THORNE: SCAREDYCAT

UK, 2010, 130 minutes, Colour.
David Morrisey, Sandra Oh, Tom Brooke, Joe Absolom, Leo Gregory, Eddie Marsan, Aidan Gillen, O- T Fagbennie, Lorraine Ashbourne, Jack Shepherd.
Directed by Benjamin Ross.


Mark Billingham is a respected crime writer. DI Thorne is the centre of several of his investigative novels. He is played by David Morrisey – with the intention of making a series of six adaptations of the novel is. However, only two were made, Sleepyhead and Scaredy-cat. They were shown on British television in 2010.

Both have intricate plots. Sleepyhead worked on the theory of “Locked-in Syndrome�, the murderer killing women, even attacking Thorne, but wanting them to remain alive and unable to communicate. Much of the action takes place in a hospital where the survivor is able to communicate only by using her eyelids, even though she is conscious all the time, with a voice-over informing the audience of what she was feeling. There are several suspects including the surgeon at the hospital. However, the case is tied to the past, Thorne involved in the death of a man brutalising his children, shooting him and his being covered by his friend, Phil, who conducted the autopsies. There is a surprise revelation as to who the murderer is.

On the other hand, the murder is unknown in Scaredy-cat, the screenplay working on the model of the Blurb and low murders in Chicago in the 1920s (the model for Alfred Hitchcock’s Rope). The key characters and investigators continue on from Sleepyhead. There is an introduction here of another detective, played by Sandra oh, complex, wanting to succeed, with a cocaine problem, causing problems but eventually trying to solve the case herself.

The film is interesting in its presentation of the relationship between the two murderers, one a leader from school days, the other being should to participate in the killings.

1. The novels of Mark Billingham? Detection, police investigations, mystery? Television adaptation?

2. The London settings, the attention to detail, sense of place? Musical score?

3. The various authorities, Ruth and her being in command, Kevin and his subsidiary role, his ambitions, collaboration and clashes with Thorne, Phil, his autopsy work, friendship with Thorne? Dave and his interrogations, the apprentice, learning, the evening with Sarah Chen?

4. The initial two murders, the prostitute, the location, the woman in the house with her son?

5. The formation of the theory that they were complementary killers, the locations, the style, one taking the initiative, the other following? The visuals of the murder of the little boy?

6. The little boy, hiding from the killer, his dead mother, taken in by care, the kindness, playing, Thorne and his playing with the boy? Entrusting him to his father (and the father grieving for the death of his wife), Thorne not telling the authorities that his mother had died? The bond with the boy? Too severe on interrogation, his being prevented from further questioning?

7. The capture of the killer, confessing, his attempting to kill the boy? His silence? His being set free as bait? The set up, in the apartment? Sarah Chen and her supervising him?

8. Sarah Chen, work, force, her character, wanting to prove herself? The episode with Dave? Trying to prove herself to Thorne? Her supervising the killer, taking the cocaine, misleading evidence, blaming the killer, her not telling the truth? Her being found out, the getting the information and the tracker, pursuing the killer, her death?

9. The other killer, the theory about there being complementary killers, the flashbacks to their school experience, the past, the bullying?

10. The meetings, the violent leader, wanting the other man to prove himself? The confrontation, the killing?

11. And the humane moments at the end with Thorne watching the little boy?

THORNE: SLEEPYHEAD

UK, 2010, 130 minutes, Colour.
David Morrisey, Natascha Mc Elhone, Eddie Marsan, Aidan Gillen, O-T Fagbenie, Lorraine Ashbourne, Jack Shepherd, Sarah Lloyd- Gregory, Brian Mc Cardie, Stephen Campbell Moore.
Directed by Stephen Hopkins.

Mark Billingham is a respected crime writer. DI Thorne is the centre of several of his investigative novels. He is played by David Morrisey – with the intention of filming a series of six adaptations of the novel is. However, only two were made, Sleepyhead and Scaredycat. They were shown on British television in 2010.

