STOCKHOLM, PENNSYLVANIA

US, 2015, 99 minutes, Colour.
Saoirse Ronan, Cynthia Nixon, Jason Isaacs, David Warshovsky, Rosalind Chao.
Directed by Nikole Beckwith.

While the name of Stockholm has meanings beyond its being the capital of Sweden, it is associated with a Syndrome, a captive identifying with the captor, changing perspectives on life.

This film opens with a young woman, age 22, being rescued from abduction after 20 years. She is very awkward with her parents, does not remember, has no affection for them. The film shows their attempts, especially the mother, trying to make her daughter feel at home, showing her photos, reminding her of stories, yet really failing to connect.

The girl, Leanne, is played by Saoirse Ronan, a talented actress with Oscar nominations and a wide range of film roles. Cynthia Nixon, probably best known for Sex in the City, although she portrayed Emily Dickinson in A Quiet Passion, plays the mother.

Gradually, there are flashbacks to the basement where Leanne has been kept, given a new birthday, her name changed to Leia, windows blocked, her captor telling her that the world had been destroyed. He is played by Jason Isaacs.

The bulk of the film shows the mother trying to relate to her daughter, the daughter going to visit her captor in prison, her mother and father separating, her mother becoming more radical, restraining her daughter, becoming a new captor.

The film raises the issue abduction, the mentality of the abductor, the effect on the person abducted – and the consequences for the parents and possibilities and impossibilities of coping with the returned child.

1. The title? The American town? Echoes of captivity and the Stockholm Syndrome?

2. The town, homes, counselling offices? The contrast with the abduction and the isolation in the basement? The musical score?

3. The screenplay gradually filling in the background of the abduction, the occasion, the captor, the internment, the identification with the abductor? Finding the girl, restored to her parents, the difficulties? Forgetting the past, not relating immediately to the parents, memories of the abductor?

4. Leanne’s story? Seeing her first on her return, aged 22, her capacities, her lack of abilities because of being captive? Awkward with her parents? Not having had any practical experience like cooking? Her ignorance of the outside world? The discoveries, the emotional effect, her trying to adapt, failing, counselling?

5. The story of the abduction, sudden, her being young, interned for many years, a new birthday, a new name, the scenes of her childhood, being told that the world had been destroyed, believing everything from Ben, the bond with him, learning, protected, his absence and her attacking him?

6. Benjamin Mackay, his age, experience, the motivation for taking the baby? His mental state? Infatuated with the baby, bringing her up, lying about the world outside, blocking the windows? Limiting her experience? The scenes of the wonders of the world, and telling her they were no more? The audience seeing him arrested, in jail, Leanne’s visit? His declaration of love for her even in prison?

7. Marcy, memories of the abduction, living it for 20 years, the searches? Her husband, his seeming detachment, Marcy feeling she had to support him as well, feeling not supported by him? The return, his lack of involvement, her wanting a separation, his visit to get his clothes? Possibility of return?

8. Marcy and Leanne, the awkwardness, the embrace, the room, practical learning, the stove and the toaster? Her anger with Glenn? Growing tension with Leanne, trying to teach her, trying to support her, Leanne and the long absence and not telling the truth? Marcy and her books, training, using the rope, restraint, becoming her captor like the abductor? Leanne’s reactions, the drinks of water, the timetable, the meals, the therapies?

9. The visit to the therapist, the possibilities of some success? Marcy and her preventing the therapist seeing Leanne?

10. Too much for Leanne, the final message for Marcy, her leaving – where to?

WHERE HANDS TOUCH

UK, 2018, 122 minutes, Colour.
Amandla Stenberg, George Mackay, Abbie Cornish, Christopher Eccleston
Directed by Amma Asante.

Some years ago there was a concentration camp film, The Boy in the Striped Pyjamas, focusing on two young boys, one from the family of the concentration commander, the other an inmate. At the time, there were mixed feelings about such a film, especially its emotional impact, too soft a story for such a significant episode in world history, while others thought it communicated the horror with its focus on the friendship of the two children and their fate.

There has been something of a similar reaction to Where Hands Touch. This time the focus is on love between a 16-year-old girl and a young man, a Nazi soldier, their life in Berlin, their finally being together in the concentration camp. Again, this film is not a serious analysis of the evil – rather, it is a literally touching story, in name as well as in emotional impact.

There is also a background that is not familiar to us – information given at the end that there were many children and young adults of German mothers and of African fathers, born in the 1920s living in Germany. The central character here is Leyna, one such child, living with her mother and smaller brother, taking refuge in 1944 in Berlin. On the one hand, this is a more quiet Berlin than we are used to in war years, not bombardments. Rather, a Berlin of menace, peaceful-seeming, homes, schools, shops – but the continued presence of Nazi officers, of threats in the street, of sudden executions, of the burning of papers by malicious officials.

