THE CHAPERONE

UK/US, 2018, 108 minutes, Colour.
Elizabeth Mc Govern, Hayley Lu Richardson, Geza Rohrig, Campbell Scott, Blythe Danner, Victoria Hill, Matt Mc Grath.
Directed by Michael Engler.


A very entertaining portrait of two women drama designed for an older audience. Many of those behind Downton Abbey were involved in this production, especially Elizabeth Mc Govern, Countess Grantham in the popular series, who has commissioned a screenplay from a novel by Laura Moriarty, written by Julian Fellows, the power behind Downton Abbey, directed by Michael Engler who directed episodes as well is the feature film of Downton Abbey

This is an American story from 1922 with a postscript in 1942.

It is a story of a young woman, ambitious, carefree, embodying the changing mores in the United States after World War I, Louise Brooks. She was to make films in Hollywood in the late 1920s but, especially, went to Germany where she appeared in films which became German cinema classics of the period.

The initial difficulty was that she came from Wichita, Kansas, and while she received an invitation for a modern dance school course in New York City, her parents would not let her go unless she had a chaperone. She was in her mid teens.

Intertwined with Louise Brooks’s story is that of Norma Carlyle, a respected matron of Wichita, somewhat prim in her respectability but who seizes the opportunity to accompany Louise as her chaperone.

This is one of Elizabeth McGovern’s? best performances, becoming more complex as more of the plot is revealed. And Hayley Lu Richardson as Louise Brooks indicates, as she did in films like Five Feet Apart, that she can be a powerhouse screen presence.

The narrative intertwines the two stories, Louise discovering New York City, her dance course, the emergence of her talent and the support of the owners of the school (including Miranda Otto), her increasing wilfulness, wanting to break free from the chaperone, getting herself involved in some stupid messes, eventually getting opportunities for a career. But, in her interactions with Norma, helping Norma to come out of herself.

We find that Norma wanted to go to New York City because she was an orphan, entrusted to the care of the nuns, taken on by a farming couple from Kansas who brought her up with care and love. At sixteen she married a lawyer, had twins, and lived her life quietly – although quite a trauma is eventually revealed. She wants to know who her birth parents were, eventually getting the help of a handyman at the orphanage (Geza Rohrig from Son of Saul) to find some documentation. Which, of course, led to quite some emotional complexities for Norma even as she chaperones Louise.

The 1942 epilogue offers some surprises, Louise and her failure in her screen career and coming back to Wichita, Norma and her relationship with her husband and with the handyman and his daughter.

With Norma and her central role, the film is one of elegance even as Louise tries to sabotage the elegance with her would-be flapper behaviour.

A satisfying drama in plot, performance, dialogue, reflections on change in American society, especially for women, during the 1920s.

1. The title, the term, the words from the past

2. Based on actual events, Louise Brooks and her origins, her career?

3. The 1920s, the city of Wichita, the atmosphere of Kansas at the time, homes, streets, socials, the railway station, train journeys? New York City, the streets, apartments, parks, the orphanage, the dance studio, the nightclubs, the theatre? The musical score, classics and Jazz?

4. Norma story, the linear events, the hints about Alan Carlyle, the flashbacks and the narrative being filled in, her being an orphan, at the orphanage, with the nuns, the family adopting her, going to the farm, care and love, married at 16, a married life, her twin sons, the gradual revelation is about Alan and his relationship, her reactions?

5. Louise Brooks, a teenager, performance, dance, her mother’s pride, speech and introducing her, the mother playing the piano, the dance, Norma and her being wrapped by the dance? Norma and Raymond’s presence, indication of issues? Norma overhearing Mrs Brooks, offering to be the chaperone, the visit to mother and daughter, it is being settled?

6. Louise’s story, her age, talent, dance, the application to the studio New York City, accepted? Her parents, her stern father, enthusiastic mother? New York is a goal, the farewell of the station and her father strictness? Her verb, not innocent, revelation about sex experience with her instructor who drove her to church? Gratitude, the flapper attitude to the 1920s bold and knowing,?

7. The travel, the interaction between the two women? Norma and her being prim, the rules, expectations? Norma and the revelation of her story, gradual? Alan, his relationship with Raymond, Norma’s discovery, the talk about the divorce or not, her intense anger? Alan and his calm, his reputation, financial support, the sons? Norma wanting to search for her parents? Gratitude towards prohibition and drinking, the norms of propriety, keeping close watch on Louise, settling at the apartment? The taxi driver and Louise is charm?

8. Louise, travelling, flapper, her look, changing her hair, dancing, precocious, her success of the school, the demonstrations, her being favoured by the managers, the discussions with Ruth? The performance, the offer to go to Philadelphia, her being accepted?

9. Louise is bold, in the bar, flirting, sneaking out to the club with him? And drinking, Floyd to dismay, his previous meetings and discussions with Norma? Who is sick, Norma going to the orphanage, her urging Joseph to come to rescue Louise?

10. Norman, going to the nuns, meeting Joseph and his helping her to wait, sister Delores and the interrogation, no information? Her return, seductive manner with Joseph, his resisting, her persuading him to help, his opening the office, her finding the letter, unlocking the door? Writing to Mary, meeting her in the park, her mother’s story, leaving, the revelation about her father, Mary having a new life, family, not telling her family about the past? The flowers and her leaving them?

11. Norma needing Joseph, the rescue Louise, going back, they’re walking, his mind the posy? The night, the effect on the relationship, sister Delores seeing them, ousting joseph, his daughter, they’re coming to the apartment, intentions to go to Brooklyn, Norma inviting him to go back to Wichita?

