ANG TATAY KONG NANOY

Philippines, 1978, 116 minutes, Colour.
Dolphy, Nino Muhlach, Phillip Salvador, Marisa Delgado.
Directed by Lino Brocka.

Lino Brocka was one of the most significant directors from the Philippines in the 20th century. While he had experience overseas, especially in belonging to a fundamentalist religious group, but also in contact with his Catholic roots, he made a big impression at the Cannes film Festival in 1976 with his story of Manila slums, Insiang. This film followed soon after.

Brocka was a gay man and gay themes pervade so many of his films, especially his portrait of the Macho Dancers, prostitution and the male clients.

At the centre of this film is a transvestite man, played by heterosexual comedian Dolphy, who runs a beauty parlour, goes out on the town in dresses with his friends. His ward comes to visit him, telling him that he has a young child and asking him to act as a parent figure. He does and becomes very attached to the child. He also changes some of his more campy behaviour.

Eventually, the mother of the boy who had abandoned him and taken up as a nightclub hostess, then marrying a rich man and becoming widow, comes to claim him. The boy is reluctant to go, his father/mother urging him to be with his mother. The boy runs away and returns back home to the beauty salon.

There is a great deal of humanity in this film, taking us into the slum areas of the city as well as into part of the gay community.

1. The title, the focus on Nanoy? Themes?

2. The work of Lino Brocka, his status in the Philippines film industry? In the 1970s? His vision of Manila, of poverty in the city, of families? Sexuality, relationships, transvestites, status and public opinion in the 1970s?

3. Manila, Coring’s world, out, transvestite, the group, in society, social activities, clashes, homes, the beauty salon? The musical score?

4. Coring and performance, coming home, removing the wig and make up, his lonely life, his camp manner, work in the beauty salon, the friends, there effeminate behaviour, the clients, a world in itself?

5. Dennis, Coring’s ward, arriving with his son, the relationship with Coring, having the meal, joining the Navy, his request, the effect on the baby, on Coring?

6. Coring, responsibility, details of home life, of care, the meals, the male world, the boy adapting, love interaction, going to school, with the mothers, his standing up as being the boy’s mother and father?

7. The different reactions of his friends, life and carry on?

8. Years passing, the boy, age, playing in the streets, discipline?

9. Dennis’s return, his life in the Navy, the bond with his son, gratitude to Coring, the news about the boy’s mother?

10. The mother, her work in the night club, hostess, abandoning the boy, marrying the rich man, widow, being wealthy, her wanting her son, the approach to Coring, the visit to the salon, making a deal with Coring?

11. Coring, his reaction, disappointment, thinking the change would be better for the boy, his being abrupt with him, the mystery of his stand-off attitude? Packing?

12. Nanoy, aware about his mother, his father, the bond with Coring, going to the new home, the wealthy style, the issue of discipline? Upsetting his mother? Running away, returning to Coring, the bond between them?

13. The mother, accepting of the situation?

14. Lino Brocka and early films, family, the nuclear family, the different single-parent family, the gay family, love and hope?

BLOOD OF MY BLOOD/ SANGUE DEL MIO SANGUE

Italy, 2015, 106 minutes, Colour.
Roberto Herlitzka, Pier Giorgio Bellocchio, Alba Rohrmacher, Lidiya Lieberman, Federica Fracassi, Fausto Russo Alessi.
Directed by Marco Bellocchio.

Italian Dir, Marco Bellocchio, has had a long career, since the 1960s. His films have covered a wide range of Italian stories, including politics and, sometimes, the Catholic Church. These include his film about the abduction and killing of older Moro, Buongiorno, Notte, and his story of the Vatican and questions of canonisations in L’Ora? della Religione.

There are two parts in this story, the first takes place in the 17th century, in Inquisition story, the trial of a young man who is alleged to have had an affair with a priest who has killed himself. The brother of the priest arrives for the court case, meets the Inquisitors as well is the nuns of the convent of the accused. He stays in lodgings with two sisters – with sexual consequences.

The Inquisitors are very severe, the nun standing up to them, being found guilty and being walled-up.

This takes place in the town of Bobbio, which is the setting for the second story, a 21st-century story. A wealthy Russian man is interested in buying the premises of the old convent from a reclusive count and becomes involved with agents organising the sale. The film shows contemporary Italian society, aspects of greed and deceit, and violence.

The film focuses on the man himself, his way of life in secrecy, is coming out into the open, his collapse, his encounters, his death.

There is very little apparent connection between the two stories.

However, there is a vindication of the nun when the wall is shown to be broken down and she walks out, still young and live despite her imprisonment.

1. Two Italian stories, the juxtaposition, into cutting, the effect?

2. The director, his long career, Italian issues? Continued focus on religion and the Catholic Church?

3. The Bobbio setting, 17th century, the cloister, the interiors, corridors and cells, the court, the Chapel? The story of interiors? The 21st century city, modern, the old prison, the hotel?

