HALAL LOVE

Lebanon/ Germany, 2015, 94 minutes, Colour.
Directed by Assad Fouladkar.

This is a comedy drama about rather ordinary people in Beirut. The film has German financing but is filmed in Lebanon and in Arabic.

The film focuses on sexual issues and tries to look at them in the light of Muslim law and traditions. It opens with a rather bumptious teacher asking little girls whether they understood where children came from and then giving an odd explanation about a worm issuing from a man and going into a woman – which bewilders the little girls who chatter about this, wonder about their parents, wonder whether they could become pregnant and use plastic bags as preventative.

Then there is the story about their parents, happily married, The mother, however, is tired from work and resists amorous advances from her husband. She even suggests he have a second wife and goes to a family to find one.

Her neighbours are a squabbling couple, she loving the husband but he subject to fits of jealous rage, acted out for all the neighbours to watch.

And there is a divorcee who plans to go to Australia where her brother is living but who reignites an affair with a former lover who is now married with children.

Nothing startling nor particularly new, but an audience-friendly look at these Lebanese and the Muslim traditions.

1. The title, Lebanese setting, Muslim law and its interpretation?

2. The city of Beirut, cross-section, city sequences and views, homes, school? The musical score?

3. The introduction to the theme, the girls in class, the teacher, questions about making children, the children’s ignorance, the story of the worm from the man entering the woman?

4. The girls, their teacher, her manner in class, their ignorance, their imagination, going home, watching their parents, wondering whether they would be pregnant, using the bags, their chatter? The relationship with their parents? At the wharf, fishing, seeing the worms – and giggling?

5. The girl’s parents, their love for each other, age, middle age, work, the mother being tied, the husband and his sexual requests, his request for his wife to sing, her enthusiasm? The wife continually tired, the housework, bringing up the children, suggesting the second wife? The husband not wanting one? The wife visiting the family, selecting the woman, her arrival, helping with the cooking, with the children? The law, wives? Sexual issues? The first wife coping? The second wife and her experience, shut out, the husband and wife and children singing and dancing?

6. The quarrelling neighbours, the dispute in public, divorce with a three times rejection? The husband and his rages, the wife and her love, making up? Going to the bank for the loan, the teller addressing the wife, the husband and his angry reaction? Accosting the teller, being ousted? The wife separating? His plea? Going to the apartment, finding the teller – and punching him?

7. The woman who was divorced, her past, the relationship with her friend, his being married with children, the affair? Hopes? At the restaurant, the dinner, being seen? The phone calls? The break, the woman and her brother in Australia, the man and his being left behind?

8. Contemporary stories, the halal tone?

FANTASTIC BEASTS AND WHERE TO FIND THEM

UK/US, 2016, 130 minutes, Colour.
Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Colin Farrell, Ezra Miller, Samantha Morton, Carmen Ejogo, Zoe Kravitz, John Voight, Johnny Depp.
Directed by David Yates.

Yes, there is life after Harry Potter.

Since finishing her series, JK Rowling has written a number of novels, including three crime novels under the pseudonym, Robert Galbraith. But, she now returns to the world of magic and wizards.

The target audience this time is an adult audience but younger audiences may be intrigued as well is attracted by the fantastic beasts and the action.

Our new hero, Newt Scamander, arrives in New York City in 1926 with creatures in his small suitcase, already causing mischief when he is interrogated by American customs. The creature inside, with a touch of the platypus beak, has a propensity for coins and jewels, searching for them and swallowing them – which even leads him into a bank and opening a vault. We already have an intriguing and oddball scenario.

Newt is played by Eddie Redmayne, popular now since his appearances in Les Miserables, as Stephen Hawking in The Theory of Everything and The Danish Girl. He looks young and boyish, has unruly hair sticking out over his forehead, very gawkward,


New York has been struck by a series of disasters, buildings collapsing, roads split. And we are introduced to the American world of wizards, operating underground and away from the Unmags (American), Muggles (British). They have a hierarchy with president, and an authority figure, Mr Graves (Colin Farrell).

Newt witnesses a public speech by an angry woman condemning witches (Samantha Morton) – who is later revealed as an adoptive mother, taking in children including Modesty and Credence, rather Dickensian in her manner, but obsessed with eliminating witches. But Newt is tracked by Tina (Katherine Waterston) who arrests him and brings him before the President. A complication occurs when Newt’s case collides with the case owned by Jacob Koslowski (Dan Fogler) who is at the bank to get a loan to open a baker’s shop.

The lives of Newt, Tina and Jacob – as well as Tina’s sister, Queenie (Alison Sudol) a rather 1920s flapper-type who is attracted to the pudgy Jacob – get entangled with the wizards who are suspicious, with Mister Graves who has a plot going on with Credence (Ezra Miller), all the time Newt trying to do his best by the enormous range of creatures that are collected in an underground sanctuary.

Of course, the attraction of the film is a rather vast range of creatures, all shapes and sizes, or colours, some mischievous, some threatening, with abilities for all kinds of flight, crawling, and moving with magical speed. Which means there are quite a lot of effective action sequences as well.

New York is threatened by a mysterious destructive force – which we see again in action, disaster, devastation – until there is a confrontation with Newt and his wand and Tina and her persuasive words.