12. The effect of the prologue, 1942, no Norma going to the door and wanting to see Louise?

13. Norma’s memories, returning to Wichita, setting up the household, the complexities with all present, the boys at the war, Joseph and his daughter, Alan and his partner?

14. The visit to Louise, her mother’s reaction, the aftermath of her career, the experience in Germany, Norma giving her the hundred dollars, insisting on her to leave Wichita?

15. Centrepiece, the household, Joseph?

16. Louisa subsequent career, shop girl, writer, winning acclaim? The final credits and the clips of Louise Brooks in her films?

AVENGERS: ENDGAME

US, 2019, 181 minutes, Colour.
Robert Downey Jr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larsen, Benedict Cumberbatch, Chadwick Boseman, Tom Holland, Karen Gillen, Zoe Saldana, Evangeline Lilly, Tessa Thompson, Rene Rosso, Elizabeth Olsen, Anthony Mackie, Sebastien Stan, Tom Hiddleston, Danai Gurira, Benedict Wong, Pom Klementieff, Dave Bautista, Letitia Wright, John Slattery, Tilda Swinton, Jon Favreau, Hayley Atwell, Natalie Portman, Marisa Tomei, Takia Waititi, Angela Bassett, Michael Douglas, Michelle Pfeiffer, William Hurt, Cobe Smulders, Sean Gunn, Robert Redford, Linda Cardellini, Frank Grillo, Hiroyuki Sanada, James D’Arcy?, Vin diesel, Bradley Cooper, Gwyneth Paltrow, Josh Brolin, Chris Pratt, Samuel L.Jackson, Stan Lee.
Directed by Anthony Russo, Joe Russo.

This time you can’t have too much of a good thing. In the past Avengers films, there was perhaps too much, in so far as they were a succession of superheroes lining up in a queue to do their particular battle scene and then move on. This time they are really integrated into the action – all of them!

While some of them disintegrated into ash, given the hostility of Thanatos in Avengers: Infinity War, there may have been a certain pessimism with the demise of superheroes we really warm to. This time, fortunately, thanks to quantum physics, everyone can be eventually present. Einstein never dreamt of these consequences of his theories! And the climax is an extraordinary, highly populated Armageddon battle.

Initially Tony Stark is lost in space – but, just as well the film of Captain Marvel was such a box office success, it is she who flies through space and rescues him! She also has some good, powerful scenes confronting Thanos.

It is Scott Lang, Antman, his life energy accidentally flicked on again who proposes to the remaining avenges, especially Tony Stark with his science and industry background, quantum physics. The group work on a way of going back into the past, to the moments when the Tesseract stones could be located, have one chance of going back and recovering the stones, place them in the glove, and resurrect the world and characters that Thanos had destroyed.

So, already, we are seeing Iron Man, Antman, Captain America, Hulk, Hawkeye, War Machine, Black Widow, all combining for the desperate mission. And, as they all go back to particular times, both on earth and in distant planets, there are all kinds of encounters with the past, a reminder of how many characters there were in each of the superhero movies, and some flashbacks to the heroics of those earlier films.

And, of course, Josh Brolin’s Thanos is still dominating. And there are the new problems with his daughter, Nebula, and her loyalties or disloyalties.

So, enjoyable indulgence in memories of all the characters, excitement in their different teams as they go on their quests, all kinds of characters turning up from the past, even Loki and, a visit back to Asgard and Thor meeting his mother. (But no Anthony Hopkins is a!). And A rocket getting more screen time, piloting his spaceship, rivalry with Thor, Bradley Cooper obviously enjoying his voice roll.

So, all stops out (and beyond) for this final battle, everybody turning up, especially Black Panther and all his warriors. A spectacular battle to end all battles – at least for the present and the capacities for special effects.

But, there are several post scripts which are also enjoyable, a funeral which must have cost the production company a small fortune again with practically everybody eyes standing there in mourning. And then some continuations of plot, suggestions for future adventures, many of the characters settling down, memories of a couple who gave their lives and sacrifice to save others, and a special farewell to Captain America, his age having caught up with him.

There is a lot of tongue-in-cheek humour in action, in dialogue and, certainly, a special mention to Chris Hemsworth who has shown how good he is at comedy, for instance in Ghostbusters, where his down-and-out Thor, gone to seed, often drunk – and with an enormous beer belly – often steals the scenes he is in. And there is a cameo of Korg (director Taika Waititi, New Ziland accent and all).

Three hours (passing quite quickly in fact) of Marvel entertainment.

1. The title? The aftermath of the Infinity Wars? An endgame?

2. The situation, Thanos and his victory? The disappearance of the superheroes? The surviving Avengers? Reverting to their ordinary lives, Bruce Banner as more normal, less aggressive? Thor and his going to seed, drinking, beer-belly? The need for action? The need to gather the stones, collect them for the glove? Defy Thanos? Do battle with him? An ultimate victory? The musical score?

3. Scenes on Earth, America, homes, streets, the laboratories? The Stark Centre? New York City? The flashbacks to Washington DC in the 1970s? Outerspace, the range of planets?

4. The initial focus on the survivors, the screenplay making sure that everyone from the past films were present, images, memories, visits, the mission for the stones and encountering such different characters from past films? Explaining the return from the present and the need to reverse Thanos’s history? The Armageddon kind of battle? The funeral and everybody gathered to mourn? The post scripts, different characters, their future and destinies?