4. The musical score, the range of choirs, the songs and atmosphere?

5. Rico, his arrival at the convent, his point of view? His life, his grieving mother, his brother the priest, the affair with Benedetta? Accusations of Satanism and witchcraft? The role of the Inquisition? The explanation of the tests, water and fire? The nuns, sinister atmosphere, yet the young choir? The scenes in the garden? Benedetta, age, the affair, defiant, the torture, the hearing of her case, the interactions with Federico? The condemnation, her being walled up?

6. Federico, attending, with the Inquisitor? With Benedetta, defiance? At home with two sisters, sexually starved, the effect of the interactions with him, the bedroom scenes?

7. The 17th-century story resuming, the visit of the cardinal, the chaplain, the rituals, the distribution of communion, Benedetta walled up, her feet and the mess, the face? The blindfold of the workers, beating down the wall? Her emerging naked, beautiful, a free spirit? The officials on the floor, dead?

8. The 21st century, the tax inspector and the Russian millionaire, fraud, planning to buy the prison, turned it into a resort? Issues of money? The scenes of the hotel, the agent and his deals, his having been in prison?

9. The prison, inside, the visitors, the guardian of the count?

10. The counts wife, a complaint about his disappearance?

11. The count, dressing, old, going out, meeting with the buyer, the discussions, the bargain? His hold over him? The tax man, planning bargains, disappointed? The Russian?

12. The old man, watching people, the receptionist at the hotel, the young lovers, going up the steps, his collapse and death?

13. Each story in itself, the city of Bobbio in common? But the links with the stories?

OPERATION AVALANCHE

US, 2016, 94 minutes, Colour.
Matt Johnson, Owen Williams, Josh Bowles, Andrew Appelle.
Directed by Matt Johnson.

Operation Avalanche is an enjoyably jokey film, capitalising on American propensities for conspiracy theories.

The film was written and directed by Matt Johnson along with his friend, Owen Williams, the two responsible for the small-budget, satiric Canadian film on film-making, The Dirties.

The film takes back to the 1960s, with two very earnest young men completing their college degrees, going to work for the CIA. It is the post-Kennedy era. In fact, the film uses a great deal of actual footage on JFK, NASA, incorporating it neatly into the film. The film also capitalises on aspects of the documentary genre, with handheld camera and the suggestion that the action is caught immediately as it happens.

The two men decide to infiltrate NASA because of the possibility of there being a mole feeding information to the Russians. There is a paranoid atmosphere, even suggesting that Stanley Kubrick be investigated because of Dr Strangelove. And they learn of cinema techniques to use watching the filming of 2001: A Space Odyssey.

With Kennedys ambition of the United States reaching the moon, the two young men offer the possibilities for faking a moon landing (later the theme of the thriller Capricorn One) and there is a great detail of how they go about this, successes and failures, involvement of other persons.

There is also satire on those in charge, on potential moles, but getting very serious when the family of one of the partners is threatened. There is a final pursuit in the desert, a serious touch on the result of conspiracy shenanigans.

All in all, the film is very amusing, especially for outsiders who are critical of Americans and the preposterous background of faking a moon landing to save America’s reputation in case of failure.


1. An entertainment? A perspective on the US? The CIA, NASA, government? A jokey film?

2. Conspiracy theories, audience beliefs, the credibility?

3. The filmmakers, creative, writing, performing, Canadian background?

4. The usage of film footage, on JFK, from television, NASA? Incorporated into the film?

5. The documentary genre, the handheld camera, the footage, situations, the film stock, editing?

6. The introduction to the characters, Matt, Owen and Andy, background, Kennedys inspiration, recruited from college, the CIA?

7. At work, the CIA? The idea about the mole? Kennedy’s focus on the moon, the images of Soviet rivalry, 1969 as the target? To make a documentary? The appeal to the authorities? Disguised as filmmakers, searching at them all, travelling across the US to Huston?

8. The personalities, Matt, upfront, boisterous, full of ideas, out there, brash, breaking through? The contrast with and, collaborator, fitting in, following, his wife and family? Andy and his filming?

9. The CIA, the alleged investigation of Stanley Kubrick? The background Dr Strangelove? The making of 2001, the visit to the United Kingdom, Matt with Kubrick, learning about front projection?

10. The basic idea, the attempt about the moon landing, the gear, the spacesuit, choosing landscapes for moonscape’s? The experience, Owen, his leaps along the surface of the moon? Filming in the dark with lights? Showing the footage to the authorities?

11. The reaction of the authorities, persuasion, the plan, the targeted 1969, the phone call saying that they could not land in 69, the plan to insert the footage as authentic?

12. The supervisor, in charge, the reactions? Owen discovering there was no permission, his anger, hitting Matt?

13. The development of the project, going to the UK, two Kubrick and the filming of 2001? The moonscape’s, the Rock, seemingly authentic?

14. The issue of the mole, listening in on the phone, the suspect, his death?

15. 1969, going to the moon, the footage of Armstrong and Alden? The walk on the moon?

16. Matt upset, the authorities forbidding him, ransacking his house? Owen being hanged? Matt bearing the film, to commute up, Andy filming everything, the chase through the desert?

