CAVE

Norway, 2016, 85 minutes, Colour.
Heidi Toini, Mads Sjogard Pettersen, Benjamin Helstad.
Directed by Henrik Martin Dhalsbakken.

Cave is impressive to look at but its characterisations and action are rather slight. And, at the end, Cave 2 is anticipated.

Three characters, with experience in Afghanistan, travel to a cave which is off official limits, explore it, find a mysterious presence and blood, have their own difficulties – but then the film turns into a film of passion and killing between the central characters.

There is a survivor who gets out of the cave and is picked up by a passing truck driver – and, it would seem, into the sequel.

For those who like cave films, The Cave (US) and Sanctum.

1. A psychological action-adventure? Cave exploration and daring? Personal passions and violence?

2. The Norwegian settings, the snow, the open highways, the vistas, aerial photography? The contrast with the lakes, waterfalls, caves, interiors, vastness, narrowness, water? The musical score?

3. Victor, his background in Afghanistan, phoning his friends to come to the cave with him? The preparations, the friendship between the three? In the cave, the exploration? Finding the tent and its contents and the blood? Deciding to go on rather than go to the police? The narrow crevices? Victor getting stuck, being pulled out? The swimming underwater?

4. Adrian and Charlie, the past friendship in for Afghanistan? Charlie and Victor? The bond between Asian and Charlie, they’re agreeing to go to the cave, the preparations? Victor and Adrian’s attraction to Charlie? Lying next to her in the cave? The response? Adrian, his character, love for Charlie? In the cave, the exploration? Freeing Victor?

5. The change of tone, Victor and his trying to kill Adrian in the water? Reviving, Charlie going for help, returning and finding Victor choking Adrian? Her reaction, his search for her, the lights? Getting the better of him, bashing him with the rock?

6. Getting out, swimming, pickup on the road? To where?

BAD MOMS 2

US, 2017, 104 minutes, Colour.

Mila Kunis, Kristin Bell, Kathryn Hahn, Cheryl Hines, Christine Baranski, Susan Sarandon, Justin Hartley, Peter Gallagher, Wanda Sykes, Cade Mansfield Cooksey.
Directed by Jon Lucas, Scott Moore.

A year ago, Bad Moms seems to have touched the funnybone of the wide audience, characters, oddball situations, plenty of vulgar touches, but quite funny in its way. It was obviously popular because, within a year, here is a sequel.

Once again, this one seems to touch the funnybone, the characters, even more oddball situations, and, of course, plenty of vulgar touches. But, again, quite funny in its way and destined to be very popular. It would not be surprising to see the Bad Moms in the future – though Bad Dads is promised.

The same team of Jon Lucas and Scott Moore (amongst others, the three Hangover films) are responsible. In the three moms, they created three quite different characters, Mila Kunis as Amy is in the centre, exasperated at home, divorce, bringing up the children, and fond of a friendly neighbour, Jay Hernandez, who has a daughter. Then there is Kiki, Kristin Bell, a nice, more simple mother, loving her children and her devoted husband, wary of letting her hair down. On the other hand, there is the brash and boisterous Carla, Kathryn Hahn, blunt in manner and language, not afraid of a drink, daring the other mothers to come out of themselves. And they did.

So, what are the filmmakers to do for a sequel?. They had a very bright idea: introduce the mothers of the moms. And they employed a very good cast to portray these dominant and intruding (well not all of them) mothers.

Each of the mothers has very a strongly delineated character and we welcome their appearances. To that extent, they steal the show.

And who are they? Even dominating the dominating mothers is Christine Baranksi as Amy’s mother. She can steal any film or television show in which she appears. She is Ruth who behaves ruthlessly. A formidable presence, dragging along her dominated but genial husband, Peter Gallagher, taking over the house, taking over Christmas – but, we look forward to her humiliation; but, we hope, something of a conversion. On the other hand, there is Cheryl Hines as Kiki’s emotionally dominating mother, utlrasweet, insinuating herself into every aspect of her best friend/daughter’s life – with an amusing therapist sequence with Wanda Sykes. We look forward to her process of unclinging.

As might be expected, Carla’s mother is the opposite, an absent mother, a gambler, often stoned, but making an impression because she is played by Susan Sarandon. We look forward to seeing whether she can settle down.

It is Christmas – and Jesus himself might be well-exasperated at the pressures of all aspects of commercialised Christmas and expectations (though there is scene at Midnight Mass and Kiki’s mother does mention that it is Jesus’ birth). We share with the mums and moms together in crisis over the five days to Christmas, Ruth organising everyone, the three mothers sharing a drink to escape and entangling with Santa Claus, as well as some Santa Claus strippers, one of whom, Ty (Justin Hartley), a fairly simple soul, who sees into the depths of Carla.

Mess, mayhem, exasperated swearing, jokes about sex and marriage, a bit of female ogling, but somehow or other it comes together much better than we might have anticipated.

1. The success of the original? The need for a sequel? Popularity? And the potential for another sequel? Characters, situations, the raucous tone, breaking stereotypes?

2. The American city, homes, shopping malls, bars, Church? The Christmas focus, commercialism, decorations, gifts, Santa Claus, carol singing competitions, the minimal attention given to the meaning of Christmas? The carols, the scene in the Church? The reference to Jesus’ birth?

3. The musical score, the songs, Christmas, the carols?

4. The title, the focus on the moms? And now the focus on the grandmothers?

5. The opening, the mayhem in the house, the mess, the camel, Amy and her reflections?

6. The presentation of family in the film? The moms, the relationships with spouses, boyfriends? With their children? Affection and care for children? The presentation of the grandmothers, their relationships with their daughters, dominating, possessive, not caring? The contrast between the generations?