5. Tony Stark, lost in space, Captain Marvel and the rescue? His speech into the helmet? Captain Marvel saving him? Returning him to earth? His life, the laboratories, the encounter with Scott Lang?

6. Scott Lang, Antman, the flick and his revival, puzzled about the world? The visits, his meeting the Avengers, proposing quantum physics? The explanation of his plan?

7. The survivors, Tony Stark, Captain America, Hulk, War Machine, Hawkeye, Black Widow? Tony Stark’s hesitance, his experimentation, growing interest, consent?

8. Captain America in Tokyo, the martial arts battle, the Japanese villain, Hawkeye? His being persuaded to come back?

9. Bruce Banner, reduced to ordinary size, less aggressive and angry? The scenes of domesticity with Hawkeye, the family’s disappearance? His volunteering to do the test, returning home, recuperating the glove? The success of the test?

10. Thor, gone to seed, drinking, beer-belly, lounging around, the heroics disappeared, offhand comic remarks, with Korg and his New Zealand accent?

11. Thanos, ruling and outerspace, power? His daughters, Nebula, her appearance, loyalties to the Avengers, the clashes with her sister? Thanos and his power, separating the two experiences of Nebula, her loyalty, betrayal, confrontations with her sister, telling her what was to happen in the future? One saving the other? Their reconciliation?

12. Rocket, with the ship, his wisecracks, the vehicle, for the mission, participating? Meeting Quill? Meeting Tree again?

13. The return to different pasts, the clips of the superheroes in action? Bruce Banner and his encounter with the Seer, the world of Dr Strange? Thot and seeing Loki, going back to his home, memories of Jane, the final talk with his mother, her impending death?

14. Tony Stark, with Captain America, returning to the 1970s, the laboratories, the encounter with his father, the personality of his father, talking about his son? The glimpse of the scientist who will work with Antman?

15. Captain America and the rescue of the case, the presence of Loki, the deception? The politics of the time, the secretary?

16. In space, Thor in the confrontation with Thanos, killing him?

17. Hawkeye and Black Widow, the bond between them, memories, on the planet, the mysterious figure, the cliff, each willing to self-sacrifice, Black Widow, Hawkeye holding her,
her falling to her death?

18. The restoration of the stones, in the glove? The confrontation with Thanos, each of the Avengers with the possibility of his destruction?

19. The emergence of Quill, the memories of the Guardians of the Galaxy, Nebula and her sister? His spacecraft, and a clash with Thor as to who was in charge? Rocket, reuniting with Tree?

20. The return of Peter Parker, his loyalty to Tony Stark?

21. The buildup to the battle, Black Panther and his entourage arriving, Dr Strange, the various troops? Going into battle? The special effects?

22. Tony Stark, his death? The grief? Everybody assembling for the funeral?

23. Captain America, the restoration of the past, his age, his two friends and his passing on the mission?

24. Hawkeye reunited with his family

25. Thor, his conceding the power of the throne to Valkyrie?

26. Restoration of the world, not without soul-sacrifice, and the prospects of further superheroics?

BUTTERFLY

UK, 2018, 140 minutes, Colour.
Anna Friel, Emmet J Scanlan, Callum Booth- Ford, Sean Mc Ginley, Millie Gibson, Lorraine Burroughs, Alison Steadman. Amy Huberman, Colin Stinton.
Directed by Anthony Byrne.

Butterfly is a British and miniseries, three parts. It was created by Tony Merchant, a writer of many television series and programs, and directed by Anthony Byrne, also a prolific director for television.

The focus is a young boy, Max (Callum Booth Ford), who in the past has identified more as female than male. By the time he is 11, he is completely identifying as a girl (with severe consequences for bullying and mockery from children at school). His sister, Lily (Millie Gibson) is very supportive. Anna Friel portrays his mother, very concerned about her son, wanting to do the best for him. She is separated from his father, Emmet J.Scanlon, who was unwilling to face the reality at all.

Quite a deal of the film shows the conflict between mother and father, the arguments pro and con, decisions about surgery for sex change and a trip to America, the mother taking money from her own mother (a quite brutal Alison Steadman) and taking Max to the United States without the husband’s permission. He is a new in a new relationship – with a woman who shows great sympathy and understanding for the mother.

The father decides to take his wife to court. There are interviews with each of the parents by social workers, and a decision in favour of the father.

In the third part of the series, there are frank talks between the mother and father and moves towards some kind of understanding and for Max to become Maxine.

Many audiences, concerned about gender identity and gender change, will find the story emotional and, perhaps, enable them to understand the situation better.

1. The contemporary issue of gender and identity? Dramatised, the focus on Max/ Maxine, boy/girl?

2. The issue and the impact on audiences, on sceptical audiences, unsympathetic audiences?

3. The British setting, the ordinary home, schools, authorities and the school in their offices, doctors and interviews, care organisations? The visit to Boston and the sympathetic doctors?

4. The film is a drama, the home situation, the absent father, the worried mother, the sister and her brother? The visits from the hard grandmother, not sympathetic to Max and his behaviour? Stevens father, the visits, more sympathetic?

5. Vicki, her marriage to Stephen, love for him, resentment of his behaviour towards Max, his leaving, harshness towards Max, yet visiting and wanting to be a father figure, his relationship with Gemma? Vicki and her concern about Max, awareness of his femininity, attitudes, clothes, behaviour? Encouraging him? Her relationship with Lily – and Lily eventually feeling that she had been neglected by her mother? Her part-time work, at the school, wanting to keep an eye on Max? Yet with her friend, and the making of the soap, selling it?