17. The continued pursuit?

18. The film as a clever piece of enjoyment on the part of the makers – but with more to offer about America, espionage, the CIA, NASA, conspiracies?

SUITE FRANÇAISE

UK, 2014, 107 minutes, Colour.
Michelle Williams, Kristin Scott Thomas, Matthias Schoenaerts, Margot Robbie, Ruth Wilson, Sam Riley, Alexandra Maria Lara, Harriet Walters, Lambert Wilson.
Directed by Saul Dibb.

Suite Francaise is based on a novel by Irene Nomorofsky. She wrote it in the 1940s about her contemporary experience in the Nazi occupation of France, but was sent to Auschwitz where she died and the manuscript disappeared, later appearing in the at the end of the 20th century and published.

The film was directed by Saul Dibb whose films include a British gangster film, Bullet Boy, and historical drama, The Duchess. Here, the occupation of a French village is brought vividly to life, the refugees after the bombing of Paris, the German military occupying, the attempts of the local nobility to make friends with the authorities – to little avail.

The film focuses on a young woman whose husband has been sent to the front. She is living with his mother, very severe woman. The young woman is played by Michele Williams and the mother in law by Kristin Scott Thomas. There are tensions in the household with the older woman in charge, spurning the Germans but forced to accept them, a religious woman, going to church.

The Germans have difficulty with billeting their soldiers and a rather sympathetic officer is allotted to the house. He is played by Matthias Schoenaerts, a musician and composer, coming from a military family and conscientious about doing his duty. There is an attraction to the young woman, further complications about his sense of duty, the arrest of a young man (Sam Riley) accused of an attack against the Germans.in a crisis of conscience and love, the officer lets the young woman drive the man to safety in Paris.

There is a very strong supporting cast of character actors, including Margot Robbie and an early role.

Quite an absorbing picture of a very difficult time.

1. A story of the occupation of France, 1940? The author, her novel, her being sent to Auschwitz and her death, the disappearance of the manuscript, the later discovery, publication in the late 20th century? Acclaim? This film interpretation?

2. Audience interest, the British director, the international cast? Use of English French and German?

3. A 21st-century perspective, familiar material from history and from the movies? The film immersing the audience into the situation and with the characters? The impact for the French and their history? The British? The Germans in World War II? A world audience?

4. The town, the details, costumes and decor from the 1940s? The square, the shops, market, the church, the mansions, the farms and the homes, the roads? Atmosphere?

5. The musical score, the title? Bruno and his composition? The background theme for the action?

6. Lucille’s perspective, the voice-over? Subdued, the retrospect, her having been used by her father for the marriage, for wealth? Her being used by Madame, marrying off her son? Lucille trapped, the war experience, the effect of the experience of Bruno?

7. June 1940, the bombing of Paris, the setting for the film, the visuals of the bombing? The long lines of refugees on the road? The planes, the strafing, people fleeing, fears, deaths? The desperation? The plane flight later, dropping the leaflets over the square?

8. Lucille, her personality, age, marriage, seeing Gaston only twice, hoping to fall in love? Father wanting the financial benefits? A piano? The war, Gaston going to war, his disappearance, news of him as a prisoner of war? The later revelations about his infidelity, having a child? Madame, strict, but knowing the truth?

9. The character of Madame, glacial, devoted mother, in the mansion, with Lucille and dominating her? The wealth, collecting the rents, the stories of her evictions? The people on the farms? Going to church, righteous? The details of life that? Reaction to a German being billeted? Reaction to Bruno? Cold, anti-German, demands on Lucille? A dominating woman? The servant and her place in the house, cooking and cleaning?

10. The road, the bombs, Madame driving, at home, at the church, the speech of the priest, the rumbling of the German tanks? The Germans and their arrival, the young men, in the square, billeted? The townspeople and the giving in gossiping and informative notes about their neighbours? Madame, the varied reactions, her taking in Benoit, and finally the Jewish child? Her becoming more bold and determined?

11. The woman refugee and her child, in the fields, finding a home, her being Jewish, have been taken away, her daughter finding refuge with Madame?

12. Lucille, the piano, the encounters with Bruno? The following the music? Listening to it? Sitting and talking with him? Her reading the gossip notes? His playing? The attraction, Madame’s absence, the preparation for the meal? Who being seen? Reactions, condemnation, the situation? Bruno, his dealings with his officer, the fellow officer and getting him moved? His being in charge of the execution of the mayor? Lucille and her dress, going to get the permission to leave and go to Paris?

13. Farms, the couple and their daughter, her liaison with the Germans, the resentment of Madame because of the evictions?

14. The farmer and his wife, the family, his work, his injury and unable to fight in the war? Seen to work, antagonism towards the Germans? The officer billeted, his attentions to the wife, Benoit being angry, the taunts by the German, the gun, the fight and the shooting? Benoit disappearing, his wife’s appeal to Lucille, Lucille hiding, finding him, the dangers, going to the
room upstairs?