Fortunately, for ordinary New Yorkers, the wizards have the power to restore the devastation to its former safe state as well as sending up a dragon into the sky, filled with a special potion, who can create rain which falls on the population and ‘obliviates’ them, no memories left whatsoever.

It was surprising to find the some of the reviewers thought the whole thing pretty silly – which means then that Fantastic Beasts appeals to those with some imagination and who delight in the imagination roaming free.

Some final images indicate a sequel, a new meeting between the rather shy Newt and Tina, Jacob and Queenie meeting at the bakery – and a guest star looking menacing as a dastardly and evil wizard.

1. The title, the tone of expectations, fantasy?

2. The work of JK Rowling, the link to Harry Potter stories, imagination?

3. The 1926 setting, the ship, New York City, the buildings and the streets, the interiors, apartments? The contrast with the underworld of the wizards, buildings, magic touches? The subway? Costumes, decor, the musical score with the overtones of magic as well as the jazz era?

4. The wizards’ world, concealed from the human world, the potential clash between the wizards and the humans? The humans amazed at the destruction of the city?

5. The quality of the special effects, the range of creatures, their look, action? The action sequences, destruction, conflicts? Imaginative?

6. The target audience, the impact for the adult audience? The younger audience? The story of Newt, arriving in the ship, the customs officer, the case, the creature inside, switching the content? His mission, the creatures, his work in Africa, writing the book, restoring the creatures?

7. Eddie Redmayne as Newt, age, awkwardness, gawky, his hair and look, smile?

8. His wandering the city, listening to the woman and her tirade against witches, the children, the handouts? Jacob’s arrival, pushing through, the difficulties with the suitcases? His going for a loan, the plan for the bakery, no collateral, being turned down? Newt and his presence in the bank? The creatures getting out? The comedy with the creature attracted to all the coins, jewellery, getting into the bank, robbing the vault, Newt emptying him of the coins?

9. Audience interest in the background, of wizards, magic? The Underground? Hidden from the humans? The references to Hogwarts as a good school, to Newt as a pupil of Dumbledore? Comparisons between the UK and the US? The hierarchy, the president and her entourage? The role of Graves, his power? Tina and her being relegated from significant jobs? The other members of the staff, in the building, the bureaucrats, the bank?

10. The spectacle of the destruction of the buildings, the city? The mystery? The son of the editor, coming with the story, bringing the mother with her children, complaining about magic and witches? His turning down the offer? The death of his son? Turning up for the destruction at the end, wanting photographs, reporting in the paper?

11. Tina, watching Newt, her suspicions, following him, capturing him, bringing him to the meeting, their being expelled?

12. The range of creatures, the imagination, size, colour, shapes, movements? Activities? Newt and his communication with all the creatures? The Underground world, Newt and the collection of the creatures, taking the large creature to Arizona? Serious creatures, mischievous creatures?

13. The mother and her speech, anti-magic, adopting the children, their Dickensian life, at home, meetings, the meals? The role of Modesty and the other girls? The role of Credence and his adoptive mother looking down on him?

14. Jacob, the substitutions with the case, his becoming involved? Tina’s response? Taking them home, the introduction to Queenie? Queenie with the touch of the 20s flapper? Her ability to read minds? The attraction to Jacob?

15. Graves, his character, his use of Credence as a spy, their meetings, the trust, the medal, his changing his attitude, Credence and the revelation of his power?

16. Tina and Newt to be executed, taken to the pool, the pool of memories, Tina on the seat? Newt, the creature releasing him? Tina and her leap from the pool, fleeing, meeting up with Queenie and Jacob?

17. Going to the nightclub, the creature singer? The manager, sinister, the deals? His calling in the authorities and the challenge to Newt?

18. The discussions about the destroyer? Newt and his illustrating the power – which was usually found in a child? The quest to find the destroyer? Audiences thinking it was Modesty? The reality of Credence? His transformation? Killing his adoptive mother? The pursuit of Graves?

19. Mayhem in New York, Newt and his willingness to help, the destruction in the subway, Graves, Tina talking to Credence? Graves and his power, the clash, being overcome? The calming of Credence?

20. The president and the entourage arriving in the subway, condemnation of Newt, the appeal by Graves? Their learning the truth, the change of heart? The president and her decreeing the obliviation of the whole city? The dragon, the potion, in the clouds, causing the rain, memories all going, the city restored, the photos and newspapers changing?

21. Jacob, his being human, his willingness to be obliviated? Going to the factory, Newt and leaving the case, the shells as collateral for a shop? His success with the shop, the crowds, the buns in the shape of the creatures? Queenie and coming to the shop?

22. Newt leaving, the boat, the farewell to Tina, publishing his book, his asking about returning to present it to her?

23. The openness for sequels? Johnny Depp appearing at the end as the deadly wizard?

JACK TAYLOR: HEADSTONE

Ireland, 2016, 90 minutes, Colour.
Ian Glenn, Siobhan O’ Kelly, Jack Monaghan, Chris Fulford.
Directed by Stuart Orme.

This is the second film in a later series of Jack Taylor detective stories. It follows closely on the preceding story, Cross, with Jack more benign than he used to be, though still with some toughness, and following through Kate’s diagnosis of breast cancer and, here, her having the surgery. Her cousin Darragh who had returned from England is still about, doing his studies, but ever ready to step in and help Jack Taylor in his investigations.