6. Stephen, his character, with Gemma, the weekends with his children, kicking the ball with Max and Max complying, Lily’s comments? Their observations about Gemma? Max wanting his father to come home? His eventually agreeing for the sake of Max? Max and his wanting his parents to sleep together, to be real parents, real family? Stephen and his hesitations, Vicki and her hesitations?

7. Max, his age, his experience, reticent, complying with his father, the clothes, the toys and dolls, going to school, the bullying, called gay and his denial, Stephen later confronting the bullies and Vicki’s negative reaction?

8. The teachers , reactions? Sympathetic after the principal send out the letter for Max to come as Maxine to school? The children’s reactions? The effect on Maxine?

9. The interview with the carers, close questioning of the parents, close questioning of Maxine? The negative response about treatment?

10. Vicki, signing her husband’s name, taking her mother’s money, taking her partner’s money, going to Boston, the sympathetic doctor, the interviews and the treatment, the expense? Maxine and hopes?

11. Stephen, his reaction, going to the police, the courts, the airport and both being apprehended, interrogated? The appointment of the supervisor, her interviews, the details? Sympathetic – but, suspicious of Vicki and her moods and behaviour, Stephen and his negative approach?

12. Gemma, her meeting with Stephen, understanding the situation, yet upset, giving him sound advice, her encounter with Vicki, sympathetic?

13. Maxine, hoping for Boston, and the treatment, puberty blockers, the past experiences, thus losing the wrists in the bath, wanting to cut her penis? The effect? And her honesty in and string all the interrogations?

14. The tension between Vicki and Stephen, the advice that there must be some kind of reconciliation, their talking together, admitting their failings and limitations? Going back, making their case, permission to go to the initial question is, successful application?

15. The effect of this kind of drama to of the contemporary gender and sexual issue – and a drama as a way of appreciation and understanding over and above discussion of principles?

APOSTLE

UK, 2018, 130 minutes, Colour.
Dan Stevens, Michael Sheen, Richard Elfyn, Paul Higgins, Bill Milner, Catrin Aaron, Lucy Boynton, Sharon Morgan.
Directed by Gareth Evans.

Apostle is a grim drama set on an island off the British coast, and 1905 setting, a picture of a cult which has religious overtones but is involved in financial schemes and abductions. It was directed by Gareth Evans, best known for the two films he made in Indonesia, The Raid and Raid 2.

Dan Stevens plays the hero, sent to the island undercover to try to make contact with his abducted sister. Michael Sheen is the controller of the cult but there are various rivals amongst the hierarchy.

While the film shows some detail of life within the cult, the arrivals, the checks, the accommodation, the hard work, the celebrations, the religious gatherings in the church, the film moves into violent confrontations and torture. Some of the sequences are particularly gruesome. These, and a sense, while realistic, may be too much for the audience who would be interested in the themes.

There are also some supernatural overtones to life on the island. There is a strong British supporting cast.

1. The title, Malcolm, Charles, Thomas himself?

2. The period, 1905, costumes and decor? The island, the cliffs, the heights? The village, streets, homes, the Church? The musical score?

3. The picture of a cult, the background of the founder, the flashbacks, the setting up of the community? The motivations? The island and its isolation? Values, beliefs, religious, criminal? The statue on the grounds? The woman, “She�, kept in isolation, fed blood, her appetite? Her protector, visual, physical, weapons? Her being in the cave, the web? The crops, success and failure? Relying on fate? Manipulation of Fate? The religious aspects, the meetings in the church? Prayer?

4. The file and themes, the visual violence, gruesome, the touches of core? How they represented? The effect on the audience? (Especially the death of Jeremy and the drill and the wound in his head, the death of She, burnt?)

5. The story of Thomas Richardson, his past, missionary, China, his religious role, the persecution, his stances, his faith, his being branded with the cross? The absence of God, his loss of faith, the effect, his return home, the discussion with his relative, his looking wild-eyed, the story of Jennifer and the issue of the ransom? His decision to find her, to bring her back?

6. The voyage, his merging with the other converts, the man with the ticket, duping him, and the man later tortured? The chickens on arrival, the inspections, health, possessions? Climbing the hill? The house, settling in, the visit to the church?

7. Malcolm, leader, scene preaching, his values, crooked, the issue of the ransom, to protect the growth of the community, the crops? With his henchmen and underlings? The searching of belongings during the social function? His experience in violent, Charles and his betrayal? And his love for his daughter, their father, protection?

8. Charles, his role, his daughter and wanting to protect her, her relationship with Jeremy, discovering her pregnant, his violence towards her, killing her, accusing Jeremy? Jeremy taken, interrogated, tortured, the brutality of his death? Charles and his taking over the community, wounding Malcolm? The encounter with She and the bodyguard? Wanting to confront Thomas?

9. Jeremy, young, friendship with Thomas, his relationship with the young woman, love, pregnancy, a future, discovering her dead, Charles accusing him, trial, torture and death?

10. Thomas and his role in the community, a lot of work, befriending Jeremy? Attitude towards Malcolm? The search for his sister, the discovery of her being in the bag and hanging? Finding her, liberating her, the rescue? The confrontation with She, she and her pleading for death, the fight with the bodyguard, setting everything alight? His return to confront Charles, the fight, wounding, death?