15. The Germans collecting all the guns – the people keeping them?

16. The mayor, his wife, aristocratic, liaising with the Germans, the plea that they not have anybody billeted with them? The discussions with the authorities? The Countess and her hostility, the encounter with Benoit, denouncing him? Searching for him? The husband held accountable, his arrest, his conditions, her visit, his last meal? Sitting in the marketplace, not blindfolded, the priest anointing and blessing him? Shot – with Bruno and the final shot?

17. Bruno, his culture, yet a military family, his brothers and their deaths? Billeted, his propriety, the room, playing the music, continuing compositions? His work with the soldiers, the rebuke to the soldier billeted with the farmer? Discussions with his superior, with Lucille, the kiss? In charge of the execution, shooting the mayor? His assistant in the search, the cigarette smoke and the clue?

18. The elaborate search for Benoit throughout the fields, unsuccessful?

19. Lucille preparing to leave, the documents? The assistant and his suspicions and leaving the message in the car with the documents? The guards on the road? The confrontation, Benoit shooting, Lucille shooting?

20. Bruno, arriving, the tension of the situation, his helping, allowing them to leave?

21. Lucille and her reflection in the aftermath, her own life, in the Resistance, and Bruno disappearing?

FLIPPED

US, 2010, 90 minutes, Colour.
Madeline Carroll, Callan Mc Auliffe, Rebecca de Mornay, Anthony Edwards, John Mahoney, Penelope Ann Miller, Aidan Quinn.
Directed by Rob Reiner.

Flipped is a very engaging film – for parents and grandparents and for children, especially those at the edge of puberty.

The setting is the 1960s in Michigan, a more innocent time for children and later decades. The story takes place over several years, from the central children being age 7 to their early teens. Family moves in and the young girl from across the street comes to help with the moving, the boy being unwilling and feeling the girl imposing. And this happens throughout the years, her eagerness to be with the boy and his unwillingness to be with her.

As they go into high school, tensions arise, Bryce wants to be with his friend Garret and a new girlfriend while Juli looks on sadly and antagonised. Madeline Carroll and Australian, Callan Mc Auliffe, a persuasive as the two teenagers.

What makes the film so effective is that we have voice-over from each of the two characters and each of them giving a view on what has been happening, with a narrative going back and looking at scenes for a second time from the different viewpoint.

There is also antagonism across the Street, Bryce’s family, father Anthony Edwards and mother Rebecca de Mornay, not making contact with the poor family, father Aiden Quinn and mother Penelope Ann Miller.

There are several crises, those at school and companionship, working in the science laboratory, and a serious affair at home with the cutting down of a sycamore tree that Juli is especially attached to.She is helped by Bryce’s grandfather, cheerfully played by John Mahoney.

Another crisis concerns eggs, from the chickens at the back of the house and offered to people in the street – with Bryce’s father condemning them, suspecting salmonella and getting Bryce to get rid of the eggs – which Juli eventually discovers.

Juli’s family then is invited to dinner by Bryce’s family, his mother especially considerate, his father seething. Juli is upset with Bryce but he finds a way of apologising and by planting a young sycamore in her yard.

The film is particularly well written, well acted – and directed with sensitivity by Rob Reiner (The Princess Bride, When Harry met Sally).

1. The appeal of the film? Younger audiences? Parents and grandparents? The favourable reviews and responses?

2. The Michigan setting, the 1950s and 1960s? The town, the street with the homes, the houses, gardens and yards, school? The atmosphere? The musical score and the tone of the
times?

3. The title, the point of view of Bryce, the point of view of Juli? Audience interest in them both, sympathies towards them?

4. The structure, the point of view, going back to previously seen events from a different perspective? The differences?

5. The voice-over of each character, their tone, confiding in the audience? Their own self-reflection and understanding of themselves and their behaviour?

6. At age 7, Bryce and the family moving in, Juli and her intrusion, wanting to help with jobs, holding Bryce’s hand? Going to school, her approach to him? Bryce being tagged in connection with Juli? His dislike of her, wanting to avoid her, Juli admiring his eyes, liking him?

7. The families, living across the street, not communicating with each other, different attitudes? Bryce’s father, his arrogance, snobbery, severe comments on the Baker family, about the yard, about pride in their house? Learning that they did not own the house, learning about the disabled brother and his objectionable remarks, the distaste from his wife, the issue of the umbilical cord and the same happening to Bryce but his surviving? The sister, older?

8. The contrast with the Bakers, across the street, the father, not having a job, his painting? The grubby yard, the dirt with the chickens at the back? The mother, her care of the house, the sacrifice for the money to go to the brother? The brothers, the end of high school, the demonstration, Bryce’s sister and her support?

9. Bryce and Juli at the end of primary school, distant? Bryce and his friendship with Garrett, confiding in him? The attractive girl, talking to her, going out with her, her incessant talking? Garrett telling her about Juli, the girl slapping Bryce? The contrast with Juli, her life, her attitudes, her dislike of the glamorous girl?

10. Chet and his arrival, grandfather? In the house, grieving his wife? The sycamore tree, his admiring the article, going over to help Juli? Juli’s perspective, liking him, conversations with Chet, they work together?