7. Amy as the central character? Her children? The divorce? The managing? Her relationship with Jesse, his daughter? The past experiences with Kiki and Carla? The effect on her, loosening her up? Wanting a low-key Christmas? The preparations, the decorations, the gifts? The news of her mother’s arrival? The past relationship with her mother, her mother dominant, wanting perfection? Snobbery? Her father and his being subservient to his wife? Yet his final wisdom, talking about love and his wife’s sense of inferiority? Amy and her continued exasperation, wanting to defy her mother? Her mother seeming to concede, the party was all guests, Amy’s exasperation, ousting everyone, making the mess? Her getting her support from her friends, going out, talking, the episode with Santa and the children, going to the bar the strippers, drinking?

8. Kiki, more conventional, love for her husband, children? Her mother arriving, a mother at 18, the bond with her daughter, even her hairstyle, the clothes with her daughter’s picture? In the house, even sitting in the bedroom? Her possessiveness, their going to the therapist? Kiki and her exasperation? Her mother buying the house next door? Kiki and the support from her friends?

9. Carla, raucous, her work in massage, the waxing, the range of clients before Christmas? Outgoing, the touch of the crass? Her mother’s arrival? The irony of her name, Isis? Her mother turning up, wanting money, stoned, memories of the past, her neglect of her daughter, years between visits? Carla exasperated yet loving her mother, giving the money? At work, the stripper coming for waxing, the attraction, his talking? Going to the club, seeing him perform? The bond? The support of her friends?

10. The men taking a backseat? Kiki’s husband and nice? Jesse and his being agreeable? And his being mistaken for a Hispanic servant by Ruth? Ti, fireman, the genial stripper, turning up at the dinner?

11. The humorous scene with the therapist, Kiki and her desperation, her mother oblivious, and the wry observations of the therapist?

12. The focus on the grandmothers? Ruth, strong presence, manner, dress, the bad relationship with her own demanding mother? Dominating her husband, for 35 years? Arrival, staying many days, taking control of the house, the decorations, bossing everybody around? Not taking notice of Amy? Always having gifts for the children? The plan for the party? Decorating the house? The contrast with Kiki’s mother, coming from the country, loving her daughter, identifying with her, the hair style? The discussions, forever present, in the bedroom? Her running away from the therapy session? Going to the church after Kiki being frank? Isis, on the lookout for trouble, her past, relationship with Carla, her presence, her ironic comments? Getting the money and eventually moving out?

13. The three mothers in the church, the carols, midnight mass? Ruth in high dungeon, Kiki wanting the spiritual atmosphere, Isis and her change of heart? The discussions, Ruth reflecting and very reluctant apologies? The effect on the others?

14. Amy coming to the church, reconciling with her mother? The coming home, doing the cleanup? The house rather more ordinary for Christmas? The kids and the presents? The tree and chopping it down? Kiki and her mother, selling the house and going back to Montana? Isis and her promising to return the money and stop gambling?

15. The Christmas celebration, everybody together, the spirit of Christmas and reconciliation?

THREE SUMMERS

Australia, 2017, 104 minutes, Colour.
Robert Sheehan, Rebecca Breeds, John Waters, Michael Caton, Magda Szubanski, Deborah Mailman, Jacqueline Mc Kenzie, Kelton Pell, Peter Rowsthorn, Amay Jain.
Directed by Ben Elton.

Why Three Summers? They refer to a country town Festival in Western Australia, a Westival, celebrated annually with a good crowd coming to enjoy a range of music, performances, workshops, camping and the sheer pleasure of an Australian outing.

The film was written and directed by British playwright and screenwriter, Ben Elton – who has been an Australian citizen for many years. He is based in Western Australia and obviously has an affection for the state. But he has also absorbed a great deal of the Australian spirit, Australian history and, especially, Australian social concerns. He can be both comical and critical.

The film creates the atmosphere of the town, the stream of cars arriving, the various locations for parking, camping, the buildings and halls for performance, the pub – and even the hall for sessions for Alcoholics Anonymous.

And, we get to meet the characters one year, share their experiences and then find them all arriving again for the second year, variations on their experiences, and then find them all arriving again for the third year. Three summers.

The audience is introduced to the Westival by the radio host, Queenie, Magda Szubanski at her enthusiastic best, folksy comments, spirit-rousing, introducing guests and acts, a pleasing chorus to all the events.

Amongst the arrivals are a father and daughter (John Waters and Rebecca Breeds) who are part of a band called the Warrikans (WA larrikins, as you might expect). John Waters gets the opportunity to sing and play the guitar. Rebecca Breeds, as Keevy, is a lively screen presence, singing, dancing, and meeting up with an unusual Irishman, Roland (Robert Sheehan) whose professionis dog-washing but who plays the theremin. While they might play romantic leads, their interactions are not nearly as romantic as one might like, quite some conflict, especially concerning Roland’s enthusiasm for Keevy and her talent to have an audition at the Concervatoire and the consequent misunderstandings.

Deborah Mailman is there as Pam, who runs the Alcoholics Anonymous meetings.

Kelton Pell is Jack, leader of an aboriginal troupe of dancers, with one of the young men in tow having an ankle bracelet and being a sullen and silent refugee from youth detention. The group have an opportunity to do an emu dance, Jack having the opportunity to make jokes about Terra Nullius and the invasion as well as serious points about the aboriginal community and traditions.

There is also an Afghan band allowed to come to the Westival out of detention, their presence organised by a quiet young refugee who is being fostered by a local family.