11. His working searching, the underground Tom tunnels, during the social function? Malcolm, his being wounded, not dying? Thomas’ encounter with him on the cliff, his being wounded, saving the women and sending them to the boat?

12. The two men on the cliff top, death, the launch sailing away?

13. A grim picture of a cultish community, the consequent power struggles, violence, oppression?

BRAIN ON FIRE

US/Ireland, 2016, 88 minutes, Colour.
Chloe Grace Moretz, Thomas Mann, Richard Armitage, Carrie- Anne Moss, Jenny Slate, Tyler Perry, Navid Negahban.
Directed by Gerard Barrett.

This film is based on a true story, a memoir by journalist Susan Cahalan. She is played, most effectively, by Chloe Grace Moretz. Richard Armitage is her father, Carrie- Anne Moss her mother, Jenny Slate the sympathetic co-worker, Tyler Perry her editor, Navid Negahban, her surgeon and Thomas Mann her boyfriend.

The film opens promisingly with Susan’s career but things go askew, a failure in an important interview, her pleading with the editor to extend deadlines. However, she has seizures, hallucinations, eventual hospital treatment but it takes some time to actually diagnose what is wrong with her – her brain on fire.

Her brain disease is considered rare and initially not so detectable. However, the film is valuable in alerting audiences to the consequences of the disease. The film also shows the difficulties parents have in dealing with the daughter and her illness, her erratic behaviour.

The film has a strong cast, the screenplay making the disease comprehensible through the drama and the performances. Directories an Irishman, Gerard Barrett, who also directed Glassland with Toni Collette.

1. The title, the title of the memoir by Susan Cahalan? Indication of the disease?

2. The New York settings, the New York Post, the officers, apartments, clubs, homes, hospitals, interview rooms, surgical procedures? The musical score?

3. The true story, Susan Cahalan, her experiences, her seemingly psychotic behaviour, the response of her parents, of Stephen, the interviews and the scans, the psychiatrists? The specialist doctor, his visits, therapy and diagnosis? Recovery?

4. Chloe Grace Moretz and Susanna? Age, family background, divorced parents and her mother remarried, her father and new fiancee? Her studies? Her relationship with Stephen, his music, the visit to her parents, her father’s disapproval? Her going to listen to him at the club? Her work at the New York Post, friendship with Margot, support from her? Richard and his assigning jobs? Expectations?

5. The visuals to indicate that something was wrong, her losing consciousness, the seizures, the blurred images, erratic behaviour? Her poor work, Margot trying to help, Richard and his demands? Her seizure, Stephen taking her to the hospital, her father is angry reaction, her mother support, apology? The interviews, the MRI, the doctors and their bewilderment, her physical condition? Another seizure? Her erratic behaviour in the office, the episode of her interview with the senator, her poor writing, losing sense of time and days, highs and lows, her googling bipolar illness and the symptoms, the doctor and the medication? Her not wanting to take the medication? Her final collapse, the range of doctors and interviews, the possibility of schizophrenia?

6. The doctors, their expertise, limits, the diagnosis of her being healthy? The pressure from the father, the mother’s presence, Stephen at the hospital?

7. The sympathetic doctor, her going to the lecture, the lecturer and his teaching rather than practice, her persuading him to come, the interviews, his treatment of this Susanna, speculation, the biopsy, the diagnosis, the treatment? The device of drawing the clock and the lack of balance between left brain and right brain, the numbers on the clock on one side? The diagnosis that the immune system was attacking the brain, brain on fire?

8. Her recovery, Margot’s sad visit to the hospital, her being reinstated, Richard and his support? Her writing the memoir – and the final information, statistics, the diagnosis, help to others, physical ailments rather than psychotic states?

BLUE JAY

US, 2016, 80 minutes, Black and white.
Mark Duplass, Sarah Paulson, Clu Gulager.
Directed by Alex Lehman.

Blue Jay is a small drama focusing on two people who had a relationship in the past and meet, unexpectedly, again and renew their acquaintance.

The film was directed by cinematographer Alex Lehman who also worked with the Duplass brothers for the comedy-drama about terminal illness, Paddleton. Lehman has also directed documentaries about Asperges.

Although Clu Gulager appears in a cameo role, this is very much a two-hander film, photographed in black-and-white, with Jim, Mark Duplass, who wrote the screenplay, returning home and Amanda, Sarah Paulson, coming back to visit family. They meet by accident in a supermarket. Only gradually does the audience discover that the two had a relationship in the past, there was a pregnancy, the possibility of abortion, Jim unable to face the reality. They have continued with their lives, still with some resentments, the possibility of coming back together after such a long time – but facing the reality depends on the consequences of time passing.

The film is worth seeing for the quality of the performances and the rapport between the two stars.

1. The impact of the film? The quality of black-and-white photography? The quality of the dialogue? Performances? The brief running time?

2. The California town, overview, supermarket, parking lots, cafes, apartments? Realistic? The power of the black-and-white photography? The musical score?

3. The title, the memories?

4. Small, independent film, the writing and performance by Mark Duplass? The Duplass brothers and their producing?

5. The two-hander, the performances, the chemistry between the two, the sense of intimacy?

6. The short running time, seeming as if it was played in real-time?

7. The setting, the supermarket, the encounter, moving to the car park, the street, the cafe, home?

8. The reasons for the two being in the town? Jim and the death of his mother, coming to pack up? Amanda coming to visit her pregnant sister? The coincidence of their meeting?