This is not exactly a murder mystery although there is an initial murder before the credits. Rather, as with Cross, this is a revenge story. And it also relates to some of the past cases with Jack Taylor and his investigations. And, as a small bonus, Father Malachy appears at the end of the film (although Jack Taylor’s quip to him is a reminder of sexual abuse cases).

At the opening, a young man has his finger chopped off and it is sent to his girlfriend with the threat that she is next. This involves Jack and he gets the help of Kate and Darragh while the parents of the young man hire their own private investigator. When the ransom drop goes wrong, Jack investigate and is abducted, along with the girlfriend. But, there are quite a number of twists, culminating in a showdown in a secondary school, explosives, shooting, and a revelation of family hatreds.

1. The popularity of the Jack Taylor series? Investigations? The role of the police, ex-police? The mysteries? The Galway setting? The town, homes, the streets? The musical score?

2. Taylor, older, looking more grizzled, if a touch more benign? His relationship with Kate, love, the issue of trust? His relying on Darragh?

3. The opening, the hooded men, pushing the wheelchair man into the river? Setting a tone?

4. The title, a computer game mentality, the strong destroying the weak? The emblem and the symbol?

5. Bethany, her Goth look, her calling in Jack, the case? The cutting off of the finger, the video, sending it to Bethany, the note that she was next? The judge, his wife, the video message, the wife’s reaction? The background of the judge, his two sons, in the mountains, saving, Connor, risking Ronan’s life, Ronan’s resentment? His going into rehab? His mother not wanting to lose another son, the ransom money, the decision to pay?

6. Jack, the discussions with Kate, going to the doctor, the prospect of the mastectomy, Taylor threatening the surgeon about his manner, Kate and her acceptance, the meal together, Taylor and the decision to buy the house for them? Kate, involvement with the case on the day before the operation? Taylor meant to take her to the hospital, his failing? His visit after the operation, studying the notes – her lying in bed, the visit of the manager of the rehab centre? And not being able to say she trusted Jack? His leaving?

7. Darragh, his background, studies, looking after Bethany, the relationship? His doing his own investigations, the identity of Jimmy Bennett, his photo, going to the pharmacist, the girl being attracted – and the later meeting? His going to visit Bennett’s aunt, the information from the hospital, his going to the farm, being trapped – being led on?

8. The investigator, the clash with Taylor? Working together, delivering the money, in the mall, the money in the bin, the investigator and his tracking device? Taylor watching, the rubbish collector, following him, Bennett arriving on the bike, burning the money, abducting Taylor, he and Bethany tied up? The threat to Bethany’s finger, Taylor sacrificing his own, the cutting of the finger, his getting loose with Bethany?

9. The visit to the rehab centre, the manager, his financial difficulties, friendship with Kate? Confidentiality? The risk of the two being killed? His giving the files? Kate studying them? Taylor studying them?

10. The judge, his anger with Taylor, the background of Taylor’s conflict with Ronan and Ronan losing his eye? The wife supporting Taylor? The ransom increased? The judge going to the function of the school?

11. Taylor and the investigator, searching the warehouse, clues? Finding the director of the rehab? Hurrying to the school?

12. The speeches, the dedication of the sports hall, Darragh and his being tied up with the explosives?

13. The revelation of the truth, Ronan getting his revenge, in collaboration with Bethany? With Jimmy Bennett? The explosives, his father, on himself, shooting the teacher? The reaction of the children? The father and his choice, the explosion?

14. Ronan, his bitterness, hating his father, antagonism towards Jack Taylor? The final confrontation, to shoot Jack? Jack and his surprise movement, the investigator shooting?

15. The resolution of the mystery? Jack and his being on his own, Kate’s reaction, the visit of the rehab director? Ready for the next mystery?

NEON BULL

Brazil, 2015, 101 minutes, Colour.
Juliano Cazarre, Maeve Jinkings, Alyne Santana.
Directed by Gabriel Mascaro.

One of the advantages of watching a film that comes from an unfamiliar country is that it opens up audience horizons, seeing different locations, encountering different people, sometimes very different ways of life. This is the case with Neon Bull.

On paper, the subject of the film might not seem particularly interesting or attractive. And, this might be the case for many audiences who watch the film, its unfamiliarity, and, especially its earthiness.

Actually, there is only one neon bull during the whole film. but, there are many bulls, the film opening with stalls crammed with bulls, some on top of each other. Audience puzzle is soon answered as we see the bulls being moved from stall to stall by some tough cowboys. We see the central character, Iremar, getting the tail of each bull, fluffing it, putting sand in its tail – and then sending the bull out into an arena, a local rodeo in the north of the country, where a line is drawn across the middle of the arena and the cowboys have to topple the bull before they reach that mark. For those apprehensive about animal cruelty, it doesn’t look the best, nor with the cramming of the bulls into the stalls and onto trucks travelling from town to town for rodeos, but most of the bulls stand up after their fall pretty readily – with the exception of one who struggles to rise.

When the rodeo takes place at night, some of the bulls are covered in neon paint – hence the title.