11. The sycamore tree, Juli able to see the bus coming, the plan to cut it down, staying, her father coming up to persuade her to come down, her grief, his giving of the painting?

12. The eggs, the gift to the family, the family discussion about salmmonella, the father and his disdain, the dirty yard, Bryce having to put the eggs in the garbage? The contrast with the other people in the street, eager to pay Juli for eggs? Juli the door, thinking things over, discovering Bryce discarding the eggs, her being hurt, his comment about the dirty yard?

13. Juli wondering about the saying, more than the sum of the parts, watching people, trying to estimate price or not?

14. Bryce, becoming more preoccupied, his thinking of his disdain of Juli, his experience with her, her getting up and going to table? His staring at her in the laboratory, the story about the bee in her hair? Chet and his reading the article, giving it to Bryce, his taking it to school and Garrett finding it?

15. The discussion in the library, the girl telling Juli Bryce had a crush on her, overhearing Garrett’s conversation, especially about the disabled brother and the implications for Juli?

16. The visit to Daniel, Juli wanting to go, the enjoyment of the ice cream, the birthday, the fan, the ice cream dropping, the tantrum in the shop? Her appreciation of what her father was doing to support his brother?

17. The invitation to dinner, different reactions, at home, the Bakers, a dress affair, the Bakers bringing pies, meeting, talking, the boys and their talking about the music, Bryce’s father and the story of his being a musician? His anger underneath his demeanour? His daughter reaction, his slapping her?

18. Juli not talking to Bryce, the tension at the table? Her accusations about his not defending her with Garrett and the conversation about Daniel? Bryce owning, watching, knocking? His planting the sycamore tree, Juli’s father giving him permission, her going out, the reconciliation?

CLEAN HANDS/ SCHONE HANDEN

Netherlands, 2015, 108 minutes, Colour.
Jeroen van Koeningsbrugge, Thekla Reuten.
Directed by Tjebbo Penning.

Clean Hands is a focused Dutch thriller on drug dealing, centring on a family, the husband a dealer, the wife in some ways colluding but, as violence intervenes and their home life is disrupted, she decides to leave her husband. But, the main dealers think that she knows too much and so they pursue her, and put pressure on her husband.

Familiar material but interesting in the Dutch setting.

1. An interesting Dutch thriller? Drug deals, money, brutality? Repercussions for ordinary families and citizens?

2. Amsterdam settings, the city, streets and canals, homes, drug deal locations, airports and railway stations? The musical score?

3. The title – with reference to each of the main characters?


4. Introduction to the family, enjoying the day at the beach, Eddie and Sylvia, the children, an ordinary day? Eddie and his disappearance?, The barbecue, Eddie and his friends?

5. Interrogation by the police, Eddie lying, Sill and her protecting Eddie and the family? The continued pursuit by the police? A friend, the anxiety of his wife, the truth about his being killed? The funeral? Syl and her care for the widow?

6. Eddie, his brother supporting him, the contacts, the dealers, the hitmen, Eddie and the risks, his drinking and taking drugs, becoming less controlled? Yet his love for his wife and family? At home, picking up the kids – but his daughter seeing him bashing? His son finding the gun and the money? His getting deeper into debt, his debtors and their not paying up to him, his not being able to pay his creditors, the demands, the attacks, the shooting in the street? His son being in the car? His brother and new deals? Frans and his coming from the West Indies, his proposal, the money, Eddie taking it? Eddie and his violent attack on Frans? Becoming more desperate? Wanting to buy the beach resort for his wife, failing?

7. Syl, the devoted wife, knowing some of the truth, not giving any information to the police? Her love her children? Love for Eddie, taking the children to her mother, the return, Eddie and his promise about the beach club, about the holiday? Seeing her son with the gun? Her concern about her daughter, fighting at school, too tall for ballet, the jazz ballet? The visit from Frans? Her belief that Eddie was getting out? Her disillusionment, packing, Eddie intervening? Her going to her friend’s house, her friend and his son?

8. The family packing, going to the airport, Syl taking the money from Eddie’s hole, buying the tickets? The son running away? Wanting his father?

9. Eddie, becoming more desperate, reassuring the family, in the car, the irony of his son shooting him? The rest getting away, at the airport, no information for the police?

10. The family settled in a new place, the visit from the drug dealer, getting his hair cut, Syl not taking the money, the ending and the open threat to her and the family?

11. A story from the Netherlands but an international story?

THE KIND WORDS

Israel, 2015, 118 minutes, Colour.
Rotem Zissman- Cohen, Roy Assaf, Assaf Ben- Shimon, Tsahi Halevi, Sisson Gabai, Louise Portal.
Directed by Shemi Zarhan.

This is an Israeli film about identity.

The film opens with a scene in Algeria in the 1960s, the forbidden romance between a Jewish young woman and an Arab man. Later, it will be revealed that this is a scene from a film about the real incident.

But, it is the real incident that causes the problems. Three middle-aged siblings discover that their estranged father, who has married again, a younger woman, may not be their actual father. The mother has had a sudden illness and died.