Both have intricate plots. Sleepyhead worked on the theory of “Locked-in Syndrome�, the murderer killing women, even attacking Thorne, but wanting them to remain alive and unable to communicate. Much of the action takes place in a hospital where the survivor is able to communicate only by using her eyelids, even though she is conscious all the time, with a voice-over informing the audience of what she was feeling. There are several suspects including the surgeon at the hospital. However, the case is tied to the past, Thorne involved in the death of a man brutalising his children, shooting him and his being covered by his friend, Phil, who conducted the autopsies. There is a surprise revelation as to who the murderer is.

On the other hand, the murderers are unknown in Scaredycat, the screenplay working on the model of the Loeb and Lowe murders in Chicago in the 1920s (the model for Alfred Hitchcock’s Rope). The key characters and investigators continue on from Sleepyhead. There is an introduction here of another detective, played by Sandra Oh, complex, wanting to succeed, with a cocaine problem, causing problems but eventually trying to solve the case herself.

The film is interesting in its presentation of the relationship between the two murderers, one a leader from school days, the other being pressurised to participate in the killings.

1. The novels of Mark Billingham? Detection, police investigations, mystery? Television adaptation?

2. The London settings, the attention to detail, sense of place? Musical score?

3. The complexity of the plot, the character of Tom Thorne, David Morrisey as Thorne, his action in the past, the shooting, his role of investigation in the present, the connection between past and present?

4. The title, the dramatising of the “Locked-in Syndrome�? The victims, the attacks, the technique, the drugs, the deaths, Alison surviving, in hospital, the doctors, the voice-over and her commentary on life, communicating with her eyelids? Hearing everything? The further attacks? The revelation of the killer? Her asking to Anne to assist her in dying?

5. Thorne, his character, edgy, detective work, relationship with the authorities, with Ruth, the clashes with Kevin, Kevin rejecting his theories, taking command of the investigation? Thorne being attacked but surviving, the effect on him, physically, psychologically? His continued investigations? His suspicions of Phil?

6. The flashbacks to the past, Francis and his daughters, their death, the abuse of his son? The effect of the son and his disappearing the revelation about Phil, his homosexuality, his skills in autopsies, the relationship with the young man and his disappearance?

7. The flashbacks to Thorne, his confrontation of the Father, the argument, the father seeming willing to die, the setup? Phil and his suspicions, covering for Thorne? The final flashbacks, the father setting up the situation, forcing Thorne to shoot him?

8. Anne, her work in the hospital, personality, with Alison, the attraction to Thorne, her daughter, her daughter being involved with the surgeon, the connection with the killer? Anne and her being asked to help Alison to die?

9. Ruth, in command, the decisions, relationship with Kevin, with Thorne? Kevin, his personality, exercising power, clashes with Thorne? His rejecting evidence? And the irony of his relationship with Calvert’s widow?

10. Thorne and his interactions with his father?

11. Jeremy Bishop, role in the hospital, his medical skills, womanising, relationship with Anne, suspicions of his being the killer, caught with the women in his office?

12. The character of the orderly, his presence in the hospital, finding Alison, saving her, the background is coming from Canada, not under suspicion, the interrogation, the later interrogation, Phil recognising him? His elaborate laboratory, the truth, the effect of his father, the motivations? The final interrogation, biting his tongue, his death?

BREAKING HABITS

US, 2018, 87 minutes, Colour.
Sister Kate.
Directed by Robert Ryan.

Very few people in California, in the US, let alone around the world had heard of the Sisters of the Valley before the release of this documentary film.

No, they are not Catholic sisters even though they have variations on the religious habits of the past. So, who are they? They are a group of women who are advocating the medicinal use of marijuana, growing it, processing it to make it suitable for commercial sales to those in need. They are sisters with a mission.

And how did all this come about? The focus is on Christine Meeusenfled and her story. So, the first part of this film is a portrait of Christine, a happy marriage, a devoted husband, Gary, their three children – and an extraordinary disillusionment. Gary had been embezzling all of Christine’s salaries over 17 years, makes off with the money, no recompense, completely callous. Christine has had to survive. While working, she discovers the lucrative business of growing and harvesting marijuana.

