been expected, some climaxes and Martin, Javier Gutierrez, a man of integrity.

1. Title? Winter? The temperature? Snow and ice? Frozen lakes? The truck, the lack of heating? Immersion onto the ice?

2. A Spanish story? Universal story? Prisoners? Transfer? Police? Dangers? The background story of the rape and violence, vengeance?

3. The prologue with the hooded man of vengeance, the attack on the victim, threats, his denials, dragged by the chain, buried in the grave? The later revelation about Miguel and his daughter?

4. The prologue, Martin, in the car, wife and family, his daughters, going to work?

5. Martin at work, the task, the change room and meeting Montesinos, conversation, driving to the prison, the six men, the transfer, clothes on the desk, body examination, dressed again, the different treatment of the men, mutterings and threats? Into the bus?

6. The setup of the bus, the cells, locked? Montesinos in the back, his seat? Martin driving, the surveillance in the back of the bus? The police, the car going ahead? Chains on the road, the police car crashing, deaths? The skidding of the bus?

7. Montesinos, getting out, search, wounded, collapse? Later waking, seeing the car, driving, shooting at the bus and the driver? Cat and mouse tactics? The crash and his death?

8. The behaviour of the men in their cells? Calling out, arguing? Ramis, the toilet, the concealed weapon, sharpening it? Interactions, the heat?

9. The different personalities: Ramis, the background of his being an actor, performing, singing at Martin’s wedding? The politician and the background of his crimes? The Romanian, tough? Pardo, drug addiction? Rei, his sister’s rape, getting revenge, her ring? Nano, young man, his self-defence?

10. The action in the truck, Ramis, the deal with Miguel, the radio contact? Miguel’s threats? The petrol and fire in the cells and the politician burning? The struggle and the brutal death of the Romanian? Nano, his violence, his being put in the cell with Martin? His story, seeming innocence? Arguments, threats? The reckless drive, the bus on the lake, Miguel shooting the ice, the bus beginning to sink? Rei, going to unblock the exit, the jolt, his head pierced? Pardo going down, the emergency exit? His freezing, death?

11. Martin, his role as a policeman, integrity, listening to the men, the fights, in the cell? The strategy of dealing with Miguel and the radio? The emergency exit, the opening, Ramis, Nano and Martin escaping? Onto the shore?

12. Martin, Ramis reviving him, Martin’s gratitude, listening to Ramis’s story, the opening of the restaurant in the Caribbean, Martin letting him go?

13. Miguel, his gun, shooting at nano? Martin following him, up the stairs, the confrontation with Miguel, the rifle, the fight? Martin and his integrity, to stop Miguel shooting Nano? Miguel, telling Martin the story, the rape of his daughter, the two men, the brutality, hiding her body, his wanting to know whether body was? Nano surviving, coming to Martin, Martin
threatening him, demanding that he tell whether body was, shooting him, shooting his hand, confessing? A satisfaction for Miguel?

14. The helicopters, the police, taking the two men – and the audience thinking of the justice to be done? In the finale, Martin, integrity, the long tracking shot of his walking out of the police station, authentic and having done his duty?