A great strength of the film is the performance by Amandla Stenberg (so impressive in many films, especially The Hate U Give. She is a strong screen presence destined for many more significant film roles. She and her brother have been protected by their mother (Australia’s Abbie Cornish), even getting documents to say that she has been sterilised so that there is no risk of pregnancy and her being accused later of miscegenation. The small brother has to join the Hitler youth, ambiguous feelings developing about his sister and racial issues.

Lutz, George Mackay, accidentally knocks into Leyna with his bike. He is attracted, later follows her, they talk, fall in love. He is a patriotic young man who longs to go to fight on the front. And she herself continually declares that she is German, never wanting to talk French, the language of her father. Lutz is under the command of his father, Christopher Eccleston, who fought in World War I and wants to protect his son.

The film inevitably moved towards tragedy, the arrest of the mother, Leyna rounded up and sent to a camp where some of the inmates insult her racially, where she is protected in the kitchen by the Kapo, and where, as we know, she will meet Lutz again – just as the war is coming to an end and American troops are on the way to free the concentration camps.

So, this is a film of feelings, being touched, with both tragedy and its sadness, and some moments of joy.

It is not the last word, the last film, on the Holocaust – while vividly showing the persecution of the Jews, looking at a different racial minority and the Nazi response.

The director is the British Amma Assante whose films Belle (racial issues and slavery in 18th century Britain) and A United Kingdom (about the King of Botswana in the 1940s and 1950s) were both moving and significant.

1. The title? The physical touching? Emotional touching?

2. 1944-1945? Atmosphere, costumes and decor? Belgian locations for Germany? The town, the homes? Train trips? Berlin, apartments, the streets, school, the shops? Nazi headquarters? The concentration camp, interiors and exteriors? The musical score?

3. The traditions of films about the war, sensibilities, the focus on young characters and their experience? The importance of race issues? In Nazi Germany?

4. The final information about German women, the relationship with African men? The children from the 1920s? Nazi policy, Hitler and purity of race? German mothers getting papers for their children? Yet the Nazi authorities burning the papers, condemning the children, the experience of racism, anti-Semitism, purity of race and consequences? Leyna out of school, Leyna and the arrest, going home to her brother?

5. Being transported to the camp, working the kitchen, the support of the Kapo? The huts, the beds, sharing, her being insulted racially, the girl with the shoes, stealing the potato to help her, the girl being shot?

6. Lutz and his father, Lutz wanting to go to the front, the encounter with Leyna, discovering she was pregnant? His work in the camp, helping her, their talk? His ring being confiscated and his father finding it? The lining up of the prisoners, the officer commanding Lutz to shoot?

7. Lutz and his talk with his father – and, ultimately, his father shooting him?

8. Leyna, her grief, the hostages lined up for death, her collapse, the rescue, the audience seeing the black hands helping her?

9. Questioned, her pregnancy, the joy of being reunited with her mother and brother?

10. The film and its emotions, a touching film rather than an analytic film about Nazism, the camps, the victims? The film both tragic and human?

HOTEL MUMBAI

Australia/India, 2018, 123 minutes, Colour.
Dev Patel, Armie Hammer, Nazanin Boniadi, Tilda Cobham-Hervey?, Anupam Kher, Jason Isaacs.
Directed by Anthony Maras.

The 2008 massacre of Indian citizens at a railway station, restaurant, and local staff and international visitors at the Taj Hotel in Mumbai was shocking at the time – especially for such a jihadist massacre to take place in India. However, as the years have gone on, it becomes just another tragedy in a series of massacres from France to New Zealand.

While there had been a documentary about the events, Surviving Mumbai, this is a realistic portrait of the events as well as creating dramatic fictional characters based on actual persons. Audiences are dramatically immersed in the events, trapped with so many of the people in the hotel, experiencing their shock and fears, their dreads, witnessing the callously indiscriminate killing for the sake of a fanatical religious cause.

The film also incorporates film and newsreel footage from the events, enhancing the authentic feel – as well as its being a device to keep the audience (and those trapped as well as onlookers) informed as to what was happening in the local response, the limitations of the authorities and police in Mumbai and the need for flying in expert troops from Delhi.

Audiences who have visited Mumbai will appreciate this portrait of the city, its views, its people, The Gateway, It is with dismay that we watch 10 young men, trained jihadists, keeping in radio contact with their handler, referred to as Brother Bull, a manipulative voice, a commanding tactician, speaking in the name of Allah and the Koran, making exceptions to Koranic law for expediency’s sake, delighting in the number of deaths, wanting the taking of rich hostages, preferably American, for ransoms.

On the one hand, there is the local story of Arjun, played by Dev Patel (on loan from the exotic Marigold Hotel), who works at the Taj, has a family, his wife pregnant, who serves the wealthy guests but also has a strong presence, helping to lead a number of guests to safety in a concealed clubroom, working in the CCTV surveillance room, instrumental in saving many guests. There is a strong affirmation of the hotel chef who contributed to leadership and safeguarding.