This work becomes her life’s mission, setting herself up as a nun with a habit, (in both senses!). Because she had a strong business sense, she is able to turn the whole enterprise into profit. The film shows a number of her followers, disciples, or rather forthright women in their views and expression, following the lead of Christine who, because she has a new mission in life, calls herself Sister Kate.

If one is sympathetic, there is a great deal of material in the film to show the sisters at work, their sales, the benefits of their medicinal marijuana for chronic sufferers of pain. There is an explanation that they are not Catholic nuns, not religious (in either sense), but a sisterhood.

Throughout the film legal issues are raised, the local police are not in favour at all of the enterprise, ready to arrest the nuns given any opportunity. They have their own legal counsel. But there are politicians and other people in public position who are against them. There are arguments pro and con their business. There are also scientific explanations of the process to render the marijuana more suitable for medicinal purposes rather than for getting high.

Interestingly, one of Sister Kate’s sons is helping her after recovering from his own drug problems and initial teenage rebellion.

The story is significant for California and the question can be raised whether it is significant for other parts of the world. Whatever the case, this is a curiosity item documentary.

ME & MY LEFT BRAIN

Australia, 2019, 76 minutes, Colour.
Alex Lykos, Malcolm Kennard, Rachel Beck, Chantelle Barry, Natalia Ladyko.
Directed by Alex Lykos.

Who would have expected to find Left Brain in the title of the film? And, more surprisingly, to find that there is a character, Left Brain?

This is a small comedy, set in Sydney, the focus on Arthur, a man with a hanging-dog look, rarely smiling. He is approaching middle-age – and what are his prospects? Arthur is played by the writer-director, Alex Lykos who made the entertaining film Alex and Eve, an interfaith variation on Romeo and Juliet in contemporary Sydney, one family Greek Orthodox, the other family Lebanese Christian.

We see Arthur walking down the street in the company of an older man. The older man seems to hang back. Yet they talk. The older man seems to be becoming more agitated or exasperated. As well he might. And his name? Left Brain. So, this is an alter ego film, the alter ego being Arthur’s left brain who offers the rather romantic, right-brainish, Arthur some logical, commonsensical, advice.

Arthur lives alone (apart from Left Brain), is rather morose, not prone to go into action. He wants to be an actor but is criticised during his awkward audition. What is he to do?

Arthur is obsessed by Helen – who appears, charmingly, in a variety of flashbacks as Arthur reviews the possibilities, the attraction, her not responding to his texts. She is played by Chantelle Barry.

The director uses the device of having Arthur lie on his bed, Helen not having contacted him by his 9.00 pm deadline. Left Brain (Malcolm Kennard) lies down with him and dozes. There is a digital clock which indicates to the audience time passing – and, ever so slowly, Arthur turning the light on and off, Left brain complaining, the delight of a flashback only to find that scarcely a minute or so has passed – right up until the early hours. Poor Arthur!

Fortunately, Arthur has a best friend, Vivien (Rachel Beck – who also has her own Left Brain). Vivien is pretty vivacious – especially when Arthur gloomily interrupts her at home in an encounter with a big, bearded, burly Irishman, and they have to sit, Irishman wrapped in a blanket, in a solidarity vigil with Arthur.

So, the comedy is made up of small entertaining pieces – and, fortunately, Vivien being a good friend who can come to Arthur’s rescue!

1. A small comedy? Sydney-based?

2. The title, the focus on Arthur? The introduction of Left Brain is a character, after ego, complementing the Right Brain? Offering logical advice, common sense? The device of having Left Brain as a character?

3. Arthur, his age, morose, living alone, the presence of Left Brain and their interactions? His wanting to be an actor, the severe criticisms that his audition? His memories of Helen, the flashbacks, their time together, sharing, his love for her? Her not responding to his texts? His depressive response?

4. The sequence of his lying on the bed, the focus on the digital clock, the extreme slowness of time passing, Left Brain lying on the bed, dozing, exasperated? Lights on and off? The momentary delight in memories of Helen? Then the long night?