There are also two couples who come every year, go through a parking ritual with cones, sit in the same place, say the same things, have the same meals, drink the same wine and congratulate themselves on a great break.

This review has kept Michael Catonas Harry till last though he is one of the most important characters. He was a child migrant from the UK, had a harsh upbringing, but has absorbed many of the local prejudices, intolerant of aborigines, harsh on refugees, proud to be an Australian… He criticises the aborigines for strutting around like emus covered in paint while he and his troupe are British Morris Dancers with very quaint costumes and straw hats covered in flowers!

One of his final sequences is the most seriously telling scenes on the whole film, relying on Michael Caton’s impact on Australian audiences from The Castle and Last Cab from Darwin, voicing Ben Elton’s challenge to contemporary Australia and any bigotry against multiculturalism and the forming, continually, of the Australian story.

Ben Elton knows how to write comedy, some parody, some satire – and has a very good cast to communicate it. Both enjoyment and challenge.

1. An effective Australian comedy? Parody and satire? Social comment and concern?

2. The Western Australian location, the country town, the grounds for the festival, the roads, the camp, the halls and the pub for performances?

3. Ben Elton as writer and director, his British background, his comic sense? His observations of Australia? Comedy? Social issues?

4. The response of the Australian audience, laughing at themselves, the parody, the critiques?

5. The framework: Queenie, the radio program, Magda Szubanski’s style, the jokes, her patter, the interviews, Diamond and her songs and polling, the introduction to various characters including Jack and his aboriginal troupe? The debate between Jack and Henry? Her participating in the action? Observations and cheerful? Over the three summers?

6. The crowds, the cross-section of the population, changing over the years, the same over the years?

7. The focus on Roland, the theremin, the issue about the Beach Boys and Good Vibrations, his performance, his explanations, his audience? The Irish background, his range of instruments, wanting the best and the truth? His being a dog-washer – and recording the significant bark? On YouTube?, the American artist taking it up, social media, popularity, income? His awkwardness of manner, strong opinions? And the selfies and fans during the pub performance?

8. The arrival of Keevy and her father, the jokes about the accommodation and Dolly Parton, the background of the family, the mother leaving, her dying? The family and music? The Warrikans, Roland and his criticism? His faux pas? Their performances, Keevy and her singing, dancing, her father playing? The zest? The response of the audience?

9. Roland and Keevy, their talk, her coming to his performance, joking, playing with him, his amazement at her remembering the music and improvisation? The explosion of the amplifier? The discussions about being Irish, the family coming from Cork? The coffee, happy, the kiss – and Roland blowing it with his criticism of the band? His urging her to go to the Conservatoire?

10. Keevey, going to the audition, the heavy shoes on the floor? The panel, the professor and her being tart in manner, no feedback? The Conservatoire not using paper, Roland discovering the responses in email, hacking her dad’s computer, finding the deleted email, confronting her father, his not wanting to lose her? The visit of the professor to the festival, with the security guard and getting her services, offering the scholarship to Keevy, offering the teaching position to Roland?

11. The Alcoholics Anonymous at the Festival, Pam leading the meetings, the variety of types, their testimonies? Talking with Keevy, saying that she had a drinking problem, her father’s? The father, friendship with Pam, his bad relationship with Keevy about the audition? Coming to Pam for help?

12. The two couples with their caravan, parking cones, the chairs, the same every year, the pattern of the meals, where they sat, the talking, the bottles of wine? One year and the darkness, the sexual encounter and the repercussions? The return and renewed enthusiasm?

13. Henry, his daughter and her being always on her phone, the alienation of Ruby from her mother? Ruby as a young teenager, the change over the summers, piercings and earrings, her wanting to be a rebel? Friendship with Jesse and Jafar? And her mother realising her overuse of the phone?

14. Jack, the aboriginal group, jokes about Terra Nullius and to the invasion? His playing his audience well? The dancing troupe? The paint, the emu dance and Henry’s criticism and mockery?

15. Henry, migrant from England as a child, the hard upbringing, with his daughter and her being on the phone? Ruby and her changes? The Morris dancing and the end of the line? The satire on the Morris Dancers? His racist comments? Mocking the aboriginal dance? The clash with Jack and Queenie watching? His going to the Afghan concert, hearing their story, hearing Jafar’s story? His applauding the Afghans? His saying that he had to face himself? The truth? His performing the emu dance and its effect?

16. Jesse, the sullen youth, in detention, forced to come, relationship with Jack? The stealing of the phone, Ruby taking the blame? His gradually changing, performing, the friendships? He and his young friend and the talking with Ruby and others?

17. Jafar,’s story, his foster parents and their being cautious, not interrogating or pressurising? His writing letters, with the dictionary? The change over the years? Meeting Ruby, liking her? His organising the Afghans to come to the concert? Their coming from the detention centre, performance, talking about detention and returning, their hopes? Henry applauding?

18. The jokes about security, Linda and her toughness, her being very strict, interviewing people? The sendup? The encounter with the professor and the professor dominating her, her doing the professors will?

19. Diamond, over three years, the criticism of Australia, changing the words of Waltzing Matilda, of the Kookaburra song, of My Country? Queenie’s response?

20. The group of feminist young women, fashionable, their arguments amongst themselves, the possibility go to university, dropping out? Their songs? With Roland, and Keevy overhearing how well he had treated them?

21. The Morris Dancers, the man at the end of the line, the issue of the nude calendar?

22. The focus on Henry, his racism and bigotry, rolling his eyes, his slogans, the social issues of the 21st-century, his shock about Ruby and the issue of the phine, her claiming that she stole it, defending Jesse? Henry looking at himself? Jafar’s story, the girls? The impact of his leading the emu dance, the others joining in, shaking hands, his speech
about himself and the need for the stories of others to understand their own stories?