The film also focuses on several guests, a smug Russian official (Jason Isaacs) who does achieve some heroism at the end. The main focus, however, is on a family, a friendly American played by Armie Hammer, who is married a Muslim Indian woman (Nazanin Boniardi), with the young son and a nanny, Tilda Cobham-Hervey?. Their story provides a great deal of dramatic tension.

Audiences attuned to race issues might be tempted to think that there is too much emphasis on the Americans – but, they are central, as is the Russian, to the raid, locals being killed, rich foreigners to be exploited for money.

The raid does not go as planned, leading to a final stand by the Jihadists, ruthless even as they die, still listening to and loyal to Brother Bull. Nor does it go as hoped because of so many victims, especially in the staff caught so unawares, but also for some of the foreigners.

This is a first film by the director, a considerable achievement, the collaboration between India and Australia. And, sadly, it is a vivid reminder, taking the audience into a massacre experience, that there have been many such attacks since then.

1. The film based on facts? Mumbai, November 2008? The massacre and its motivations? The killers and their control? The response of the police and authorities? The railway station, the restaurants, the streets? The Hotel Taj, the staff, the guests?

2. The film seen in the light of atrocities and massacres, especially since 9/11? Jihadists? The war on terror? And in the light of racist extremists and their attacks?

3. The setting, the city of Mumbai, the vistas of the city, the Gateway, the railway station, the streets, the poorer areas, restaurants, the hotel and the exteriors and interiors? The recreation of the events? The use of newsreel and film footage?

4. A close-up of events, the audience immersed in the experience?

5. The background, 10 young men, their training, jihadist? Their trainers? Arrival, the bag of weapons, the set targets, getting the taxis, going to the destinations? The radio contact, the directions of Brother Bull? The control, the tactics, action?

6. Young, radicalised, callous? The jihad, attitude towards infidels, laws and the Koran? Mowing down people? Yet as persons, the curiosity about the food, the joking? Their curiosity, the flushing toilet? The wounded killer, phoning his parents, their pride, his dying? The man arrested, the others killed? No apprehension of the organisers all the controllers?

7. The victims of the railway station, the victims of the restaurant, the couple hiding under the tables, escaping into the streets? Going to the hotel and getting entry?

8. The range of the guests, the style of the Taj? Wealthy guests, the treatment by the staff? The Russian, his background, arrogance, alcohol, the different menus for food and women? Later, his confrontations, arrogant manner, attracted towards David’s wife, helping her, the discovery of his identity, his tripping the killer, his death?

9. The American couple, her Muslim background, David and his enthusiasm, the young boy? His wife leaving her parents and religion? The love? The baby and Sarah, as nanny? Their suite, the meals, waited on, his faux pas about the beef burger in India, apology? Dislike of the Russian?

10. The range of the staff, reception, their manners, the preparation of the rooms, the staff who had been there for decades? Pink or blue for the baby? The range of personnel, men and women?

11. Arjun, Sikh background, his family, pregnant wife, the son, losing his shoe, the bike to the hotel, running late? The lineup, the detailed inspection, hands, by the chef? The discussion about who would serve the Russian, the young man and his mispronunciation of wine? His going out, the clash with the taxi driver – and his later being shot?

12. Arjun and his working for the couple, helping serving, the protection? His role in helping survivors go to the club, the hidden room, secure doors? The reaction of the group, the upset woman and the suspicion of David’s wife on the phone in her language? The suspicions of Arjun and his headdress? His gentle and patient explanation, her response, relying on him? Getting the people out, helping the hysterical wounded woman, the encounter with the police on the stairwell? His taking them to the surveillance women? Going to the club, the plan for escape, the service stairs, further action? Free?

13. The attack, seemingly inexplicable, people’s fears, the shooting at the reception, in the foyer, indiscriminate, their going upstairs, the corridors, knocking on doors and killing, the old lady taking refuge in the room with Sarah?

14. Sarah, with the baby, having the shower, the intrusion of the woman, the killers, her hiding in the closet, the fear for the baby crying? The contact by phone and texting? David, taking the risk, returning to the room? His wife staying in the club? The contacts? In the corridor, David being taken, not killed, wanted for an American ransom? The wife, wanting to get out, the help from the Russian? Their both being taken, ransom, bound on the floor? The difficulties with the siege, Brother Bull and his decision that the ransom victims be killed? The wounded killer and the wife and her reciting the Koran, his not wanting to kill her? His respect for the law, Brother Bull and his stating exceptions (and also with the killer urged to search the woman and touch her breast, his revulsion)?

15. Sarah, with the baby, with the group, getting out?

16. The film showing the hours since the beginning of the attack? The police and the group getting inside, surveillance, being killed? The local police? The special forces having to fly from Delhi?

17. The role of the media, television – and this being incorporated into the narrative so that the audience was also watching this coverage?

18. Sarah, the wife getting out, the making contact?

19. The siege, the deaths, grenades, dowsing the hotel, the fire?

20. Arjun, the escape, the scenes of the locals watching the television, the anxiety of his wife? Her washing her son, the reconciliation?