9. Audience response to the initial reaction, one seeming not to notice the other, talking, old friends, yet the distance between them? Casual chat? The parking lot, the cars? The decision to go for a coffee? Continuing conversation, memory surfacing from the past? Their knowing each other, the nature of the relationship? 20 years earlier?

10. The visit to Waynie, again the memories of the past, his place in their lives?

11. The growing frankness, going to the apartment? Growing sense of intimacy?

12. The revelation about the past, Jim talking about how young he was, inexperienced, fearful? Amanda, love, pregnancy? The issue of Jim and responsibility? Abortion? The effect on both? Amanda leaving the town? Jim staying, doing jobs around the country over the years?

13. The growing intimacy, the attempt to kiss, the break? Jim wanting to break through his past? Amanda and her still being trapped by her past?

14. The film ending, no quick or easy solution, speculation about the future?

EVERYBODY KNOWS/ TODOS LO SABEN

Spain, 2018, 133 minutes, Colour.
Penelope Cruz, Javier Bardem, Ricardo Darin, Eduard Fernandez, Barbara Lennie, Irma Cuesta.
Directed by Asghar Fahradi.

Iranian director, Asghar Fahradi, has emerged as a significant international director. He has won the Oscar twice for his films, The Separation and The Salesman. He also directed, in France, the powerful drama, The Past.

He has now gone to Spain for a drama, a story of family and tensions, of past secrets – which sometimes belie the title of the film, Everybody Knows. The setting is a town outside Madrid, shown in great detail, homes, church, the streets, the countryside and the vineyards. The director has been able to recreate the atmosphere of Spain.

He also has the advantage of a very strong cast, especially with Penelope Cruz in the lead, supported by Javier Bardem and Argentinian actor, Ricardo Darin.

Laura (Penelope Cruz) arrives from Argentina in her home town after an absence of some years. She is accompanied by her daughter. Her husband (Ricardo Darin) has had to stay at home for business reasons. The situation is a family wedding and family reunion. The owner of the vineyard, Paco (Javier Bardem) is married, seems very offhand with Laura.

While the screenplay devotes quite an amount of time to the marriage ceremony and the celebrations afterwards, it moves into melodrama with the abduction of Laura’s daughter. The many members of the family become involved in the search as do the police. It seems to be an outside job – but suspicions narrow to somebody in the family. Gradually, lies revealed, greed exposed…

However, there is also the drama about the past, the reason for Laura’s leaving the town, her relationship with Paco, her marriage and bringing up her family in Argentina. There are some revelations which shock Paco and others, especially when the husband arrives from Argentina, deeply upset, and the issue is whether it is better to keep secrets or to have them revealed.

While not so intense as Fahradi’s previous films, this is nevertheless a strong drama, significant issues, fine performances.

1. The title? The reference to the relationship between Laura and Paco? The consequences?

2. The Spanish settings, the town, outside Madrid, homes, shops, the church, the surrounding countryside, the vineyards? The musical score and atmosphere?

3. The work of the director, in Iran, Oscars, in France, now in Spain? Local stories – but universal characters and situations? His ability to create the local atmosphere?

4. The opening with the Church tower, the bells, Irene and Felipe going up there, the bell ringing?

5. The introduction to Laura, arriving with her children from Argentina, the contact with her husband? Arrival for the wedding? Her being picked up, her family, her father and her thinking he was looking old, her sister and brother-in-law, and niece and the baby, the fiancés and the preparation for the marriage? The filling in of the back story, the relationship with Paco, her leaving for Argentina, her marriage, the children?

6. Paco, his vineyard, his relationship with his wife, with the workers, his enthusiasms, the crops and the harvest? His personality, his love for his wife, her being a strong personality? Meeting Laura again? His driving – and seeing Irene on the bike with his nephew?

7. The preparation for the wedding, all the details? The wedding itself, in the church, the congregation, the couple, the priest, the little girl causing the noise, the bell rining, the priest adding his appeal for finances? The celebration during the night, music, dancing, the family enjoyment, the old father, conversation? Irene and her being tired, going to her room?

8. The abduction theme? The initial showing of a gloved hand cutting out newspaper items? Their being left on the bed after Irene being taken? The parallel with the earlier story of abduction – the interview with the mother, the sad consequences? The financial demands?

9. Summoning Alejandro? His arrival from Argentina? His concern, his God language? The revelation that he was bankrupt? His later explaining his alcoholism, the encounter with Laura, her saving him? The agreement about her pregnancy, not having an abortion, raising Irene as his own? The marriage, the little boy?

10. Laura, the reaction to Irene’s disappearance, grief? Paco and Alejandro and their going in search? The discussions with the family?

11. Laura, Paco, the truth, his reaction? Her appeal for money, for him to sell his land (and the background of his buying it cheaply from the family but developing it)? His acting on this and selling it? His wife, his telling her, her reaction, her suspicions of the family?

12. Paco and Alejandro, the conversation, memories of the past, Paco taking Laura to the airport, the sexual encounter, her pregnancy?

13. The contact with the authorities, advice about the case, payment?

14. The audience learning that it was Laura’s niece, her story about the husband in Germany and the separation, her going during the night to him and his accomplice, her change of heart, concern, wanting Irene released? Her mother seeing the boots, the wet trousers, suspicions?

15. Paco, the contact, driving the car, on the bridge, the noise in the water, return to the car, the money gone, Irene in the back seat, his care for her? Her parents driving, taking her, reviving her? The impact on each of them? Laura, affection, thanking Paco?