23. The role of festivals, people getting together, one tent, multicultural people in the tent? Ben Elton and his raising significant social issues in Australia in a comic way?

BLADE RUNNER 2049

US, 2017, 163 minutes, Colour.
Ryan Gosling, Harrison Ford, Robin Wright, Ana de Armas, Dave Bautista, Mark Arnold, Wood Harris, Sylvia Hoeks, Edward James Olmos, Jarrod Leto, Hiam Abbas, Sean Young.
Directed by Dennis Villeneuve.

Although not immediately so popular in its time, Ridley Scott’s version of the Philip K.Dick story, Blade Runner (1982), it has become an increasingly popular cult science fiction film, dramatising Dick’s vision of a possible future.

It is a very brave director who would take on a sequel. Dennis Villeneuve has proven his talent as a director with his Oscar-nominated Incendies, as well as Prisoners, Sicario and Arrival. He seems eminently qualified to take up the challenge and critics were generally in favour of his work. However, many of the bloggers were not so enthusiastic. In fact, box office has been disappointing.

Villeneuve would have been criticised if his sequel was much the same as the original. However, he has been more than criticised because many say that it is not sufficiently like the original. They find it too slow, too reflective…

While there is action, it is a very long film. And the screenplay offers a lot of reflection about human nature, humanity, robotics, the replicants, their place in society, authorities and authoritarianism, commercial control, ruthlessness… Plenty to think about during the duration of the film.

In 2049, the replicants are superior to the old models, many of whom are being sought and destroyed. And, in the background, there is a rebel group waiting for revolution.

The new replicant is K, Ryan Gosling. When sent on a mission to destroy an old replicant, he uncovers some secrets which may or may not involve himself, his origins. There is a story of a replicant actually giving birth and the mystery of who the child was and where the child is.

This sets K on a mission, not quite authorised by his control, Madam (Robin Wright). K lives in the city, very reminiscent of the visuals of the original film) and has a holographic companion, Joi, Ana de Armas. He also becomes entangled with a woman of the street, Mackenzie Davis, which leads to some bizarre explorations of intimacy and sexuality, but also to the revolution.

The film explains how entrepreneur, Wallace (Jared Leto) has taken over replicant business from the the old Tyrell manufacturing company. His assistant, Luv (Sylvia Hoek) is reminiscent of the old-style tough replicants, a loyal assistant but a propensity for violence and martial arts skills. Clearly, there will be a buildup to a confrontation.

But K goes out into the polluted area to find the hero of the past, Deckard. So, here is Harrison Ford again, appearing at the middle of the film, but immediately taking command with his strong presence and personality. The mansion in which he lives is intriguing, grand but decaying, the gambling palace, memories of the 20th century (including holograms of Elvis, Marilyn Monroe and Frank Sinatra).

This means that Deckard and K go on their mission, to find the mysterious child, to understand what happened, to a buildup to battles between Deckard, K and Luv.

There is enough material here to lead to a sequel – and one might hope that those who appreciated this film will be offer enough support for the making of the sequel.

1. The status of the original film? Acclaim, cult? The impact of a sequel? The year 2049?

2. The popularity of the stories by Philip K Dick, film and television versions? Science fiction, futuristic? Themes of the imagination? Philosophical existential themes? Human nature? Technology and robotics?

3. The director, his career? His skills? The cast?

4. The continuity with the original? The information about the replicants? The LAPD? The history of the blackout, the loss of history, the nuclear devastation? The place of humans on Earth?

5. The introduction to the theme, the initial information, the replicants, a replicant giving birth, the reaction of authorities, the destruction of the child, rebels and the care of the child, human fear and alienation, the preparation for revolution?

6. The visual style of the film, the look of Los Angeles as in the original, the skyscrapers, the dark, the neon hoardings, information, brands, sexuality? Travel through the city, beyond? The vehicles? Outside the city, California, the fields, the farm, the desert? Deckard’s house and interiors? The scenes in the water? Atmosphere?

7. The importance of action sequences, stunt work? Special effects? Editing and pace?

8. The explanations of 2049, Tyrell and his company, the failure, the takeover by Wallace? The world situation? Humans, in the cities? The role of the replicants, the earlier models, slaves, reactions, the new Breed, hunting down the old?

9. K and the initial hunt, the plane, the farm, the visuals, the work of the farm, the worms? The parliament, his kitchen, K and the confrontation? Fight? The farmer saying that he had seen a miracle and was prepared to sacrifice himself? Outside, the tree, the photos and the drones photographing?

10. Madam, her role in the LAPD, ordered, her manner, black clothes? Interviews with K? Laboratory, the photos, the close-ups, the discovery of the grave, the bones, the autopsy? Missioning K, to destroy the child? His lying to her? Her believing? His reporting back, allowing his escape? The sharing of memories with him? Luv and the confrontation, killing Madam?

11. K, his life, his apartment, walking through the city, his domestic life, his replicant and her appearance, hologram, companion, manner of speaking, cooking, serving? The change of clothes? His imagination? Her travelling with him? Entering into him, the interchange with him? His upgrading her? The sex worker in the city, coming to the apartment,
the replicant going inside the woman? The sexual encounter? The confrontation with? Her submission and death?

12. Wallace, Luv and her role, assistant, interrogations, service, martial arts? Wallace, personality, his eyes, the models and creation and coming to life, his touch? Wallace and the interview with Deckard? Rachael and her appearance, the false Rachael, her death?

13. K, in the town, the girls, the approach, the woman at his house, putting the direction finder in his pocket? Her being part of the rebels? Her care for K?