21. The reconstruction of the hotel and the celebration at its reopening?

22. The final information, real characters, blended fictional characters, the heroism of the chef and his control of the people in the room, leading them to safety?

23. The sad reality that this was one massacre in the line of many?

THE ODYSSEY

France, 2016, 122 minutes, Colour.
Lambert Wilson, Pierre Niney, Audrey Tautou, Laurent Lucas, Benjamin Lavernhe, Vincent Heneine.
Directed by Jerome Salle.

Jacques Cousteau was a celebrated name in French 20th century culture. He pioneered a great deal of undersea exploration, especially in filming it. His film, The Silent World, won the Golden Palm in Cannes 1955. He made other films but, especially, documentaries for American television. Later in his life, he fostered environmental causes.

This film is a portrait – and not always a sympathetic one even though Cousteau is admired in the work that he did. Injured in a car accident, he devoted himself to swimming, working with some colleagues to develop aqualungs and Scuba diving.

The film opens in 1949 with Cousteau and his children, moving through his work in the 1950s, especially with the financial help of his wife in buying a boat and renovating it. However, it was so absorbed in his work that there was some alienation from his wife and he was a philanderer. She, however, because of the financing of the boat, considered it her home and lived there.

The film also focuses on one of his sons, Philippe, who also became involved in the filmmaking even though he had a like-dislike relationship with his father. The film opens with Philippe crashing into the sea and then returns to that accident at the end of the film, causing great grief to Cousteau himself – but he persevered with his work.

The film is enhanced, of course, by a great deal of undersea filming.

Lambert Wilson gives strong performances Cousteau, Audrey Tautou is his wife, Pierre Niney is Philippe.

1. The title? Memories of Odysseus’s wanderings over the sea? Licking this with the life and adventures of Jacques Cousteau?

2. Audience knowledge of Cousteau, his career, opening up of the oceans, life under the sea? Media, films and television programs?

3. The opening, Philippe and his piloting, the crash? The resumption of this the end, grief of Cousteau? Yet his persevering in his Odyssey?

4. The sea, the variety of locations around the world, the different oceans, the underwater photography, seeing the swimmers, the aqualung is, the cameras, exhilaration, the dangers? Cousteau and his wife, children? His teams? The impact of the underwater photography and opening up this silent world?

5. Cousteau, the accident, the scar and his shoulder? Moving underwater, his being called Captain? With his children on holidays? The relationship with his wife? Involving the children, their growing up, collaborating with him, clashes with him, sometimes wishing that had another father? His relationship with Simon, his infidelities, her response, staying with him and the ship?

6. The buying of the boat, Simone and her jewels, the reconditioning of the boat? The volunteers working assembling his crew, the inventions for breathing underwater, cameras? The success of his film, The Silent World, winner at Cannes, the Oscar? Further filming, the deals with the Americans and the meetings, promotion, television series?

7. The year is passing, the use of the Calypso, it being a home for Simone? The boys growing up? One son planning underwater habitation? Philippe, memories of the past, his father involving him in his work, the ups and downs of the relationship, business, his filming, directing, finally going with him to Antarctica?

8. The range of destinations, the world is opened up, sea life, fish, whales, sharks?

9. Cousteau and his personal life, his relationship with his wife, the range of women in his life? Simone, her character, making the boat her home? Her relationship with the children? With the members of the crew? The news of Philippe’s death?

10. Cousteau’s changing perspective, support from oil companies, undersea prospecting? His moving towards environmental issues? Later awards and his reputation, foundations?

11. Finance, his ambitions, hopes, his wife’s jewels, paying crew from his own money, the discussions with the American television producers?

12. His complete absorption in his work, his ambitions, his achievements?

MIDNIGHT SUN

US, 2018, 91 minutes, Colour.
Bella Thorne, Patrick Schwarzenegger, Rob Riggle, Quinn Shephard.
Directed by Scott Speer.

This is a remake of a Japanese film, this version designed for older teenagers and younger young adults. It is very emotional film – and, for those who enjoy this genre, reminiscent of stories by Nicholas Sparks.

Bella Thorne has an illness, a one in a million illness, her being unable to bear any sunlight, confining her to her house, homeschooled by her father. He is played by Rob Riggle quite differently from his deadpan comedy roles.

Katie graduates from homeschooling, wants to go out, gets permission to play her music at the railway station, by chance encountering Charlie, Patrick Schwarzenegger, whom she had watched as a child skateboarding past her house. There is a romantic development – they’re going out, going to parties, enjoying his company, not telling him the truth.

One outing leads to her not checking her watch and their having to hurry home, but her being touched by the sunlight. There are hospital sequences, tests, and not responding to Charlie when he comes the house, and the couple have some time before she dies.

Older adults will probably either have some nostalgia or feel that the film is far to submit sentimental for their taste – it is certainly geared to the younger audience.

1. Young adult story? Geared for the target audience?

2. The American town, homes, the beach, clubs, parties, hospitals? The musical score?

3. The title, the focus on Katie, her one in a million illness, confine to home, the dark, the danger from the sun?

4. Katie and her dreams of her mother, at the beach, the guitar, her mother’s death in the accident? Her growing up, the continued inpatient care from her father?