On the one hand, the film is a portrait of the three children, adults, with various problems of relationships: the woman, one of the most maddening characters on screen, Julie angry, is alienated from her husband and is depressed after several miscarriages; the older brother has become Orthodox for the sake of his American wife and their children; the younger son is homosexual and alienated from his partner.

As the discussions develop, it seems the best thing for them all to go to France to try to track down the truth, which involves going to see their aunt who is evasive about the whole situation, information about a French actress and her relationship with the man who could be their father, a trip to Marseille, a visit to an Arab-owned Jewish restaurant with Jewish singers, where the woman discovers a courtyard with a fountain that has stayed in her memory.

The man who is their father – the audience knowing this – is unwilling to communicate and denies the whole situation.

Each of the children comes to some kind of resolution of their own personal problems and facing the challenge of the possibility of their having an Arab father.

1. An Israeli film, themes, characters, complexities?

2. Algeria and the opening of the film? Jerusalem, homes, the funeral? Paris, Marseille and the city landscapes? The musical score?

3. The setting, the mother and Maurice, the young age, in love, Algeria, her bringing the hat, the love sequences, the parents, the separation, and the device of the film stock burning?

4. 2012, the family, the range of character, tensions, religious and secular, Dorona and her sternness, at the counsellor with her husband, her praying to God, rejecting him? Natanel and his wife, the Orthodox, clothes, caution meals, behaviour? Shai, gay, parting with his friend? The scenes with the baby on Skype? Dorona, pregnant, so many miscarriages, discussions with the doctor? Her bitterness? Living with her mother, their clashes?

5. The mother, her character, bright, illness, agreeing to go to hospital, her sudden death?

6. Separated from her husband, the tensions at the hospital, the father and his new wife, the singer? The confrontation with the Dorona, the two spatulas? Shai and his presence, Natanel and his wife, their children?

7. The father, the news about their mother? Issues of paternity? The effect on the children? The discussion, issues of blood, an Arab father?

8. The quest, Shai and his looking at all his father’s accounts, the amounts, the dates, his conclusions? Natanel being the son of an Arab? Dorona and her continued anger, petulant, disbelief? The phone calls to the aunt in Paris, her physical condition, the operation, her responses, evasions?

9. Shai, getting the tickets, the decision to go, Ricky also coming, and then the Father’s arrival? The hotel, going to visit the aunt? The questions, her stories, her hesitations, going to get the photo, lying down, going to sleep and avoiding the issue? Ricky and Dorona, in the sauna, his love for her, her continued suspicions?

10. The information about Marseille, the aunt telling them about the actress, their contacting her, her welcoming, the re-enactment in the film, Maurice as the director, the actress not able to go through with the performance? The information about Maurice, chef, going to Marseille?

11. Marseille, the clues, the address, the restaurant, their thinking it was Lebanese, its being Jewish, the owner, the singers of the Jewish songs, their dancing? The address, its being boarded up? Wandering Marseille, the importance of the photo of Dorona and her mother, her suddenly seeing the site, the fountain, remembering the house, going in?

12. Finding Maurice, his denials? The news of their mother’s death? Their following him, shopping, his sitting on the bench, his collapse – and their getting the ambulance?

13. Hospital, everyone there, Dorona taking his keys, finding the record, the message?

14. Maurice and Dorona, getting the keys back, his wishes? Dorona, being more at peace, Ricky and his love and collaboration?

15. The ambiguity of the ending – and perhaps the audience having more information than the brothers, with Dorona knowing what it happened?

AFTER THE WEDDING (EFTER BRYLLUPPET)

Denmark, 2006, 120 minutes, Colour.
Mads Mikkelson, Rolf Lassgard, Sidse Babett Knudsen.
Directed by Suzanne Bier.

An Oscar nominee for Best Foreign Language film of 2006.

The opening is arresting as Jacob, Mads Mikkelsen (the junkie in the Pusher films and Le Chiffre clashing with James Bond in Casino Royale) is a dedicated and popular worker in an orphanage in Mumbai. The immediate emotional appeal is very clear.

However, the plot proves less predictable than one might have thought. Jacob has to return to Denmark to consolidate funds for the orphans. His benefactor is a wealthy businessman who has built up his empire from nothing. Seeming rather indifferent to Jacob’s presentation and video of activity in Mumbai, he invites Jacob to his daughter’s wedding the next day.

Here matters become very complicated and the storyline is best left for audiences to find out for themselves. Needless to say, Jacob has to fight for his projects but the industrialist has more hidden motives in mind.

The material is more than a touch soap-operatic but rises above this through the powerful performances of the principal cast. There are domestic issues as well as questions about philanthropy, foreign do-gooding in countries like India and collaborating with Indians to effect their own development.

1. Critical praise for the film? Humanity? Complexities? Relationships? Europe? Volunteers for overseas Charity, sponsors?

2. The scenes in India, the streets, Mumbai, poverty, the orphans, needs? The woman in charge? Funding? European Foundations?