14. K, his past, the memory, recounting it, little boy, pursued, toy horse, hiding it? The factory? His going to find the horse again? Finding the young woman, her segregation, her skill in memories?

15. His being pursued, Luv, her personality, killing Madam, vengeful?

16. K and his searching for Deckard, going into the polluted area? The mansion, its interior, 20th century? The gambling, the holograms of Elvis, Marilyn Monroe, Frank Sinatra, the dancers? The confrontation between the two, the dog, fighting? Talking, Deckard’s explanation about the children, Rachel, altering the documents? The daughter’s surviving? The impact on K?

17. K, being taken to the rebels, the leader of the rebels and her exhortations, aims, the range of rebels? The decision to destroy Deckard?

18. K, the plane, pursuing Deckard and Luv, Deckard, handcuffs, the water, the fighting between Luv and K? Her death?

19. Deckard free, K realising he was not the son? Lying in the snow on the steps? Deckard going inside, the encounter with his daughter?

20. Themes of humans, human nature, technology, superiority, the replicants and their skills, their roles, slaves, workers, humans, control, violence? The potential for another sequel?

FATHERS & DAUGHTERS

US, 2015, 116 minutes, Colour.
Russell Crowe, Amanda Seyfried, Kylie Rogers, Aaron Paul, Diane Kruger, Bruce Greenwood, Jane Fonda, Octavia Spencer, Janet Mc Teer, Quvenzhane Wallis.
Directed by Gabriele Muccino.

Fathers & Daughters is a film of emotion, and for many audiences, tears.

The film was directed by Italian Gabriele Muccino, The Last Kiss as well as English-language films including The Pursuit of Happyness.

The film is a star vehicle for Russell Crowe as well as for Amanda Seyfried – and the young actress, Kylie Rogers, who is introduced in the film. Russell Crowe is the father, Jake, and the two actresses portray the daughter, younger and older.

The film intertwines two time spans: the daughter, Katie, and her younger years; the older Katie 25 years later.

The film opens with a car accident, Katie’s mother being killed, her father injured and having to spend time in a mental institution and suffering seizures. He is a celebrated author. His daughter has to go into the care of his sister in law and her husband (Diane Kruger and Bruce Greenwood), Jake wanting to retrieve Katie on his release, setting up house with her, bonding with her. He writes a novel but is not successful – and Jane Fonda plays his agent. He has seizures, is violent, and the in-laws take him to court for custody of Katie.

Jake spends a lot of time writing an autobiographical personal novel, sometimes alienating Katie but she continuing in devotion to him. It is Fathers & Daughters. But he dies.

The film shows Katie Is a Very confused adult, having studied psychology but not understanding herself, even going to a therapist (Janet Mc Teer). She does social work under the supervision of Dr Corman (Octavia Spencer) and a successful work with a child grieving her mother (Quvenzhanie Wallis).

Katie is also promiscuous, the film indicating that this is a result of her upbringing and undefined relationships. However, she encounters Cameron (Aaron Paul) aspiring writer who loves her and she loves him – with the possibility of finding a future but somehow rather compelled to spoil the prospects. The end does offer some hope.

1. The title? Jake and Katie in their lives? Intertwining? The book? The impact on Katie?

2. The two time periods, Katie as a child, in the car, with her mother and father quarrelling, the crash, her mother’s death, her father’s injury? The years of her being young? The contrast with Katie as an adult, at University, social work, bars and apartments, life in New York?

3. The editing and interconnection between the two time periods?

4. The situation, Jake, his affair, the argument in the car, Katie listening, the crash, her mother’s death, Katie safe, Jake and his condition, the discussion with the doctors, his going to an institution, his seizures? The months in the institution? Katie going to her aunt and uncle, her being upset? The happy life with the relations, with her cousins? Jake getting out of the institution, his agent picking him up? His arriving home, wanting to take Katie away?

5. Jake and Katie at home, the outings, love? His calling her Potato Chips? At school? J Jake and his attack on Elizabeth and William? His angers? Going to the social with Katie, his assaulting William?

6. Writing his book, reading it to the agent? Her getting it published? The book reading, the negative reviews? William and his threat to adopt Katie? Jake getting legal advice, the costs, the plans? The effect on him, devoting his energies to writing the book, fathers and daughters, the effect on Katie, moments of alienation? Jake and his seizures, while signing the autographs? William and his adultery and the case lapsing? Jake, collapse, death, his funeral? The agent and her tribute to the gathered assembly?

7. Katie has an adult, 25 years later, a sense of loss? University, studying psychology, yet not understanding herself? The sessions with the therapist and the Frank questions her therapist asked her? Trying to explain her promiscuity? Her work with Dr Corman, social work, the encounter with Lucy, Lucy not speaking, the time spent with her, coaxing her out of her sorrow at her mother’s death, the outings, Lucie and Clay? The issue of adoption, Katie having to give her up, the farewell? Trawling the bars, the sexual encounters? Meeting Cameron, his love for her father’s books, the revelation? Giving him the gift of the manuscript? The bond, living together, but, Cameron wanting to be a writer, his story about the confrontation with the lion, his wanting to take her to dinner with his parents, her fears in the street? Going to the bar, the sexual encounter? The drunk a year later? Katie telling Cameron the truth, his disgust and leaving? Going to her aunt, asking for advice?

8. Her story as an adult intercut with the memories of her past?

9. Her sense of loss, returning to Cameron, his forgiveness and love, her declaration of love – and the possibilities for her life?

SCAFFOLDING

Israel/ Poland, 2017, 90 minutes, Colour.
Asher Lax, Ami Smolartchik, Yaacov Cohen.
Directed by Matan Yair.