16. The family returning to Argentina, the farewells? Paco and his wife? The future?

17. The mother, her husband, sitting down with him – and the film ending indicating that she would reveal the truth? Consequences?

THE CURSE OF THE WEEPING WOMAN/ THE CURSE OF LA LLORONA

US, 2019, 93 minutes, Colour.
Linda Cardellini, Roman Christou, Janynee- Lynne Kinchen, Raymond Cruz, Marisol Ramirez, Patricia Velazquez, Sean Patrick Thomas, Tony Amendola.
Directed by Michael Chavez.

Any film with the word ‘curse’ in the title is offering an invitation to horror and thriller fans. And so with this one, it is basically a vengeful ghost story. It is a Hispanic ghost story.

We get in the mood for the drama to follow as we watch a sinister white veiled woman trying to drown her child in the river. Another little boy is approaching, calling out to her. And then an immediate transition to 1973, a story about Anna, the widow of a policeman, her bringing up her son and daughter and coping with grief, doing casework with families in need. She is played by Linda Cardellini.

She is called out to a case involving a distraught woman, Hispanic background, authorities fearful that she has injured her children but, in fact, has locked them in a cupboard, allegedly for their protection. The mother is removed as dangerous after attacking the caseworker. The children are put into a refuge for the night, but wander the corridors – and Anna receives a phone call in the early hours to say that they are dead.

Obviously, it is the weeping woman vengeful about the loss of her own children, wanting to trap the children of other women. In fact, later in the film, there will be an explanation of the story, who the woman was, her relationship with her husband and his infidelity, the reason for killing her children. And, she is cursed to wander seeking other children.

It doesn’t take long for her to start haunting Anna’s children, especially as a widow, she has to take them out on her rounds for safety’s sake. Almost immediately, the weeping woman terrifies the son, terrifying him – but, unfortunately for consequences, he does not let people know what happened, even to the scratches on his arm. Later, at home, the daughter is pursued, also with scratches – and not telling anyone what she has seen, which arouse the suspicions of the authorities, another caseworker coming to interview the children. Fortunately, a police friend of the dead husband, is supportive.

Anna goes to consult a priest, Father Perez (Tony Amendola), an audience who is familiar with the Annabelle and Conjuring thrillers will recognise him – and there is a momentary glimpse of the doll, Annabelle. So, we are in link with those films and their sequels – and are obviously being introduced to a possible further franchise. The priest cannot do anything, obeying the regulations of the diocese, but suggest they go to see a former priest who has been performing exorcism-like rituals according to Hispanic traditions and superstitions.

This means that the rest of the film is the group confronting the weeping woman, their being chased around the house, the children hiding in the attic, the exorcist performing his rituals – and threats to the girl who reaches beyond the house for her doll, the weeping woman wanting to drown the children, the mother having to dive into rescue her daughter…

The finale provides an alternative use for a cross!

More or less as might be expected – and doing it well for the target audience.

1. The title and expectations? Mexican folklore? Ghost story? Exorcism story?

2. The link with the Annabelle films, with The Conjuring world, the image of the doll, Annabelle, the presence of Father Perez?

3. The prologue, little boys, the search, the weeping woman drowning her child, confronting the little boy? The later explanations, the young woman, her marriage, her husband’s infidelity, her killing her children, the curse, wandering, taking other people’s children? Patricia and her experience? Anna and the threats to her children?

4. The visuals of the weeping woman, her veil, if the real is a ghost, her face, appearing young at the end?

5. Anna, her role with the police, the death of her husband, the photos and grief, the little boy imitating his father? The children, late for work? The assignment for Patricia, given to Donna? Her going to the house, the confrontation with Patricia, searching for the children, Patricia’s attack? The key, finding the boys in the cupboard? Getting them shelter? The little boy waiting, his brother wandering the corridors? Their being found drowned? Patricia summoned, taking her children, in the car, Charlie and his fears, the apparition in pursuit?

6. The repercussions of Charlie denying anything, Samantha saying nothing happened, Anna and her secrecy?

7. The injuries to the children? The apparitions in the house, the marks on Samantha? The confrontation with Anna, the violence, the marks? The report to the authorities? The interviews with the children, Anna absent?

8. Detective Cooper, friendship with Anna’s husband, his visits, support?

9. Anna going to the priest, the discussion with Father Perez, his advising her to see Rafael? Rafael and the rituals at the children’s funeral? Her going to visit his shop, the request? The background of rituals? The equivalent of an exorcist?

10. His going to the house, the safeguards, the beans at the door, Samantha and her reaching for her doll and breaking the link? The presence of the weeping woman, her threats, the violence in the house? The children going to the attic? Charlie and getting the woman’s medal? The danger at the pool, Anna diving in, saving Samantha?

11. The buildup to the final confrontation, the use of the medal, the cross – and piercing the woman, her disintegration?

12. The gratitude towards Rafael, from Anna and the children? Anna looking into the pool – and further weeping woman stories?

SHATTERED MEMORIES

US, 2018, 91 minutes, Colour.
Elizabeth Bogush, Eddie Kaye Thomas, Brad Schmidt, Sarah Lind, Philip Boyd, Victoria Barabas, Mark, Famiglietti, Walker Borba.
Directed by Chris Siverston.

Shattered Memories is a popular murder mystery, with the visual style and the type of characters from popular soap operas. The opening is striking, the central character, Holly, awakening to find a dead body in her bed and her being covered in blood.