3. Scenes in Denmark, value society, business companies, wealth? The wedding as the focus?

4. Introduction to Jacob, his work, agent experience, easy rapport with the orphans, with a special boy? His service? His superior, the issue of money, the funding? his going to Denmark, not wanting to go, leaving the boy behind? The revelations about his past, drinking and drugs, the relationship with Helene, not knowing her pregnancy?

5. Jacob, in Denmark, going to the office, in his suit, the documents, presenting his case? Jorg listening, cutting him off? His invitation to the wedding? Being escorted to the office by the groom and their discussion?

6. The family preparations, the daughter, her fiance, love, the role of the parents, tension between mother and daughter, the ceremony – in view of the later behaviour of the groom?

7. Jacob coming to the ceremony, Helene looking and being puzzled, tensions, the reception, the bride and her speech, the groom and his toast, praise of the stepfather? Jacob becoming aware of the reality, discussions with Helene, the truth? The guest flirting with him – and the information about the daughter being a spoiled girl and her later episode with the groom?

8. Jacob, Jorg and knowing about him, the search for him, not able to find him? Jorg’s motives, the offer, the foundation, his daughter being part of the administration, the condition of
staying in Denmark?

9. Jorg, his illness, keeping it secret, the doctors, his collapse, Helene knowing, the daughter and her response, Jacob and the effect of this news on his attitude and decisions?

10. The daughter, learning, reactions, a relationship with her mother, the clash, coping? Her responding to Jacob, meeting with him, discussions?

11. Jorg and his family, the boys, going fishing, the discussions about the fund, the prospects?

12. Jacob, phoning India, the superior and happy about the money, the boy and his disappointment?

13. The pressures on Jacob, his past, redemption, having a daughter, the relationship with Helene? Jorg and his death? His will? Jacob returning to Indian India, and the boy deciding to stay?

14. A humane drama and its complex issues?

DARROW

US, 1991, 100 minutes, Colour.
Kevin Spacey, Chris Cooper, Rebecca Jenkins, Donal Logue, Paul Guilfoyle.
Directed by John David Coles.

Darrow is an interesting documentary about the famous lawyer, Clarence Darrow, involved in all kinds of cases in the latter part of the 19th century and into the 20s of the 20th century. He was, perhaps, most famous for his participation in the Scopes Trial, confronting William Jennings Bryant. The action of this film proceeds that trial which is mentioned only at the end. (It was covered extensively in the different film versions of Inherit the Wind).

Kevin Spacey was not particularly well known when this film was made. He had a prominent career on the stage but in 1995 he was to win his first Oscar for his famous role in The Usual Suspects, followed four years later with his Oscar for American Beauty. He was to go to England and manage the Old Vic in London for many years, continue making films and television series, most prominently House of Cards.

Chris Cooper was a character actor who was to receive an Oscar in 2002 for his role in Adaptation.

The film creates the atmosphere of the period of the 1890s and on, difficult living in New York City, moves to Chicago and California, the law courts, cases about miners and health issues and getting the companies off on technicalities, railroad court cases. Darrow became involved with union leaders and made his name in defending union issues. This took a toll on his family and his wife left him – with his son doing the narration for the film. Darrow teamed with a reporter, Ruby, who became his support over many years, sometimes attacked for legal corruption, always making a comeback, even to the Scopes Trial.

The most prominent trial in this film is that of the thrill murder committed by Leopold and Loeb – and the dramatics of the film in Darrow’s speech against capital punishment.

An interesting look at aspects of American legal and court history.

1. A television film of the 1990s? Kevin Spacey and Chris Cooper and the beginning of their careers?

2. The structure of the film, the voice-over by Darrow’s son, his perspective? The range of cases, issues, relationships, crisis?

3. Audience knowledge of Clarence Darrow? His history and career? 19th-century and the law, the courts, the cases, public issues, the railroads, the unions? Darrow as a person, his relationship with his wife, his son? Issues of finance? The railways and their power, the executives, the case and his partner, the men suffering in the accident, knowing the risk, not getting any grant, the hard attitude of the law? The bosses? Darrow going to his boss, some secret compensation?

4. His leaving the company, his taking the case of the assassin, the man as mentally impaired, the decision to take his case, losing? Darrow being excited by this issues, sense of destiny, social concern?

5. Going to the meeting of the workers, hearing Debs, Debs and the vigour of his speech, rousing his followers, the effect? Darrow meeting Debs? Debs all wary, the eventual agreement?

6. Darrow and his wife, his being at work, drinking and celebrating cases, the decision to leave? Taking his son?

7. The case and the unions, the detail of the hearings, those present in court, the support for Debs, Darrow and his achievement, the lesser penalty? His reputation?

8. The growing number of clients, the collage of his serving the poor of the city?

9. The effect of the Pullman Railroad case, his taking up other cases?

10. Ruby, coming to interview him, the relationship, marriage, her continued support, the effect on him, her later desperation that continuing to support him?

11. Going to California, the cases, the issue of money from witnesses, payoffs, in the court, the witness and the prosecution, his testimony?