Scaffolding has a literal meaning as well as a symbolic meaning?

A lot of the action takes place on building sites with literal scaffolding. However, the other theme of the film is education, schooling, life and discipline, family love, as a scaffolding for the maturity of growing children.

The action of the film takes place at the end of the semester. Asher is a 17-year-old (although the actors portraying the students at school look far older). Asher lives with his father, a building contractor. His mother has left to the north years earlier but keeps contact with her son. Asher is an angry young man, outbursts, making demands on people, insulting them, self-focused.
At school, he encounters a sympathetic teacher, Rami, who takes the students through religious traditions as well as teaching them classical Greek literature. Asher is interested in education though finding it difficult to read. His father appreciates education but thinks that literature is not practical for work and earning a living.

There is a complication when the teacher kills himself mysteriously – quite an effect on Asher, wanting to know the reason why, school authorities not speaking, Asher asking the dead man’s wife.

There are also complications with the substitute teacher and Asher’s clashing with her, especially in the final exam, his insulting her and failing.

Asher is not a particularly sympathetic character. But the film is asking questions about his really education for the coming generation and the consequences – and, as Asher speculates at the end, the effect of being loved as well as being beaten as he was growing up.

1. An Israeli drama about young men, education, labour, prospects?

2. The city settings, homes, streets, buildings sites, classrooms? Authentic feel? Musical score?

3. The title, symbolic, the scaffolding for young men and their education and maturity? The literal scaffolding in the workplace?

4. Asher and the relationship with his father? Working on-site? Continuing his schooling? His mother leaving with her boyfriend? Her continual phone calls? His father, stern, understanding education, but very pragmatic about jobs and work? The effect on Asher? His age, experience, friends? Men and women? His outbursts, his rage?

5. The father, illness, preparation for going to hospital, work in contracts, dealing with his son, at home? Going into hospital, the dates and his sons exam dates? Hospital, the surgery, delayed because of blood pressure? The success of the surgery? Coming out?

6. Asher, at school, angry, outbursts? Fights with the young men, going to the principal’s office, his father coming, the threats?

7. The character of Rami? His teaching, knowledge of literature, relationship with his students, there outbursts and his patience, teaching literature, explaining the classics? Vocabulary? The friendship with Asher? Asher giving him his essays? Asher’s outburst in the classroom wanting to know the ending of the play? His later apology to Rami? The preparation for the exams?

8. Rami, personality, at school, afterwards and off duty? The sudden news of his suicide? Not leaving any note? The authorities not giving any information? His wife, coming to the school, discussion the men? Asher later going to the apartment, looking for his essay, looking for documents about Rami?

9. The substitute teacher, Asher and his outburst against her? The principal trying to cope?

10. The photographs, posing, the discussions, the students wanting Rami in the photo? The principal considering it and rejecting it?

11. The oral exam, with Rami, Jewish religious customs, Rami coaxing the stances from Asher? The contrast with the literature exam, his outbursts, criticism of the teacher, her failing him, despite his success in the preliminaries?

12. Asher, his prospects, the past experience, his kindness towards the girl getting a driving license and following her to check if she was successful?

13. At the table, talking with his father? Asking him the effect of his love and yet his beating his son…?

THE WASTED TIMES

China, 2016, 125 minutes, Colour.
You Ge, Ziyi Zhang, Tadanobu Asano.
Directed by Er Cheng.

This is a complex film, beautifully crafted, tracing the period in Chinese history from the mid 30s to the end of World War II.

The time structure of the film is also complex, moving backwards and forwards, making demands on the audience, their trying to identify the characters and their interactions.

The initial setting is Shanghai, a powerful businessman, his deals and his ruthlessness, ensuring business in China but also negotiating with the Japanese. This was the period of Japanese domination in China, especially with the siege of Nanking. There were also Japanese double agents in China which had repercussions for the war years.

The ruthlessness of the businessman and his associates is very strong, quite a deal of shooting of enemies.

The film focuses also on one of the Japanese at work in China, his life in Japan, wife and children, his fighting during the war, his being interned in a prisoner of war camp. He is also shown to be particularly cruel and ruthless.

Another chief character is a former actress, raped by the Japanese, used by the Chinese, coming to the prisoner of war camp in the Philippines at the end of the war, accompanied by the Chinese businessmen, the death of one of her sons, the wreaking of revenge.

The audience needs to pay attention, trying to work out the different time segments, the effect of each segment on the other, the development of the characters, the development of the business deals, the background of the war, relationships between China and Japan.

And there is quite an irony in the title.

CLOSER TO THE MOON

Romania/USA, 2014, 115 minutes, Colour.
Mark Strong, Vera Farmiga, Harry Lloyd, Anton Lesser, Joe Armstrong, Christian Mc Kay, Alan Corduner.
Directed by Nae Canflin.

Closer to the Moon is Romanian film with an international cast, especially British.

The screenplay takes the audience back to 1959, the aftermath of Romania’s experience in World War II, the Resistance, especially with Jews prominent. With the imposition by the Soviet Union and Romania becoming a communist country, the Jews become less prominent. Some of them become dissidents – and of this film is about the action of the dissident group.

They affect a robbery which is filmed, the onlookers thinking it is genuine. However, they are arrested, interrogated and made to reenact the robbery as a propaganda film. A young man observing the first filming becomes a significant cameraman.

However, while the Communist authority is rather fatuous, he nevertheless has authority and there are dire results for the dissidents.

An offbeat look at and memories of Romania and the Communist domination.