But the film is really about the people, about Iremar, in his mid-30s, strong and tough with the bulls, with the other men in the team, involved in hard work. Surprisingly, he has a dream of being a tailor, measuring the woman in the group for costumes for a cabaret act where she dons a horse’s head and gyrates to the loud applause of the very male audience. Iremar sews the handpicked cloth with his small sewing machine, and, later in the film, he has the opportunity to tour an enormous clothing factory, full of machines bigger than his, a place where he would really like to work.

In the close-knit group which travels from town to town is the woman who drives and who dances at the cabaret, along with her daughter with whom she is continually squabbling, a rather independent-minded little girl who loves horses rather than bulls. Then there is the large Ze, the butt of a lot of jokes, and Junior, who spends a lot of time ironing his long hair.

The film focuses at quite some length on a lot of episodes, getting the audience to ponder the detail, cooking and meals, driving, the men and communal washing, the tour of the factory, a pregnant woman touring the rodeo and selling perfumes, a lengthy and rather explicit sexual encounter.

The director obviously has some affection for these people and shows them in a fairly straightforward way without making judgements on them. He invites the audience to do the same.

1. A film from Brazil? The backblocks? The people, their way of life, work, families, travel? Down-to-earth?

2. The title, the bulls and the rodeo, the neon bull at night?

3. The focus on the bulls, the opening, in the pens, one on top of the other, the sand in their tails, moving from stall to stall, going out into the arena, the cowboys and getting the bulls to fall? The crowds?

4. The huge truck, travel, the different locations? The towns, the stops, the factory? Musical score?

5. Iremar and his work with the bulls? Caca and her relationship with her mother, with Iremar? With Ze? Their characters, the details of the travel, the woman driving the truck, the passengers, the bulls? Meals? Iremar and his sketching, measuring the woman for her clothes for the cabaret, his sewing, the sewing machine? His wanting to design? The hard work, the dirt, the group of men washing? The encounter with the perfume seller? His going to the factory, the tour, his admiration, the sexual encounter?

6. Caca, her age, relationship with her mother, travelling, talking, love of horses, sketching, playing, arguments with her mother, the meals, in the truck, the shower with her mother?

7. The mother, her relationship with Iremar, driving, the clashes with her daughter, her cooking, the meals, the relationship with the men, the encounter with Junior, her plucking herself? Her presence in the cabaret – and the response of the men?

8. The woman selling the perfumes, moving around, testing, with the men, security guard, her being pregnant, with the men, with Iremar, the sexual encounter?

9. Ze, Junior, with the bulls, their work, Junior and his combing his hair at length, with the woman? Ze, fat, the butt of jokes? His magazines?

10. The observation of these people, their way of life, not judging them – but also showing their dreams?

SOUTHSIDE WITH YOU

US, 2016, 84 minutes, Colour.
Ticka Sumpter, Parker Sawyers.
Directed by Richard Tanne.

A rather romantic title and the south side is that of the city of Chicago back in the summer of 1989. For those expecting something of a date movie, and some are promoting this film as such, it is a brief encounter between two pleasant characters, articulate characters. And some have been reminded of Richard Linklater’s romantic encounters, with a great deal of talking between the two characters, in his Before… Trilogy.

When we hear that the names of the characters are Michelle and Barack, there is no mistaking who they are. This is an opportunity to get to know the couple, the visualising of this outing which meant a great deal to them (and which commentators say is accurate enough about what happened, even to Barack buying Michelle a chocolate ice cream at the end of the film).

Ticka Sumpter and Parker Sawyers have put a great deal of effort into their characterising Michelle and Barack, Sawyers having a lot of Barack’s manner, look, into nations (and his heavy smoking at that period).

The action of the film takes place from the early afternoon until the evening, giving the couple quite an opportunity to talk, learn about each other’s history and family, talk about their work, their perspectives on social issues. Michelle insists to her mother and father and, frequently, to Barack that their outing is not a date, that he had invited her as a colleague at work to go to a meeting in a church about local social issues. By the end, especially with the ice cream, and a kiss, it has definitely been a date.

The first part of their outing is to an art gallery to see paintings by Edgar Barnes, quite arresting paintings of African-American? subjects, vivid colours, distorted forms, but illuminating a variety of situations and characters. This gives the couple an opportunity to talk about race issues, about Michelle’s straightforward family with a strong work ethic, about Barack’s white mother and her living in Hawaii and Indonesia, his Kenyan father and his father’s failures at study and work and death in a car accident. Many audiences know this background but it is interesting to hear the couple describe it.

Then the film moves to a more preachy and rhetorical situation, Barack invited to speak in the church to a group that is disappointed in social progress but he is able to turn their moods into enthusiastic support, reminding them that “no� can be turned into “on�. And so, we hear Barack social concerns – although Michelle does tell him that he sounds a bit professorial.

They also decide to go to a movie and see Spike Lee’s Do the Right Thing, the stirring 1989 drama of race relationships in New York City, showing a finale with racial anger and a riot. The couple actually meet their boss and his wife, white, who have come to see the film, the very few white characters in the entire film.

The film leaves it to the audience and their experience of the Obamas, not giving any further information about them and their careers. The final credits give an opportunity for the filmmakers to show us in longer close-up some of the Edgar Barnes paintings. For audiences who want something more challenging and controversial, they will have to wait until Oliver Stone decides to make a film about the Obama years!

1. The focus on Michelle Robinson and Barack Obama? An opportunity to appreciate them as persons, personalities, the relationship between the two?