5. Vivien, good friend, neighbour, vivacious, advice, the big Irishman and Arthur interrupting, the sitting, the Irishman in his blanket?

6. Vivien and her left brain, the discussions, the relationship with Arthur, coming to his rescue?

7. The character of Left Brain, a severe critic of Arthur, frustrated? The nature of their discussions?

8. The two Left Brains and their discussion in the street, behind Arthur and Vivien?

9. Arthur, realising Vivien’s place in his life, in the street, working out that they loved each other?

CELESTE

Australia, 2019, 108 minutes, Colour.
Radha Mitchell, Thomas Cocquerel, Nadine Garner, Odessa Young.
Directed by Ben Hackworth.

When one has climbed to a peak, achieved the summit, the only travel after that is downhill. This is a downhill story, the audience not sure how far down it will go.

The title belongs to a famous singer who has come home to North Queensland in retirement. She has achieved a great deal in the music world, internationally. As the film opens, she is preparing to perform in special concert at her palatial mansion, not necessarily a comeback, but something self-affirming. She is assisted by her close friend a long associate, a business manager, quite possessive, Grace.

The name Celeste has overtones of something grand, beautiful, celestial. However, most of the characters refer to her as, Ces, typical enough of Aussies abbreviating names – which actually does bring Celeste very much down-to-earth, Aussie storytelling.

The role of Celeste as a star vehicle for Radha Mitchell. Nadine Garner plays Grace.

It is hard to know what to make of Celeste, rather, Ces. On the one hand she acts like a spoiled diva, imperious around the house, moods up and down (high highs and deep lows), drinking a great deal, touches of drugs, sporting quite a number of elaborate fashions. Money seems no object. It is rather hard to empathise with her.

The other central character is Jack, Ces’s stepson. He is rather hard to understand and appreciate, a man of many moods, ladies’ man, involved with shady characters and owing thousands of dollars – thugs pursuing him and bashing him. He receives a card from Ces inviting him to come home.

One of the difficulties in appreciating Jack is that he appears in quite a number of flashbacks, a casting difficulty because the actor portraying him when young is a very slight build raise the adult Jack (Thomas Cocquerel) is the strong, tall and sturdy type, something of a hearthrob. Not that he acts in a sturdy way all the time, he is quite erratic, attracted by the young girl who works at the local store who also makes Ces’s costumes. Grace doesn’t want him around. He offers to build the stage for Ces’s performance.

And, there is plenty of ambiguity in his relationship with Ces. She had married his father, was truly love with him, retired home to Australia, grieving memories of his untimely death, but a great fondness (or more?) for Jack.

It should be mentioned that the setting is North Queensland and, throughout the film, there are some beautiful vistas, some aerial shots, cane-trains, open roads next to fields of crops. There are lakes and waterfalls.

What makes the plot more complex is that the audience knows more facts than Ces does. And, towards the end, we get even more information, again not known by Ces. But Jack does.

Touches of suspense: will Ces be fit for the concert? Why is she so moody – what more problems will beset her?

Co-author, Bille Brown, was a friend of actress Diane Cilento who retired from international movies and returned to north Queensland where she set up a theatre in the rain forest – and lived longer and more successfully than Celeste.

So, good to look at. Puzzling and not particularly attractive characters.

1. The title, the focus on Celeste, as a person, the talent, her career, the aftermath? The Australian tone with the abbreviation of her name?

2. The North Queensland settings, the mansion in the rainforest, the surroundings, the lake and the waterfall? The town, the roads, the surrounding fields and crops? Aerial shots? Atmosphere?

3. The musical score, Celeste and her background, opera and classical songs?

4. Celeste and her life, her marriage, her stepson, her world career and success, the return home, devotion to her husband, fascination with her stepson? Her husband’s death? Grief? Retirement? Her relationship with Grace? The dependence on her?