1. The title, the ending, the images of space, the discussions of space exploration at the end of the 1950s? Postwar?

2. An international production, the writer-director and the Romanian background? The international cast, the range, the British members of the cast?

3. Audience knowledge of Romania, during World War II, the war experience, the Russians coming, the Communist regime, the resistance during the war, the Jews as members of the resistance? The Soviet empire? The transition from the 1940s to the 1950s? The Jews and their influence being lessened, being ousted? The nature of Communist society, socialism, the authorities, the role of the police, totalitarian obedience, 1950s style? The politics? The film, the police? The attitude towards traitors, the authorities, executions?

4. 1959, the atmosphere of Bucharest, the city? Drab? Homes and shops, the streets? The making of the film, the robbery, being staged, everybody watching, Virgil and his interest?

5. Virgil, his job, photography, asked to do some work, helping the director? Getting the job for the second film?

6. The director, his role with the films, drinking? The producer? The authorities?

7. The political background, the politicians, ambitions, figures of ridicule? The end, dominance and their winning?

8. The old resistance group, their work in the past, the Jewish background, as individuals, as a group?

9. The variety of personalities, Max and his leadership, Alice and the woman’s role, family, son? The teacher? The other members of the group?

10. The robbery, the film, the staging? The effect? Asked to restage it for the propaganda film? Re-enactment, the car, the plan, the escape?

11. The plan to get away, the failure, the arrests, the interrogations? The buildup to the executions?

12. Captured, the treatment, in prison, the interviews, the role of the authorities? The firing squad, rejecting blindfolds? Alice not being executed?

13. The sequence of the young Jewish men, the ritual of the dance, solemnity, traditions – and being intercut with the executions?

14. Alice, the boy, her surviving, the aftermath?

15. A 21st-century perspective on this period of Romanian history?

THE HOLLARS

US, 2016, 86 minutes, Colour.
Margo Martindale, Sharlto Copley, Richard Jenkins, John Krasinski, Anna Kendrick, Randall Park, Josh Groban, Charlie Day, Mary Kay Place, Mary Elizabeth Winstead.
Directed by John Krasinski.

This is a brief but engaging film, a film about family, an American dysfunctional family, the surfacing of problems and some kind of resolution.

Margo Martindale, always an effective character actress, has a very good role as the matriarch of the family who suddenly has a physical collapse, is discovered with a brain tumour and requires surgery. Also always effective is Richard Jenkins who appears as her husband, Don, married for a long time, ‘n emotional man, running a business but facing bankruptcy. He is exceedingly upset by his wife’s illness.

Sharlto Copley (District 9, Chappie) is the older brother, Ron, with a failed marriage, two daughters, living in his parent’s basement, being fired by his father from the factory. The younger brother, John, is played by the director, John Krasinski, writing a graphic novel, living with a designer, Rebecca, played by Anna Kendrick. With her support, he returns home to be with the family.

Difficulties arise, the attendant at the hospital, Jason, Charlie Day, is married to a former girlfriend, Mary Elizabeth Winstead, who throws herself at John. John negotiates with his father to take back his brother to the company. Is devoted to his mother, even shaving her hair before the operation.

The mother comes to consciousness and then dies. The film shows how the family copes with a funeral, Rebecca coming and giving financial support, John proposing and their being married by the river by the Reverend who has married Ron’s ex-wife.

Particularly important is the fact that Don is weeping at home, Jason arriving with a letter from his wife, his reading it and then the doorbell ringing, another letter – and his wife’s message that he should stop crying.

Rebecca’s waters break at the funeral and so there is a transition from death to birth.

1. A small film? A family film? Birth, marriage, death, life?

2. The work of John Krasinski, performance and direction? His sensitivity with the script? Performances?

3. The title, the focus on the family, the tone of their name?

4. The strong cast of character actors?

5. The opening, the Hollar house, the toilet and the kitchen, Sally’s collapse, the reactions? Don crying, anxious? The phone call to John? His shock, talking with Rebecca, going to the family?

6. The status of the family, the various tensions, coping with illness, the operation, support?

7. Sally, the stalwart of the family, her early life, interest in art, her marrying and not continuing her love for art? Her love for Don? Her sons, the passing of the years? Dealing with finance, knowing about the impending bankruptcy? Her illness symptoms, Don thinking it was her weight, going to Jenny Craig? His weeping regrets about this? The discovery of the tumour, the signs? The doctor, diagnosis, discussion with the family, the operation, the preparation? John shaving her hair? Her regrets, going to the operation, waking, the family around her, her silent and sudden death? And the humour of Jason with the note for Don after her death, and the pause and the second note for him not to
cry?

8. Don, emotional, his love for Sally, the marriage, the long life together, his factory and work, his concern about her health but thinking it a weight issue? The two boys? Facing bankruptcy? Work at the factory, the secretary, the workers not arriving because of no pay, his looking for the loan and refusal, paying the workers and urging them to come back? His firing Ron? His treatment of Ron? John’s absence? The diagnosis, his weeping, the hospital, John negotiating for Ron to return to work, persuading his father? Sally’s death, weeping, Jason arriving with the letters? The funeral, Rebecca and her water breaking, the birth?

9. John, the younger son, leaving the town because there was nothing for him? His work, designing his comic, his lack of confidence? The bond with his father and mother? His love for Rebecca, her pregnancy, not being able to propose? The story of his past and relationship with Gwen? Rebecca, the pregnancy, expectations? His return home, coping, at the hospital, with his mother, dealing with his father, meeting with Jason, his work at the hospital, marrying Gwen? Ron and Stacie and their children? Reverend Dan, the children? Rebecca coming, offering to pay for the funeral? His proposal, Reverend Dan marrying them by the river? The funeral and the birth?