2. The Chicago setting, the two homes, the streets, the art exhibition, the parks, the meeting in the church, the bar for drinks, the cinema and Doing The Right Thing, the conversation outside the cinema? The musical score – and the songs of 1989?

3. The 1989 setting, costumes and decor, atmosphere?

4. The film taking for granted audience knowledge of Michelle and Barack Obama? Not giving any further information about them and their careers at the end?

5. The actors, the resemblance to the Obamas, look, manner, speech patterns…?

6. The device of having the action take place over one afternoon in summer, 1989? A film of dating, a film of edge between the two, yet the attraction, the background of the workplace, legal education, social concerns? The conversation in the Art Gallery and afterwards, Michelle giving her family background, strong father and mother, her meanly strict grandfather and the effect on her father, the work ethic, praise of her brother? The contrast with Barack Obama, the memories of his mother, yet her absence in Indonesia, her marrying his father, the Kenyan background, his failing in his enterprises, studies, career, alcohol and the accident? Barack and his resentment towards his father, having to overcome it?

7. Race issues in the United States in the late 1980s? The presence of black men and women in professional careers? Prejudices? Social injustice?

8. The paintings by Edgar Barnes, their subjects, style, race issues? And the close-ups of particular paintings during the final credits?

9. Barack Obama and his social concern, his background, memories of schooling in Hawaii, in Indonesia, the touch of bullying, smoking marijuana during studies? His presence in the church, at the meeting, inviting Michelle? His being invited to speak, the down attitudes of the congregation, their interjections? His taking a more positive stand, saying “on� instead of “no�? His ability to stir up audience response, admiration? Michelle saying that his tone was a touch professorial?

10. The argument about whether the outing was a date not? The dispute about pie and ice cream? Barack and his persistence? His buying the ice cream at the end, the kiss?

11. Going to see Do the Right Thing, Spike Lees film and its ethos, the scene shown, black anger and riot? The conversation with the boss and his wife, Barack’s interpretation of the film, yet emphasising black anger to Michelle?

12. Audience reaction to the romance and the date? Some seeing it as too slight? Audience response to the serious implications? A touch of preaching?

13. The release of the film at the end of Barack Obama his eight years – and the impending Trump presidency?

ARRIVAL

US, 2016, 116 minutes, Colour.
Amy Adams, Jeremy Renner, Michael Stuhlbarg, Forest Whitaker.
Directed by Dennis Villeneuve.

For almost 200 years science-fiction has been developing, from 19th-century authors like Jules Verne and into the 20th century with H. G. Wells. Novels and short stories as well as comic books have been the way to communicate these stories but, especially during the 1950s, many films, generally B-budget, took audiences into the realm of science-fiction and fantasy. While there were many versions of Verne’s and Wells’ stories, science-fiction became very respectable in 1968 with Stanley Kubrick’s 2001: A Space Odyssey.

In more recent years, there has been a great interest in space and space travel with films like Gravity, The Martian, Interstellar.

In the 1970s, there were two classic films about aliens and alien life, hostility with Alien, and friendliness with Spielberg’s Close Encounters of the Third Kind. The reaction to alien pods in Arrival is initially one of suspicion, the tradition of the War of the Worlds, but Arrival is a film in the Close Encounters tradition, close encounters for the 21st century.

The film is the work of Canadian director, Dennis Villeneuve, who made a strong impact with his film about the Middle East and Canada, Incendies. Working in English, he has made the striking dramas, Prisoners and Sicario. His next film, the sequel to Blade Runner.

The film opens with a linguistic expert, Louise (Amy Adams) trying to give a lecture but interrupted by phone calls and news of 12 giant pods hovering over different locations throughout the world. At her home, she speaks to her daughter, the beginning of her story – but we discover, through flashbacks, that the daughter has grown up, become ill, has died.

Into this mysterious context, the American military arrives, in the form of Forest Whitaker, to take Louise to the Montana headquarters confronting the pod over the US, along with a science expert, Ian (Jeremy Renner). Together they are to interpret the communications from the aliens and to probe the science behind the arrival. The perfect will pods may seem sinister to eyes used to watching disaster films, but their perfect form is reminiscent of the monolith in 2001.

While there is military alertness, especially from a general in China, this is not a film about war, not a variation on Independence Day.Rather, the two investigators have sessions with the strange aliens, looking something like octopi with seven tentacles, who make sounds but who also squirt Rohrschach -looking circular diagrams which Louise has to interpret, trying to find words and meanings.

There is anxiety around the world, communication, then closing of communications, and some deadlines for discovering the truth.

At the end, Louise realises that the aliens have a different understanding of time, not linear, rather circular – which gives more meaning to Louise, relationship, the conception of her child, the child’s life and illness.

At the end, also, there are signs of hope, a benign interpretation of the aliens and their continued care for humans and encouraging them to unity and peace.

So, a more thoughtful contribution to the tradition of the science-fiction of an intelligent life in space.

1. The division of science fiction films? 19th-century stories, Jules Verne, H.G.Wills? The 19th century and the development of science-fiction imagination? Into the 20th century? Into the 21st century?

2. The contact stories: the War of the worlds, alien invasions, serious, the horror touches?

3. Aliens in the 1970s, aggressive in Alien, the contrast with Close Encounters? The 1990s and Contact? The tradition of 2001: A Space Odyssey?