5. The audience knowing more about Jack and his father than Celeste did? Her not appreciating what had happened to her husband, his death, his other relationship, Jack and his reaction, in the boat, his drowning? Jack and his leaving the house and his absence?

6. The decision about the concert, the preparations, the stage and Jack working on it, the costume designer, costume maker, lighting? Musicians? The hopes for the concert?

7. Grace, her long association with Celeste, friendship, more? The severe personality? Her attitude towards Jack? Hostility?

8. Jack, with the woman, the thugs entering, bashing him, his gambling, the demands for money, the deadline? His receiving the message from Celeste? His going back? Staying, his room, working on the stage? Going into town, the encounter with Rita, dating her, the relationship? The gradual revelation of his memories? As young, with Celeste? With his father, the discovery of the affair, the struggle in the boat, his death? His staying away? The thugs arriving, Grace paying them off? His being free? The tension of his relationship with Celeste? Her wanting more? The concert? The death? His inheriting the house – and his future?

9. Celeste the preparation, the ups and downs of her moods, the diagnosis, her being the grande dame, costumes, manner, fatigue, health, tablets, drugs? Her ability to perform? The show must go on? The source set arriving, audience? Graces introduction? The success of her performance? The death?

10. The entourage in the house, the different personalities, the characters? Rita, the father, the shop, making the costumes? Relationship with Jack?

11. A portrait of the diva – eccentric Australian style?

TRASH FIRE

US, 2016, 93 minutes, Colour.
Adrian Grenier, Angela Trimbur, Fionulla Flanagan, and Lynn Mc Cord, Matthew Gray Kubler, Sally Kirkland, Ezra Buzzington.
Directed by Richard Bates Jr.

Trash Fire is an evocative title. It refers to a literal fire which has destroyed a family, disfigured the daughter of the family, and deep psychological effects on the son who believes he set the fire.

The film is being described as black comedy but it is more black in its characters and situations than comic.

Adrian Grenier (Entourage) is Owen, in his 40s, cynical, seeing a psychologist (Sally Kirkland) who even goes to sleep during his sessions. He is in a loving relationship with Isabel (Angela Trimbur) but often treats her with cynicism, resents her pregnancy, suggests an abortion, but relents and proposes. She is estranged from her family, criticised by her religious-minded brother.

Isabel’s condition is that they visit Owen’s grandmother and affect some kind of reconciliation. Owen also wants to re-connect with his sister, Pearl (Lynn Mc Cord). Violet, the grandmother (Fionulla Flanagan) is a bitter woman, allegedly religious, insulting Isabel. Pearl, disfigured from the fire, hides herself and does not want to be seen.

There are unexpected complications at the end involving Violets religiosity and her hold over the local minister, stealing a python, its attacks on Isabel, Pearl killing it, Owen and some contact with his sister – and a grim body count to end the film.

1. The title? The literal fire and its lingering in Owen’s memories? The consequences? The final fire? The implications of Trash, the characters and their behaviour?

2. The American city, homes and apartments, psychologist’s office? The contrast with the family home, the rooms, the visits to the church? Under the house? The ruins of the burnt house? The musical score?

3. The film described as a black comedy – although its characters and action are grimmer than black?

4. Owen, his personality, his seizures, nightmare glimpses of the fire? His blaming himself? His bitter cynicism? His relationship with Isabel, love, harsh treatment, tensions? Her looking after him with his seizures? Her pregnancy, his reaction wanting an abortion, his relenting? The need to be reunited with his sister, Pearl? The proposal, Isabel wanting him to reconcile with his grandmother, the suggestion of the visit, his being unwilling, the couple finally going?

5. Isabel, a character, her relationship with her family, the meals with Caleb, his religious perspective, the meal, denouncing her, his dislike of Owen?

6. Owen and his visits to the psychologist, her listening and not listening, his reactions, her advice?

7. Going to the family home, the personality of Violet, eccentric, dominant, insulting? The antipathy towards Isabel and her treatment? Vicious words? The meals? Her visiting the Minister, the discussions? Her saying she had visions and voices to kill the family? The revelation that she had set the fire, killing her family, disfiguring Pearl, persuading Owen that he should take the blame and kill himself? Stealing the python from the Minister, the threat to Isabel, her confronting Pearl with the shotgun, Pearl killing her grandmother?