10. Ron, his age, difficulties, marrying Stacie, the children, her leaving him, Reverend Dan? At home, in the basement? His father firing him, his visiting his kids, going into the room, Stacey ousting him? The Reverend Dan and the interactions? His being fired by his father, John and the negotiating of his being rehired?

11. Rebecca, her career as a designer, love for John, her pregnancy, urging him to go to his mother, the bond with his mother? Offering to pay for the funeral? The proposal, the wedding by the river, the funeral and the water breaking, giving birth?

12. Jason, friendship from the past, his work at the hospital, inviting John to dinner and forgetting? Gwen and her advances? Jason delivering the letters to Don?

13. Reverend Dan, with Stacie, the children, the clashes with Ron? Doing John and Rebecca’s wedding?

14. The sadness of the ending – and future happiness?

A QUIET HEART

Israel, 2016, 91 minutes, Colour.
Ania Buckstein, Uri Gottlieb, Giorgio Lupano.
Directed by Eitan Anner.

A Quiet Heart is a gentle film although it has many violent undertones. Music has a significant role throughout the film.

The film focuses on a young woman who has been something of a child prodigy, a pianist, but has lost competitions, been pressurised by her parents and given up on her musical career. She has moved from Tel Aviv to Jerusalem, doing work in cataloguing, renting some rooms in a very Orthodox area of the city.

The film highlights the antipathy of the Orthodox Jews towards non-religious Israelis as well as towards Catholics, especially in the form of Franciscan friars who have a community in the area. While the film shows pleasing vistas of Jerusalem, it also shows an ugly side. The young woman is non-religious, goes jogging and is attacked by men insulting her in the street. It appears that the previous occupant of the room killed herself, evidence accumulating that she had been persecuted because her interest in the Catholic Church. The neighbours are Orthodox but friendly, but the parking inspector is very hostile.

There is a piano in her room and one of the neighbour’s sons comes into play, gradually befriending the young woman and her coaching him and buying him sheet music. But he also witnessed the suicide of the previous occupant and finally confirms that it was the parking attendant.

The young woman is attracted by hearing the organ in the Franciscan friary, goes into the church, listens, befriends one of the brothers and has some organ lessons as well as playing. However, there is graffiti on her wall talking of her as a missionary, there are messages on her car, and her finding, as the piano is tuned, the range of documents hostile to the previous occupant. With a sympathetic fellow-student, she goes to the police, but the situation is too dangerous. When she visits the friary, the Superior urges her friend to keep his distance from her, fearing the prejudice of the Orthodox and its consequences.

The young woman begins to assert herself, defying the parking attendant by standing on the roof but not throwing herself down, going to the window of the neighbours and giving a gift of sheet music to the boy and the mother clasping her hand, a symbol of reconciliation.

While the director works in Israel, he was born in the United States.

1. The title, with reference to Naomi? Her experience in her family, with demanding parents? The music, performance, competitions and career? Moving from Tel Aviv to Jerusalem? Living amongst the Orthodox and its effect? The role of music, the little boy and his piano playing? Learning the organ, the friendship with Fabrizio?

2. Jerusalem settings, the district, the vistas of the buildings, the streets, the friary? The interiors, the apartments, the corridors? The workplaces and cataloguing? The church, the organ loft?

3. The role of music, in Naomi’s life? Her knowledge, her skills, giving up? The piano, the boy coming, stealthily, performance,-and other pieces? Naomi hearing the organ, having the lessons, performing? Playing with Fabrizio? Buying the sheet music for the boy, the gift?

4. Naomi as a person, her character, integrity? Loneliness, avoiding her parents, her mother’s phone calls and dominance, her father’s presence and wanting her to come home? Moving from Tel Aviv? Getting the apartment in Jerusalem, discussions with the landlord, the death of her predecessor and the unfolding mystery of her death, the persecution? The friendly neighbour, Orthodox, prayers and blessings, the children? Children playing downstairs? Her being hit on the head with the ball? The little boy, coming in the window, performance, mute? Her giving him the key, his mother at the end wanting him to give it back? Her guidance, encouraging his playing, the sheet music? The irony of his seeing the teacher fall to her death, his identifying the parking inspector?

5. Naomi and her neighbours, the landlord and the piano and its being moved? Her going to work, the security guard, the attraction, inviting her to a meal, his prejudices against the organ and her leaving? The parking inspector, rules and regulations, relentless, antipathy towards her? The fines, unable to pay, her mother’s car?

6. Hearing the organ, going into the church, sitting, fleeing? The return, the encounter with Fabrizio? His giving her the tour, the playing of the organ, her being unsettled? Continuing to return, the explanation of the range of the organ, her playing, Fabrizio getting her to improvise, creativity?

7. The antipathy towards her, her passing the men while she was jogging and their disdain and calling her names? The boys? The parking attendant on fines, the strictness? The messages and the graffiti, criticism of her going to the friary and her being a missionary? The effect on her?

8. The secular student, meeting her, her own injuries, the information, the phone number, her return visits, going to the police, the graffiti and the messages, the anonymous threats? Naomi’s fears, leaving the police? The student unable to do more?

9. The piano tuner, finding the message threats against the woman, taking them to the police?

10. Naomi going to the Friars, the Superior and his telling Fabrizio not to help? The fears and the prejudices against the Friars?

11. Naomi taking a stance, leaving a message about the commandment of not killing for the parking attendant? Her going higher on the parapet, his watching, her watching him?
Her going to the window, the neighbour and her help, the sheet music for the boy? His identifying the parking attendant at the time of the suicide? The complicity of the landlord? The family taking hold of Naomi – her future?