4. The 21st century, Gravity, The Martian, Interstellar…? Visual impact? Intellectual content?

5. Arrival and the plausibility of the plot? The presence of the aliens? The need to communicate? Human fear, military response? The contrast with the dialogue of language, scientific investigation, communication?

6. Louisa story, the beginning of the story and her talking to the child, the daughter growing up, the memories cues for flashbacks on her understanding her mission and dialogue with the aliens? Her daughter’s illness, death, the father’s absence, her grief? The complexity of this plot, the flashbacks to different times – and, with a different understanding of time, the flash forwards? The blend of joy and sadness? Knowing of her daughter’s illness and death? The father unable to face this? The question posed that if we knew what was to come, would we change anything? Louisa’s response, Ian’s response?

7. Louise at work, the students had their phones, the language class? The sirens, the warning, evacuation of the University, cars crashing into each other, her returning home, being alone? The kernel arriving, his interview, who is a sensor and asking the expert at Berkely about Sanskrit? The test, the Col’s return, the helicopter, taking her to Montana?

8. The situation, media coverage, media information, the military headquarters, the variety of screens, different locations for the pods? Connection and then the disconnect? The military information, the political background?

9. The pods, the visuals, the different locations around the world? The American response? Chinese response? China in military? Russia? The sedan? Rights in Venezuela?

10. The setup of the camp, the tents, offices, the monitors, the large staff, the phone connections? The kernel, the different military officers? The political representative and is contact with Washington? The medical staff for testing, especially for radiation? Preventative medication?

11. Ian, his background, science, in the helicopter with Louise, the medical tests?

12. The pods themselves, the creatures, have to try on is, their appearance, audience response to aliens, apprehensive must, fears (and the historic wife the phone with her officer husband)? The aliens and allowing the sessions for communication, the barrier, Louise with her posters and names, moving to interviews? Theory about dialogue, techniques of dialogue and focus on questions, techniques for answers? The aliens, their squirting their responses, the raw shark images, the sounds? The steps and process of interpretation, building up a vocabulary? Who is protective? The decision to remove her protective gear? To become real, trust? The effect? Ian following?

13. China, the general, the military reaction, fears? The American Hawks and wanting Neocon strikes? The preparation of the met American military? The bomb, the time, the explosion?

14. Louise, interaction with Ian, sharing the experiences, progress, at the computers, the discussions, the theories?

15. The political representative, his harsh perspective?

16. Louise, the effect of the experience, dreams, flashbacks, ideas, a decision to go out to the pod, being received, her experience within?

17. A return, the reaction – the shift in time, the audience understanding non-linear time, the flash forward to 18 months, the encounter with the Chinese general, his appreciation, whispering in her ear, that she was able to tell him his wife’s last words, his calling off the attack? The return to the situation, Louise taking the political advisors phone, the pursuit, willing to shoot, her contact with the Chinese general?

18. The role of the aliens, guardians, wanting to help humanity, forcing disaster in the future, their presence, communication, there wanting humans to unite amongst themselves – and Louise at the celebration?

19. Louise and Ian, love, this story? The conception of their daughter – and the prospect of her life and death? The grim underlying touch?

20. 21st-century science-fiction, special effects, imagining contact with other worlds and creatures, positive communication – Food for thought?

UNDERTOW

US 2004, 108 minutes, Colour.
Jamie Bell, Josh Lucas, Dermot Mulroney, Devon Allen, Kristen Stewart.
Directed by David Gordon Green.

Critics could not have been more enthusiastic about David Gordon Green’s debut movie, George Washington. They liked his second film, All the Real Girls. For his third, Green has chosen a southern Gothic thriller, a genre piece that he was personally interested in, and the critics can’t forgive him for doing something he liked and they they he ought not do. And he made these films when he was only in his 20s. Better to appreciate the film for what it offers rather than what others think it ought to be.

On a poor farm, a widowed father, John (Dermot Mulroney) brings up his two sons, Chris (Jamie Bell), Tim (Devon Alan) in isolation with continuous hard work. Chris is a restless teenager with his eye on the daughter of a neighbour who keeps chasing him away and reporting him to the police. Tim is delicate and can’t work. The first part of the film quietly and slowly develops the characters and the situation.

When John’s brother, Deel (Josh Lucas doing yet another nasty type) turns up things take a turn for the worse and for violence with the boys finally on the run to escape their uncle. They are helped by a black couple and by drifters on the waterfront until the expected confrontation.

For those expecting action and pace, Undertow is not that kind of film. Rather, if we enter into the mood, we are drawn irresistibly into the current and moved along by the film’s thematic undertow. The point of view is mainly that of the two boys, the older a good boy who wants to do the best by this brother, the younger trying to cope with being on the run.

Jamie Bell has made a few films since Billy Elliot (and, although taller and older, has not changed all that much in appearance) but this is a vehicle that he has to carry. Audiences will warm to him and be on his side. The adults are good as is Devon Alan as Tim.

Undertow is a modestly ambitious drama that takes us into the strange and sometimes violent atmosphere of the American south.

Green has gone on to make a number of serious films but also ventured into parody with Pineapple Express and Your Highness.

1. the title? Tides? The framing black-and-white images in the water? The message in a bottle, the coins in the river?