5. Her life, looking out the window, seeing Patrick running, watching him over the years? Morgan and her visit, strong minded, continually visiting and supporting Katie?

6. Kate has a teenager, wanting to go out, at home, playing and composing? The graduation, home taught, the support of her father?

7. Permission to go out, curfews, at the railway station, playing and singing, the encounter with Charlie? Her awkwardness, leaving her book behind, his reading it, Morgan and her organising Katie to go out, meeting Charlie again?

8. The bond with Charlie, not telling her that she knew him, not telling him about her illness? Going to the parties, the noise and the crowds, the bonding with Charlie, walking? Talking? His coming to meet her father?

9. The outing, on the train, Coney Island, the swim, the watch stopping? The hurrying home, into the house, the touch of the sun?

10. Going to the doctor, the danger from any sun, the consultations and tests, the hopes for the trial? Her becoming ill?

11. Charlie learning the disease, googling and learning? Her rejecting his texts, his coming to the house, a reconciliation?

12. The ruins, getting permission to go out into the sun, on the yacht, the time together, her death, the funeral of the scattering of the ashes?

13. Charlie, his swimming, Katie’s intervention, her father support of Charlie?

14. A story of tears and joy – especially for the older teenage audience, young adults?

BAD DAY FOR THE CUT

UK, 2017, 99 minutes, Colour.
Nigel O' Neill, Susan Lynch, Jozef Pawlowdki, Stuart Graham, David Pearse, Brian Milligan, Anna Prochniak, Ian Mc Elhinney.
Directed by Chris Baugh.

Quite an evocative title.

This is an Irish film, Northern Ireland, setting the 21st-century but with memories of The Troubles. However, the contemporary troubles concern crime and human trafficking.

The film creates an atmosphere, a farmer out in the countryside, the central character, Donal (Nigel O’ Neill) being a farmer, living alone with his mother who is murdered. Then there is an attempt by some thugs on Donal himself. He kills one but interrogates the other, a young Polish migrant who is in Ireland because his sister has been inducted abducted by human trafficking ring.

An old friend of Donal, a lawyer, shows him a photo and explains that it is mother who had a relationship with someone involved with the The Troubles whom she eventually reported to the authorities. The young Donal is in the photo but also a young girl, the man’s daughter, Frankie.

Frankie is filled with hate and resentment, has killed the authority to whom her father was reported, has organised the murder of Donal’s mother as well as the attempt on himself. She relies on a second in charge, Trevor, (Stuart Graham) but in petulance fires him.

The rest of the film is a kind of cat and mouse tracking between Donal and Frankie, the young Poll persuading Donal to go to the brothel and rescue’s sister, Frankie manoeuvring but outwitted by Donal, leading to a confrontation on the beach and death.

Interesting but also tough stuff.

1. An Irish story? Irish history in the 19th century? The North? Violence and Troubles? 21st-century story, crimes story?

2. The title and the killings?

3. Northern Ireland, the farm, the house, hotel, the countryside? The musical score?

4. Donal, his age, farmer, seeing him on the farm, with the cows? Living with his mother? Middle-aged, his memories? Not knowing about his mother?

5. The scene of Leo, dying in the hospital, Frankie’s presence? People reporting to him, his power and control, death?

6. Donal and his mother, her treatment of him? Her murder? His being upset, not knowing the facts, seeing the photo with Frankie and her father? His lawyer friend and in telling the stories? His mother, her affair, informing Leo, bringing on vengeance?

7. The plot to kill Donal, the masked men, Donal getting the better of them, the death? The confrontation with the Polish Bartosz? Letting him live? Getting the information from him? Bartosz joining him?

8. The situation, the human trafficking, women from Eastern Europe? The brothel, the management, the clients?

9. The character Frankie, with Trevor, her control, in the car, her vengeful woman, memories of her father and his betrayal and death, her love for her daughter? Rely on Trevor and the other thugs? And his being second in charge, Frankie dismissing him? The plans, developing the property, the trafficking?

10. The plans going awry, Bartosz and his help, the confrontation with the thugs, their deaths?

11. Frankie and her plans, sacking Trevor, relying on the others, tracking Donal?

12. Donal finding Frankie, the cat and mouse pursuit?

13. Bartosz, his sister and the trafficking, persuading Donald go to the profit, helping her escape, the confrontation is, the fights, the girl saving Donal by shooting?

14. Bartosz and his return, to rescue his sister, to help Donal?

15. The beach confrontation, Frankie and Donal, the revelations about the truth, the twists in the struggle, Donal letting Frankie go, the gun, her changing attitude, his shooting her?

16. His survival, future? The grim story?

FISH OUT OF WATER

Australia, 2019, 75 minutes, Colour.
Directed by Israel Cannan.

This documentary is available on Stan.

Interesting title. The two central characters for this documentary spend most of their time on the water – but it is not always their natural habitat.