8. Pearl, reclusive, disfigured, resentment towards Owen? Spying on Isabel? Killing the python? Confronting her grandmother, shooting her? Shooting Owen? Her future dependence on Isabel?

9. Owen, dealing with his grandmother, Isabel wanting to leave because of the insults, his decision to stay, wanting to bond with Pearl, going under the house for the python? The discussions with Pearl, her antipathy? His seizure, Pearl shooting him?

10. The scenes of black humour, especially Owen and his attitudes towards life, his comments? The serious and grimmer aspects of the dysfunctional family?

BURNING SANDS

US, 2017, 96 minutes, Colour.
Trevor Jackson, Tosin Cole, De Ron Horton, Steve Harris, Travante Rhodes, Alfre Woodard.
Directed by Gerard Mc Murray.

This is a film about university initiations and hazing, the rituals, the atmosphere, the effect on the students. It is based on memories by the director, Gerard Mc Murray.

Those responsible for the production of this film are African- American. In fact, all the characters, except two police , white, officers who challenge the young men in the woods one night, are black.

The setting is an African- American University College, named after Frederick Douglass, with memories of his stances for black rights. Alfre Woodard portrays a lecturer at the University.

Trevor Jackson portrays the main character, Zürich, with pressure from his father, undergoing the initiation, persevering despite injuries, in a relationship which is marred by the ritual of the men having sex with a woman who worked at the burger joint.

Steve Harris portrays the Dean of the College, steeped in the traditions, he himself having passed through the hazing and encouraging the others.

The rest of the cast are not particularly clearly delineated except De Ron Orton as the small Square.

The film has quite a visceral impact and is clearly, often obviously, against these rituals.

1. A drama set in the African- American community? All black characters (except for the two white police officers)? Impact for the target audience? Wider audiences?

2. The American city, the University campus, apartments, dormitories, the countryside? The musical score?

3. The title, the reference to the initiation and the hazing as crossing the burning sands?

4. Audience opinion of hazing rituals? Violence, subjugation, humiliation, allegedly learning humility, withstanding pain, sexual overtones, the desire to belong, influence, later connections, prestige? Fellowship with other students?

5. The visceral impact of many of the sequences, the group, lining up, singlets and shorts, physical exercise, meetings, the inflicting of pain, blindfold, lying on the ground, eating dog food, the Hell night rituals?

6. The focus on Zürich, his character and personality, his father’s expectations, participating in the hazing, his determined face and mouth, participation, encouraging the others, his girlfriend and sexual relationship, in class, the lecturer, her interest in him and pushing him forward, the assignment, his finally completing it, the significance of Frederick Douglass? Zürich and his injuries, wanting to give up, urged to keep going despite the injuries?

7. The group, calling at the burger joint, the order, the girl – and the later sexual activities with her?

8. Zürich’s girlfriend, learning what happened, her reactions, the break? The sympathetic girl in the class?

9. The role of the dean, the students and warning Zürich not to see the dean, seeing him in his office, the encouragement? The dean and his own initiation, belonging, not understanding the resistance to the hazing?

10. The men caught in the woods by the white police? Their stating they had experienced initiation?

11. The student opting out at the beginning? The character of Square, contact with Zürich, small but determined, persevering?

12. Frank, his place in the group, Hell night, the beatings, his physical collapse, the older students wanting to cover it up, getting the younger ones to drop his body at the hospital and vanish? Their staying, waiting? The reassessment?

13. The film as a condemnation of these rituals and hazing?

BLAZE

US, 2018, 129 minutes, Colour.
Ben Dickey, Alia Shawcat, Charlie Sexton, Josh Hamilton, Kris Kristofferson, Richard Linklater, Sam Rockwell, Steve Zahn, Ethan Hawke, Sybil Rosen.
Directed by Ethan Hawke.