2. The American south, atmosphere, Georgia, the homes, farms, the town, fields and woods, the landscapes, the waterscapes, the variety of locations, the waterfront? The musical score? The portrait of the family, John, his age and appearance, widower, the portrait of the family on the wall, their hard life, Chris, his age, flirting with the neighbour, throwing the stone at the window, the nail in his foot, caught by the police? Tim, his age and illness? The hard work, with the hogs, life on the isolated farm, relationships?

3. Chris, his hard life, the bond with the family, with the local girl, always in trouble, Tim’s birthday, making the plane for him?

4. Tim, age, frail, anxiety, meagre eating, being sick, the gift of the plane, his love of books?

5. Deel and his arrival, the impact? John’s brother, talking with him, memories of the past, the strict father? His time in prison, parole, ambitions, interest in the coins? His staying, working, the drive with Chris?

6. John and the story of the coins, the dead, paying for the ferry, otherwise waiting?

7. The clash with John, the coins, John saying they had been taken, Deel’s envy of the boots, resentment about Audrey, Chris being his son? The search for the coins, the fight, John’s death?

8. Chris looking through the window, the escape with Tim, Deel battering down the door, the pursuit?

9. The boys on the run, eluding Deel, bonding together, hiding in the woods, food, the couple and the talk and work, the jokes, the food? The wife contacting Deel? Going to the waterfront, unable to be employed? Tim sick, the medication? The fight in the alley, Chris saving the girls, the going to the river, bonding, talk, the message in the bottle, the issue of the coins, the audience thinking the girl had taken them? Not?

10. In the car dump, the boys together, Deal discovering them, hiding in the woods, running to the river?

11. The final confrontation, Chris in the river, pouring the coins into the water, Deel coming to drown him, Chris stabbing him, Deal’s death, Chris recovered?

12. Final hopes, Chris saved, Tim present, the kindly grandfather and grandmother?

POINT OF ORIGIN

US, 2002, 86 minutes, Colour.
Ray Liotta, John Leguizamo, Colm Feore, Cliff Curtis, Bai Ling, Illeana Douglas, Ronny Cox.
Directed by Thomas Newton Sigel.

Point of Origin is an HBO television film from the early 2000’s, recreating a story from the 1980s.

American audiences of the time may have remembered the character and the episodes. However, those not in the know will be astonished as the film goes on to find that it is based on actual events and characters and that the hero with whom they could identify is actually the guilty party.

This is a film about arson and many fires in the Los Angeles area during the 1980s. The special effects for the fires and their ferocity make quite an impact.

However, it is the human drama that is important, a focus on John Orr, a seemingly respectable role for Ray Liotta – but not for the extent of the whole film. He is a chief arson expert, giving lectures, giving advice to investigators, a man very much admired. He also has a theory about the suspect and is able to provide witness sketches of him.

As the film progresses, and John Orr is seen writing a novel about arson, the audience realises that he himself is the arsonist and is dramatising his exploits in his novel – many of which are visualised. He is married with a family, rather strict, but is also having an affair with a local policewoman.

The film has a strong supporting cast with John Leguizamo as his support and admirer, Colm Fiore as the Chief Inspector, Ronny Cox as the fire chief, by Ling as his wife, Ilieana Douglas as the policewoman.

John Orr tools tells his squad that ego is the main motivation behind arson is ego – and the whole story illustrates the ego of a mentally disturbed man and the consequences of his action.

1. A true story? The character, his behaviour, fires in California, the 1980s? The credibility of the character and his story?

2. Los Angeles, the various city locations, homes, fire stations, investigation offices, the streets, homes? The musical score?

3. The fires, the special effects for the fires, the devastation, the rescues?

4. The introduction to John Orr, his sober appearance, moustache, credible? His background, as a firefighter, his expertise, lectures, finding the point of origin for each fire? His attendance on the fires, observing, commenting? His contributing to the investigations?

5. Keith, the assistant, earnest, learning from John, supporting him, against criticisms? His being part of the team of investigation? Suspicions of John, his scepticism? Following John, seeing him and his having the affair? Ultimately having to give in? His dismay at what happened?

6. John, at home, his wife and children, devoted to his work? Audience surprise at his having the affair? His double behaviour, declarations to his wife? His writing the novel, the wife discovering it? His reaction?

7. The visualising of the suspect, Keith and John with the witness, John feeding her the description and her saying what they wanted? The sketches? The film visualising the suspect, setting the fire in the shop, observing, rejection by the girl, going to apartment, the assault, setting the fire, her death? His planting the fingerprints for John’s guilt?

8. The extent of the fires, the number, the investigations, checking with people at seminars, crosschecking? The fingerprint and John’s identity?

9. John, continuing his work, consulting? The domestic scenes, his daughter, threatening her boyfriend?

10. The novel, the authorities getting it? John’s theory of arson being a matter of ego? His arrest – and his imagination turning him into a shooting hero with all the corpses? The contents of his kit? The contrast with the reality?

11. Case, the trial, in prison? An extraordinary ego?

TICKET OUT

US, 2012, 90 minutes, Colour.
Ray Liotta, Alexandra Breckenridge, Colin Ford, Ciara Bond, Billy Burke.
Directed by Doug Lodato.

Ticket Out takes on the issue of abusive parents, court decisions, issues of custody, the desperation of mothers, the harm for the children.