12. Darrow down, Ruby and her support? The need for money, no income? Going to the court – and his powerful speech and its impact on the court?

13. The changes in clients, the cases over this years, the deals, financial difficulties, recovery?

14. Darrow’s career over the decades, his son’s commentary? Going into the 1920s? The visit from his son, wife, grandchildren?

15. His being asked to take upon the Leopold and Loeb case, meeting with the uncle, the discussions, meeting with the accused, their manner, their wealthy background, the decision for the crime, the choice of the cousin, the killing? Darrow questioning them, the different attitudes? His decision that they were not mentally impaired?

16. The issue of capital punishment, Darrow’s stances, the prosecutor and his demands for hanging, the reaction of the public, the media, the protests and placards, vigils outside Darrow’s house, Ruby and her response?

17. The decision for the judge, his listening to the case, Darrow and the impact of his speech on mercy and its consequences? A high point of the film?

18. Darrow some, the comment on the Scope’s case – and assuming that everybody knew about it, the various film and television versions, not present in this film?

19. A portrait of a significant American, warts and all?

HILLSONG: LET HOPE RISE

US, 2015, 103 minutes, Colour.
Brian Houston, Bobbie Houston, Joel Houston, Michael Guy Chislet, Matt Crocker, Jonathan Douglass, Jad Gillies, Taya Smith.
Directed by Michael John Warren.

This is an enthusiastic documentary about the Hillsong church and its movement, its origins in Australia, its international spread, especially in the United States. This film is an American production, principally for an American audience, but also geared towards Australia.

At the beginning of the film, there is an invitation on screen for those in the cinema to participate in the experience of worship.

Hillsong, as the name suggests, is a film of music, religious music, in something of the traditional manner, but adapted to the 20th and 21st centuries and their rock style. While the experience might be called religious and worship, it is very much a spectacular rock concert. and there are many talking heads, from the founder, Brian Houston and his wife Bobbie, to their son Joel who is prominent in leadership, composition of hymns, writing of lyrics, performance at the concerts, to various leaders of prayer, musicians and the lead singer, Taya Smith. (Nothing to do with religion, but the trendiness of the leaders and performers, long hair, piercings, and Joel Houston wearing the same trousers throughout the film, even at the Los Angeles concert, with more than a huge trendy tear across the knee and down to the shin is more than a little distracting!)

Important as well of the huge crowds who attend the concerts – with a performance at the Los Angeles Forum as a framework for the documentary, but concerts in Australia, and in different parts of the world, especially with fervent thousands in the Philippines. The crowds respond as they usually do to a rock concert, caught up in the music, the beat, identifying with the singers in the band, but also caught up in a spirit of interior recollection, religious fervour, some spiritual experiences. To enable cinema audiences to participate, the lyrics of many of the songs appear on the screen.

Hillsong began in 1983 in western Sydney, there are video clips of early performance as well as a visit to the old site of the concert, now a library, giving Brian Houston and his wife the opportunity to reflect and be amazed at the success of the church. (In recent years there were media exposures of Brian Houston’s father and his sexual abuse – with the film appropriately acknowledging this, Brian Houston talking about confronting his father, and this acknowledged, the film moves on.)

The prayer leaders who speak to camera are young, earnest, comfortable with using God-language, very fervent. The film takes on a more humane tone as back stories of some of the leaders are told, scenes of family and the men having to be away from home, the repercussions for the children, and a pregnancy and birth sequence.

Particularly impressive, both on stage and in her interviews, is the lead singer, Taya Smith, religiously committed, with a powerful voice and an intensity in her performances.

Interestingly, the worship is focused on the songs, performance, the beat, the lyrics – there is no preaching. Which means that the church is one of enthusiasm, but spiritual highs through the concerts, with the hope that people will leave the concert with some kind of faith and further in their daily lives. There is no follow-up with participants, the film relying on the effect of Hillsong experience in the lives of the leaders and their families.

There is a certain sameness in the songs, the melodies, the rhythms, the beat, but this does not seem to matter at all to the congregations. The lyrics are important, relying on a range of metaphors, some rather poetic, some rather puzzling and not easily understood – “Love bends the sky to heal…”. The leaders in the film quote some Old Testament passages, refer to the cross as well as to the resurrection but there is no reference to the historical Jesus, his life and words from the gospel, a reliance on a Jesus of faith in the present. One of the speakers refers to theology and faith being based on Scriptures but there is no further development of this thinking.

Hillsong is a church which certainly favours and fosters a sense of community, using music and song to bind people together, evoking responses of faith. To that extent, it is a church of the Word, but fairly minimal on the Word of Scripture. It is a church which does not draw at all on the sacramental traditions of the centuries. It encourages spiritual experiences with the hope that these are experiences of faith to take people through life.

It is interesting to note that Brian Houston exhorts the audience at the end to find a local church where they might be able to worship.

This is a documentary which preaches to the converted, hopes to encourage the audience to participate in the worship concerts, but which will not hook those who come upon it unprepared – they might have some sympathy with the songs but may find the religiosity more alienating than attractive.