Don Quixote might have sung The Impossible Dream, as might many of us. However, living the dream is quite another matter. As we see in this film.

Pete Fletcher and Tom Hudson are Melburnians, Pete Fletcher is living on the Mornington Peninsula. Pete has been in business but, in midlife, has been having his recurring impossible dream. It involves the water. Tom Hudson, on the other hand, water was not part of his original dream.

And, the dream? To row from New York to London, the two of them in their boat, crossing the Atlantic. Rowing was not part of their way of life but, as they say, dreams…, challenges… And the concern whether the dream would ever be fulfilled.

We are introduced to the two of them at home and at work. They co-produced this documentary as well as contributing the footage from the Atlantic voyage. We see a lot of them, at home, going over to New York, the preparation for the trip, the boat, provisions (and a bit of learning about sea craft). There is a countdown to the days that they will leave.

There is also the human touch and including scenes with wives and families.

The film is a mixture of surprise and no surprise. We know that the film will end with their getting to England, in Falmouth (instead of the intended London). In fact, we will be told that they have broken the rowing record across the Atlantic. But, of course, the surprise is in the day by day of the voyage, surprises which they had to live through. Needless to say, there were difficulties, almost in possibilities – but, to experience them, is the point of watching the film.

There have been a number of films about single-handed sailors, most recently starring Colin Firth as Donald Crowhurst in The Mercy.

Tribute needs to be made to the director, Israel Cannan, who is credited as writer, director, producer, composer, editor. (A quick look at the IMDb tells us that he also appeared in episodes of Home and Away – but, significantly, sings the title song! It looks as though he has achieved some of his impossible dreams.)

Obviously a film for those with a keen interest in sailing.

THE MEANING OF VAN LIFE

Australia, 2019, 87 minutes, Colour.
Directed by Jim Lounsbury.

This is a documentary being released by Stan.

Not everyone, especially those who have very busy lives in the cities, are aware of “Van life�. There are certainly many of us who go travelling around Australia in trailers, especially those who have the leisure in later life, the so-called “grey nomads�.

No, this is not a documentary about grey nomads. Nor is it a documentary about trailers or caravans. It is about vans, minivans.

Rather, it is about a growing number of adults, some younger, a number older, who have opted for a mobile life, a greater sense of freedom, the ability to choose to move around, take a different perspective on reflections on the meaning of life, become part of a travelling community. While there is a lot of communication online, part of the spirit of this community, conveyed with great enthusiasm during this film, is an extraordinary camaraderie among the Van life members enjoying face-to-face meeting, face-to-face company.

Which means then that, while this film will have some ardent fans, many who tune in will find that they are onlookers, often rather surprised onlookers.

Most of the action, in fact, takes place in the United States and the director himself was born in Seattle. He knows the US West Coast particularly well. However, it is an Australian produced film and has substantial Australian content. The Australian enthusiasts proposing Van life are interviewed, one leader casually sitting at the door of his van, explaining the philosophy, explaining the experience, explaining its consequences.

The Australians make contact with the Americans and there is quite an amount of enthusiastic correspondence. Which means then the Australians go to the US, the various members in the US plan meetings and gatherings – which the film audiences invited to share.

In one sense, this documentary could be called a vocation film, a hearty invitation for those of like mind and spirit to join. They will probably get a number of converts and this way of life as a huge appeal – but, for most, this will be an onlookers’ pastime (perhaps a dream that will never come to pass).

PET SEMATARY

US, 2019, 101 minutes, Colour.
Jason Clarke John Lithgow, Amy Seimetz, Jete Laurence, Hugo Lavoie, Lucas Lavoie.
Directed by Kevin Kolsch, Denis Widmyer.

It’s no secret that Stephen King has a morbid imagination – and he has been developing it for more than 40 years. And, his success has been beyond his imagination, morbid or not. And, not only with the number of novels sold, not only with his millions of readers, but also with the very many film and television versions of those stories and the millions who have watched them.

Pet Sematary was filmed in the late 80s. It was a scary show. And this version, 30 years later, is also a scary show.

The poster features, very prominently, a group of youngsters in procession through the woods, animal masks on their faces, carrying dead pets to bury them. This certainly creates an atmosphere – but it is brief, at the beginning of the film, the only time such a scene is shown. On the other hand, there are several visits to the sematary itself with its many crosses and headstones. The sematary has an eerie atmosphere – but it is even more eerie once you pass by, climb steps, more woods, swamps, to a special burial ground.

However, the film starts with great hopes. The family has moved to the country from Boston, slowing down a bit, bonding. The father (Jason Clarke) is a doctor. The mother (Amy Seimetz) stays at home. The daughter is somewhat precocious – and comments on the wrong spelling of cemetery in case anyone is misled. The young son is very young. The daughter, Ellie (Jete Laurence), sees the procession of children and wanders off to the cemetery. There she encounters the neighbour, Jud, a widower who has lived in the area all his life.