The plot focuses on what is called an Underground Railway in which parents are helped by volunteers to hide from their pursuers, to move from safe house to safe house, ultimately moving towards the Canadian border where they can get a flight and take refuge in Canada.

Alexandra Breckenridge is the harassed mother and Billy Burke the vindictive father. Ray Liotta is a sympathetic parent helping with the Underground Railway then later revealed to be an FBI agent collaborating to discover legal aspects of the Underground. He is attracted to the mother and children. There is a crisis at the end of the film where the mother sees him with her husband, clashes with him, the husband pursuing with a melodramatic shootout on the tarmac.

1. A film about domestic situations, crises, parenting, separation, custody? Abusive and violent parents?
2. The American locations, the cities, suburbs, remote towns? The countryside? Courts? The pursuit? The musical score?

3. The title, the importance for Jocelyn and her children to be free of her husband?

4. Domestic violence, the law, lawyers? The issue of spouse and children rescue? The Underground Railway, the teams? Legal and illegal?

5. Jocelyn, the children, in the court, the decision against her, for her husband? Her reliance on her sister? Her parents?

6. The situation, the children going to their father, unwilling? The girl bouncing the ball, breaking the vase, the boy taking responsibility, his being beaten? Jocelyn arriving, the boy with the gun, stabbing his father? Their escape?

7. The father, his character, severe, vindictive against his wife? His punishing the children? going to hospital, his arrogance, the TV interview?

8. Jocelyn and the note, the police going to her sisters, the getting away? Meeting Jim, the contacts, her being desperate, the Rev Appleton and his wife, Levi and his children? Prayer, the meal?

9. The nature of the Underground, Levi having to flee with his children until they were 18? The variety of stops on the way, destination Canada?

10. The FBI, the investigation, to break up the Underground?

11. The little girl going outside, waving to the farmer, his giving information, the police arriving, the guns in the shooting, Levi killed? His children taken into custody?

12. The father, going to the police, hiring the tracker, the cash? His contact with the FBI agents?

13. Jim, genial, his story, family, in prison? The shift in the plot with his being part of the FBI sting, investigating the Underground?

14. The various crises, accommodation, the little girl going to pat the dog, Jocelyn in the shop, the tracker taking the children and Jocelyn, Jim unable to help them? There being in the police precinct, his coming in with the story, helping them escape?

15. The old lady, the plans, the plane to take the family to Canada?

16. Jocelyn, selling her engagement ring, the telescope, seeing Jim with her husband?

17. The husband, his continued pursuit, with the agents?

18. Jim, attracted to Jocelyn, revealing the truth, her pushing him down the whole? Her hurrying to the plane, with the children, the husband preventing the takeoff? Jim emerging, the fight with the husband? On the tarmac, Jocelyn with the gun, her husband with the gun, Jim being shot, the takeoff?

19. An American story – but multiplied around the world with parents employing agents to help abduct their children?

METALHEAD

Iceland, 2013, 97 minutes, Colour.
Ingvar Eggert Siggursson, Porbjorg Helga Porgilsdottir, Sigrun Edda Bjornsdotttir.
Directed by Ragnar Bragason.

Many very interesting films emerged from Iceland in the early years of the 21st century. This is one of them.

The film creates an atmosphere, the Icelandic countryside, the work of the farmers, life in the town, the church. Also important is the musical score and themes of music, the pervading rock music, the bands and compositions.

At the centre of the film is a young girl, grieving the death of her young brother, not getting any consolation from his funeral or religion. There is a new priest in the town who is sympathetic and listens to her. She has perpetually attempted to run away, since childhood, but always remains, her mother and father trying to deal with her. This includes her burning down the church.

She composes music and lyrics, makes a record, which comes to the attention of some young Norwegian producers who arrive, join with her performance in the church – initially to the dismay of the congregation who find this music too loud and want something from Iceland.

One of the by-products of this experience is that the husband-and-wife are able to speak frankly about the grief at the death of their son, respond to the music, and appreciate their daughter more.

1. A film from Iceland? Icelandic characters, situations? Families, deaths? The importance of rock music? Hard metal?

2. The settings, the Icelandic countryside, the farmers and fields, the town, homes, the church? Authentic feel?

3. The importance of rock music? The discussion of a variety of groups and their careers and their impact? The compositions for the film, Hera and her work, her performance, the group, Hera, understanding her, sharing the music, her kissing him, his reaction? Yet his support of her, listening to the music? Hera, her anger with Jesus at her brother’s funeral, the discussions with the priest about Jesus and his being with outcasts? Hera going to the church, tearing up the hymnals, burning the church down? The parish meeting, the discussion, the decision not to blame Hera but to rebuild the church themselves?

4. Hera, her desperation, going into the mountains, the snow? The apparition of her brother?

5. Her return, going to see her friend, his support of her, his father? His later accosting her, explaining that they were friends, yet her using him, his love for her – but her being unable to reciprocate?

6. The arrival of the young men from Norway, liking her music, her explaining it was only a demo, that she did everything herself, their enthusiasm? Participating in the concert, performance, the audience finding it too loud, wanting something from Iceland, Hera turning down the sound, playing the music and a positive response?

7. Themes of grief, overcoming grief, the role of music – and contemporary hard Rock?