Blaze is a portrait of country musician and composer, Blaze Foley. The film is been directed by Ethan Hawke who co-wrote the screenplay with Foley’s former lover, Sybil Rosen, based on her book, Living in the Woods in a Tree: Remembering Blaze. (Sybil Rosen herself has a role in the film, playing her mother).

The strength of the film is in musician Ben Dickey portraying Blaze Foley. There is the outline portrait of him as a character and of his life and career. Dickey also brings to life Foley’s music and performance.

Alia Shawkat portrays Sybil Rosen, devoted yet finding the relationship difficult. Kris Kristofferson plays his father.

The film was shot in Louisiana and has the atmosphere of the South. There are cameos for a number of Ethan Hawke’s friends including his frequent director, Richard Linklater, as well as Sam Rockwell, Wyatt Russell, Josh Hamilton and Steve Zahn.

Mainstream audiences will probably find it too focused on the character and his music, but for those who know Blaze Foley and who appreciate American biographies and the emotion of the audience in country music, it will be well appreciated.

1. An appreciation of the musician, Blaze Foley? As a person, as a musician, his career and composition? His personal limitations?

2. The direction by Ethan Hawke, his interest, the number of guest stars in cameos? The screenplay adapted from the novel by Foley’s partner, Sybil Rosen, Living in the Woods in a Tree: Remembering Blaze Foley?

3. The film’s style and its presenting impressions, random sequences, radio interviews, flashbacks? The overall effect in creating a portrait of Foley?

4. The performances, Ben Dickey as Foley, impersonating him, singing all the songs? Alia Shawcat as Sybil?

5. The device of having Townes Van Zandt being interviewed on the radio with his friend? A basis for the flashbacks? Van Zandt and his collaboration with Foley over the years? The bond between the men?

6. Foley as a character, the accident, his limp, his music, local, his meeting with Sybil, the relationship, the decision to go out on their own, the tours and the performances, the range of reactions for and against? Success? Influence on Merle Haggard and Willie Nelson and their tributes?

7. Foley as a character, ups and downs, friendly, yet drinking? The effect? Sybil and her difficulties, his being away for a long time, returning and apologising?

8. Sybil and her mother, her patience with Blaze, staying with him, his absences, her suspicions, her eventually leaving?

9. The overall impression of the Country and Western scene, composition, lyrics, performances, tours, radio exposure? Reputations?

10. Foley losing his life at 39, the young man and his exploiting his father, Foley accusing him about the cheque, the boy shooting Foley, the pain of his death?

11. The film as a contribution to movies about Country and Western and the Blues? And as a tribute to Foley?

WE THE ANIMALS

US, 2018, 94 minutes, Colour.
Evan Rosado, Josiah Gabriel, Isaiah Kristian, Sheila Vand, Raul Castillo.
Directed by Jeremiah Zagar.

This is a brief, independent, small-budget film set in upstate New York.

The audience is invited to share the experiences of three young boys, brothers (though none of the actors are related and audiences have to take it on faith of these three are brothers). Their mother is white, their father black. The parents have a mixed relationship, sometimes passionate to the ignoring of their children, sometimes on-and-off, the father disappearing.

The film creates an atmosphere of the town, homes, farms…

The central focus of the boys is Jonah, who participates in all the rough-and-tumble of their life but also has an inner, imaginative life, enabling him to draw.

The boys also visit a local farm where the son there watches a deal of pornography – which fascinates the boys, pre-puberty, including Jonah.

The film is something of a memoir, a small glimpse of life in the town, of the boys and their relationships.

1. An essay-portrait of a family and three young adolescent children?

2. A piece of Americana, families and the 21st-century, white mother, rhetoric and father, the children?

3. The location settings, upstate New York, the town, homes, farms, streets and shops? The musical score?

4. The title? The original novel by Justin Torres, a memoir? The start of the film, pieces of the puzzle, random moments, flashbacks, narrative? The overall effect? Impressions rather than a linear narrative?

5. The title, as applied to the three boys, the characters, their way of life, with the parents, aggressive towards neighbours?