The film also brings in some other ominous sequences, especially concerning the mother whose sister had a twisted spine, one of the little girl’s duties being to bring her her meals, using the dumbwaiter at one stage, with disastrous results which have haunted her all her life, and her blaming herself for her sister’s death.

Then the doctor has an ominous experience in his surgery, a young man victim of an accident who dies, sits up, haunts the doctor for the rest of the film.

But, it is the pet cat, Church (the young girl explaining to Jud that it is short for Churchill, asking whether he knows about him and John Lithgow, who played Churchill himself in The Crown, assuring her that he did – giggles from those in the audience who were knowledgeable!).

What Jud does is to help the doctor to bury Church after he is killed in an accident on the highway. Here, the screenplay draws on stories connected with Native American folklore, especially those buried beyond the pet cemetery coming alive again. In fact, in the early part of the film there has been a lot of discussion about the nature of the afterlife and whether it is possible or not, the doctor not believing it.

However, when Church is resuscitated, he is not the nice pussycat he was in the past…

As to what happens to those who die after this, to those who are buried after this, that is the point of Stephen King’s story, morbid as it is. In fact, the final scene being especially morbid for the audience either sitting grim through the credits or leaving morbidly.

1. Stephen King and his imagination? Horror? Morbid?

2. This film as a remake, the 21st-century and its styles?

3. The title, the misspelling, the focus, the burial ground, the children in their masks and the ritual, the native American traditions?

4. A family story, the background in Boston, the move, arriving, a slower way of life, Louis and his being a doctor, his practice and patients?

5. Rachel, devoted mother, going to the country, the flashbacks with her memories, a sister, the spinal disorder, bringing the meal, the use of the dumbwaiter, her sister coming down in the dumbwaiter? Rachel being haunted by these memories?

6. Ellie, the precocious daughter, curious? Gage, his age?

7. The secluded house, the sudden shock of the truck going past? Seeing the children with their pets, the pet masks, the pet cemetery, the crosses and graves? Ellie following, trying to climb, falling, meeting Jud, his helping her? Rachel coming, taking her home?

8. Ordinary life, settling in? The boy with the accident, Louis treating him, the hallucinations, his sitting up, living dead? His continuing to haunt Louis?

9. The atmosphere of hauntings, Louis and his dreams, Rachel and her memories?

10. The cat, his name of Church, pets, the stories about pets, Jud’s dog?

11. The discussions about the afterlife, Heaven, possibilities? Louis not believing?

12. Church and his being killed, the decision not to tell Ellie, Jud and Louis burying the cat, going through the pet cemetery, climbing the steps, to the far area through the marshes? The burial, the cairn of stones?

13. Churchill returning, different, aggressive, Louis taking him away, his return, malicious, on the road, Ellie seeing him, going to rescue him?

14. Ellie upset, the birthday party, the gift, Church on the road, the truck swerving, Ellie rescuing Gage? The skidding tanker, Elia and her death, her mother’s helplessness?

15. The burial, the grief, Rachel and Gage returning to Boston, with her parents? Louis alone, going to see Jud, Jud warning against the new burial? Louis drugging him?

16. Digging up the body, carrying it, the burial place, going home, sensing Ellie’s return?

17. Ellie, malicious, interventions, harsh yet her memories, going to Jud, his wife appearing to him in Ellie, her killing him?

18. The mother, phoning Jud, her return, Ellie with the knife, killing her mother? Burying the mother, her return, their attacking Louis, burying him?

19. Leaving gauge in the car for protection?

20. The family returned, zombielike, the family together?

FIGHTING WITH MY FAMILY

UK, 2019, 108 minutes, Colour.
Florence Pugh, Nick Frost, Lena Headey, Jack Lowdon, Dwayne Johnson, Vince Vaughn, Julia Davis, Stephen Merchant.
Directed by Stephen Merchant.

This is a wrestling film. Right from the start, there is no doubt, as we see clips of historical fights, of wrestlers from the past like Hulk Hogan, the fans and massive audiences – and some glimpses of The Rock. If wrestling is not your cup of tea, not your cup of tea at all, this could be the cue for exiting. On the other hand, if there is a bit of curiosity, especially looking at the cast list, it might be best to stay.

This is a very British film, one of those underdog stories, not unlike Rocky by the end of the film. The main setting is Norwich, English provincial life, the focus on the family where both parents were top wrestlers, where dad was a bank robber and spent a lot of time in jail, where they are now run a British World Wrestling Association, training locals, the out of work young, even a blind would-be wrestler. And, mum and dad have two children. So, a particular tone is set, even for the wrestling world – and even for the rest of the film, training camps in Florida and a huge championship bout at Wrestlemania.

Nick Frost is always an amusing actor and here, former bank robber, former wrestler, provincial accent and vocabulary, wrestling world haircut, is an entirely believable dad, Ricky. Lena Headey, who was glamorous in her past roles but learned the ways of good and evil and dominance through many seasons of Game of Thrones, is also convincing as the former champion, Seraya.