The action takes place the morning after the death, Holly not going to the police, trying to track down what happened. Involved are two of her sisters, one about to be engaged to a teacher at the school, the other married to her husband for 15 years. She has attended the celebration the night before.

There is quite a range of flashbacks, building up the story of Holly, her family, relationship with her sisters, the school encounter with the father of a student with problems, having an affair with him.

Audiences will be thinking ill of the murdered man but, in Holly’s flashbacks, he comes across as more genuine and apologetic.

The murderer is something of a surprise, mixed motivations, in the screenplay contriving for him to be shrewd, driving Holly, setting up the murder…

1. Murder mystery? Situation? Suspects?

2. The American city, homes and apartments, the streets, parties, school and guidance offices, countryside? Musical score?

3. The linear narrative, the range of flashbacks, mixed up – according to the title? The fact that Holly was a drugged and her trying to piece the past together?

4. The opening, Holly awakening, Ray dead in the bed? Her initial reactions? Washing the blood? Not phoning the police?

5. The morning after the death, contacting her mother, her sister arriving, the plan for breakfast, Tim outside with the phone? Her husband returning, her son? Camping? Mysterious behaviour? Driving, seeing Lois with Glenn, her suspicions? With her son, his concern about divorce? Her husband and telling him the truth, upset for both parties? Her being summoned to the house, the three sisters, Ray arriving, the solution to the mystery?

6. The flashbacks, Holly at school, Ray, his daughter and Teddy, her making up stories, Holly trying to intervene, meeting with Ray? Going for walks with him, the beginning of the affair? At the party, his speech, into the pool with Lois? Lois saying that Ray took her home?

7. The party, her drinking, Joanna and Tim together, Lyle and Lois, 15 years, Holly bringing both groups together? The fact that she was drugged, taken to Ray’s place by Tim? The setup?

8. The revelation that Tim was jealous, murderer, setting up Ray in the bed, removing him, putting his body back on the bed, Joanna’s reaction? The knife, her killing him?

9. Hope for the future, Holly and her son, Ray’s daughter returning, Holly planning to explain everything to the daughter?

HIGH FLYING BIRD

US, 2019, 90 minutes, Colour.
Andre Holland, Melvin Gregg, Faarah Bala, Zazie Beetz, Bill Duke, Zachary Pinto, Kyle Mac Lachlan.
Directed by Stephen Soderbergh.

For over 30 years, Steven Soderbergh has been a significant director, director of photography, pioneer in techniques and craft. He won the Palme D’Or? in Cannes in 1989 for Sex, Lies and Videotape. He also serves as his own director of photography, under a pseudonym.

His range of subjects has been wide, for instance in 2000 directing both Traffic and Erin Brockovich, winning the Oscar for Best Director for Traffic. He also moved into television, allegedly giving up movies. However, he began to experiment with different cameras, making films with a phone camera, including Unsane and this film.

The subject is professional baseball in the United States, a strike by players, the attitudes of the financial bosses, negotiations by agents. There are no professional basketball scenes in the whole film – only a short sequence of two star players and some of their manoeuvres in front of a school group.

Andre Holland plays an agent, a shrewd man, dealing with all the authorities, trying to deal with a temperamental, and less than alert, champion player, Melvin Gregg. He has a long relationship with a basketball coach, played by Bill Duke.

American audiences may be more interested than international audiences because of the immediacy of basketball and the NBA. However, the negotiations, the dealings, the ambitions, financial influence, television and Netflix rights… may intrigue international viewers given their own sports and negotiations.

1. The world of the NBA, American basketball, players, competition, lockout, business background, negotiations?

2. The Bronx setting, New York City, modern, skyscrapers of glass, offices, the streets, atmosphere?

3. The title, images of basketballers?

4. The insertion of black-and-white interviews with players, their selection, the reflections, their ambitions, play? Anchoring the fictional story in the reality of the players?

5. Ray and his story, his background in Mississippi, basketball, relations, competitiveness? His skill as an agent? Plans, shrewdness? Sam as his assistant, ignoring her, working with her, her moving on, his support? His interviewing Eric Scott, the meal, the audience understanding some of the issues, the players, the lockout, contracts? Scott and his understanding of situations or not? Ray giving him the book – and Sam finally opening it, the story of Black sports heroes?

6. Ray, the office, the interview with Dave, the possibility of his losing his job? His rudeness, understanding of the situation, taking a cut in his own salary, keeping the players on contract?

7. Going to Philadelphia, the interview with the mother of the player, her shrewdness? Emphasis on prayer, yet the prayer for success? The consequences for him?

8. Sam, her ambitions, her work, discussions with the players union representative? Meeting with Eric, the sexual liaison? Continuing to support him, her future career?

9. The executive, David, going to Australia, his plane, returning, meeting with Ray the sauna, Ray explaining his view of the situation? David returning, the discussions about business, Netflix, competition and bookings? Ray and his success, the discussion with Dave and Ray moving up, the better office?

10. The episode with Spence, Spence and his career, training the youngsters, hard on them? Friendship with Ray? Ray bringing Eric to talk to the young players, Eric late, Spence urging Ray to talk, telling his story? Introducing Eric?

11. The player from Philadelphia and his mother, arriving, the rivalry on social media, the challenge, the youngsters watching, the play, the interruption? The match being photographed, on social media, the number of those watching – and a cogent argument for the managers to make a decision, and the lockout?

12. A basketball film without much basketball at all, a look behind the scenes?

13. Continuity with the work by Steven Soderbergh – his being director of photography, and using the phone camera to make a feature film?