6. The mother and father, the relationship, seemingly loving, the sexual attraction (the shower sequence when they become involved with each other and forget to search for the children in the shower)? The fights between them? The father leaving, his return? The mother and her relationship with the children?

7. The three boys, their bonding as brothers (though as actors they are unrelated)? The characters, different personalities, dependence on each other?

8. The focus on Jonah, his narration? Joining with the boys in all their activities, happy, aggressive, taunting people? The relationship with his parents? His book, the drawings – and the animation? His going into his imaginative life? The scenes of magic realism?

9. The boys going to the farm, the old man, the son, his watching pornography, their being intrigued? His being continually drawn back to visit the farm and his relationship with the son? The pre-puberty attraction?

10. Happy moments, the angry moments, the aggression?

11. The invitation to audiences to immerse themselves in the experience, identifying, challenged, not trying to work out a linear exposition?

DOGMAN

Italy, 2018, 103 minutes, Colour.
Marcello Fonte, Eduardo Pesce, Adamo Dionisi.
Directed by Matteo Garrone.

This is a very strong Italian drama, directed by Matteo Garrone who made quite an impact with his expose of the Camorra, Gomorrah.

This time his scope is more limited, the seemingly insignificant man who lives in a small Italian town in the south. He is married, devoted to his daughter. He is a dog-carer and trainer. Initially, he comes across as very sympathetic, an excellent performance by Marcelo Fonte. Then we begin to learn more about him.

He is a local drug dealer, getting supplies of cocaine, distributing them around the town, especially to the big bruiser, Simone (Eduardo Pesce). He is a fighter, involved in bouts. He also has a very limited intellectual capacity. He is brutal in his dealings with Marcello, even calling in help from local thugs.

Marcello has dreams of taking his wife and daughter on world travels. However, his life is complicated, genial on the surface with customers and their dogs, but caught up in the world of drug dealing. The police arrest him and ask him to name names, but he refuses, actually going to jail for a year (although the film does not show his time in prison).

Marcello then becomes resourceful, tricking Simone into a situation, setting up mechanisms whereby Simone dies. Marcello then carries his body to the open beach and burns it.

A powerful morality tale challenging audience values and sympathies.

1. The title, the focus on Marcello and his work?

2. The work of the director, portrait of southern Italy, Naples? Crime and the South?

3. A portrait of characters, situations? Insight into characters, crime in southern Italy?

4. The situation and locations, the town, the outskirts of Naples? The shopfront, Dogman, the work with the dogs? The gold seller next-door? The thieves, in action, robberies? The clients? The world of drugs in dealing? The sequences of prison? Authentic, Italian?

5. The portrait of Marcello, a simple man, involved in crime, his relationship with his wife, the love for his daughter, the promise of trips (and the later trip to the red Sea)? His work, clients, the range of dogs and their performance?

6. The dogs, the variety, treatment and care, detail?

7. Simon, tough, large, the robberies, the proceeds, his wanting cocaine, contacting Marcello, the issue of money, his not paying? Going to Franco, Franco and his men, rough? The clubs and behaviour?

8. Marcello, his contacts, holding the drugs, the supply, the effect, the issues of payment? The relationship with Simon?

9. Marcello, caught up, the threats from Simon?

10. The police, his arrest, interrogations? The option of giving a name or going to jail? His protecting the criminals? Going to jail?

11. The year in jail, its effect, getting out, the issue of surviving, going back to his business, his truck and the dog-sitting, the clients and scouting out the women, coming to the store? His being shunned by people in the town, presuming that he was a traitor? Simon, the demands for money, his refusal? His brutality towards Marcello?

12. Marcello’s plan, feeding the drugs to Simon, the rendezvous at the shop, to meet the dealer, Simon persuaded to go into the cage, his attack on Marcello, the chain, the noose, the struggle, punching Marcello, his death? Marcello, taking the body, to the open space, setting it alight? His appeal to everybody in the town, their ignoring him?

13. Marcello story of experience? His future?