But, with the title’s emphasis on family, the focus is on the son of the daughter. Zak has wrestling in his blood, many bouts as he grew up, dream of being a world champion. Dreaming of being world champion is not the goal of his sister until she has about with her brother and beats him. They send tapes of their matches to an American company and receive invitations to audition. With the result, there is a message that those who have that extra spark can succeed while those who haven’t the spark and can’t do – they teach.

Earlier mention of The Rock leads to an appearance by Dwayne Johnson himself, reminding the audience of his talent as a wrestler as well as his talent, which champion wrestlers need, to verbally taunt their opponents to build up an aggressive mood. He is producer of this film – and later makes a very sympathetic appearance, especially getting involved in the tangled phone call with dad who doesn’t believe him and says he is Vin Diesel!

Zak is played by Jack Lowdon who has to play ambitious, angry, resentful because of the success of his sister. The sister, takes the wrestling stage name of Paige, is played by Florence Pugh (still young and who has shown such versatility with Lady Macbeth, The Little Drummer Girl). This is her film, a small Goth-looking British girl mixing it with glamorous American models turned wrestlers, doing her training, wanting to give up (yet, challenged by her brother not to throw away the opportunity), working hard, getting the opportunity to fight the Wrestlemania Champion and… Will she win or not? (A superfluous question!)

And, the manager and trainer with a story of his own is played by a hard and demanding Vince Vaughn.

And who would have thought the tall and gangly Stephen Merchant, comic writer and performer (appearing here are Zak’s father-in-law) would have been so much of a wrestling fan, both writing and directing here.

Wrestling fans (and this film seems to show that there are legions of them) will enjoy this experience. Non-wrestling fans might have to accept those sequences and concentrate on the family.

1. A true story? The photos in the final credits?

2. The appeal, the appeal of wrestling, the response of fans?

3. The title? Wrestling, fighting with, family clashes?

4. Stephen Merchant, writer and director, actor? His interest in wrestling?

5. Norwich, the family home, city scenes, the gym, bars? The scenes from the hill? The contrast with Las Vegas, the training camp in Florida, the beaches? Wrestlemania? The musical score?

6. The introduction, the status of wrestling, stars of wrestling, the bouts, the history? The role of the Rock?

7. The Knight family? Ricky, his appearance, his past career, robbing banks, prison, reforming, love for his wife? Seraya’s, her manner of speaking, the story, relationship with her husband? The two children? The pride? Their involvement in wrestling?

8. British wrestling, Ricki and his company, the career of the parents, Roy and his possibilities but going to jail? The daughter, the bout with her brother, winning, the fire for championship? Her brother’s dreams and hopes?

9. The theme of competitiveness, training, seeming defeat, challenge, winning – echoes of Rocky? And those who cannot do, teach? Zak and his to point disappointment and his destiny?

10. The brother and sister, the tapes, the invitation, the audition, their performance, Zak not picked, his sister picked, her name of Paige? Paige and the background of the witch who defends?

11. Paige and her character, strong minded, her Goth appearance? Her love for the family? Zak, his skills, in the ring, at the gym, his pregnant girlfriend, the meal with her parents, their proper reactions, asking his parents to tone down their manner? Stephen Merchant as the visiting father and his reactions? His proper wife and her later outburst?

12. The family, the gym, their reputation, the company and shares, the bouts, the audiences and fans, British style?

13. Hutch, Vince Vaughn? The auditions, his comments, hard, demanding? Choosing only Paige, his severe words to the others? End of the line? His interactions with Paige, the revelation of his background, his own career, his link with Dwayne Johnson? Paige and her giving up, his challenge to her, the training and exercises? His explanation of Zak’s not going any further? His choosing her for Wrestlemania?

14. Dwayne Johnson, his background, wrestling family, his career, his comic sense – and the repartee between wrestling challengers, the humour, getting the better of others? His meeting with Zak and Paige, the steel, his advice? Paige’s selection, his telling her, and the phone call with her family, her father saying he was Vin Diesel…? The Rock and his career, morphing into Dwayne Johnson?

15. The girls, models, glamorous, the clashes with Paige, the fights and the moves, Hutch demanding that Paige apologise? The severity of the training? The discovery that one had a son, her work? Paige dyeing her hair blonde, trying to mix with the girls? Failure? Her going back to England?

16. Her wanting to give up, the hardships of the training, Christmas, Zak and his disappointment, the severe bout with her in the ring, his telling the truth, going drinking? Her parent’s reaction? To accepting what she wished? Zak challenging her about throwing away opportunities?

17. Return, successful training, bonding with the women?

18. Being chosen for Wrestlemania, her fears, freezing before the bout, Zak and his phone call, encouragement? The reigning champion, spurning Paige, Paige reacting, the crowd on side, the trophy? Memories of the past and their making their own sashes? Her final speech?

19. At home, the fans from the gym, cheering, achievement?

20. The background in Norwich, the youngsters going for training, Zak and his contribution, especially the training of the blind boy and his becoming a wrestler?

21. The final credits, the story as real?