THE YOUNG MESSIAH

UK, 2016, 110 minutes, Colour.
Adam Greaves- Neal, Sean Bean, David Bradley, Jonathan Bailey, Rory Keenan, David Burke, Christian Mc Kay, Isabelle Adriani, Jane Laportaire, Vincent Walsh, Sara Lazzaro, Finn Ireland.

There is an unusual film phenomenon at the opening of 2016. Two films, Scripture-based, but imaginative interpretations of Gospel events.

Since 2000, have been many religious films, success attributed to Mel Gibson’s The Passion of the Christ. There have been quite a number of Jesus films: The Miracle Maker, Mary mother of Jesus, Jesus, The Gospel of John, the South African Son Of Man. It seems that there is an appetite in a wide range of audiences for Biblical films (more recently Noah and Exodus: Gods and Kings). The two films for 2016 are The Young Messiah, a film about Jesus at the age of seven, and Risen, a perspective on the death and resurrection of Jesus from the point of view of a Roman Tribune.

In the credits of The Young Messiah, the film is said to be based on a book by popular novelist Anne Rice. The director of the film, Cyrus Nowrasteh, an American with an Iranian background, co-wrote of the screenplay with his wife, Betsy Giffen Nowrasteh.

The important information, reassuring for faith audiences, is that the film is “inspired by, rooted in” the Scriptures. The film declares that it is an imaginative telling of the story.

The action takes place during Jesus’ seventh year. It opens in Egypt where Mary and Joseph have stayed until they have news, especially in Joseph’s dream, that Herod who had persecuted Jesus and killed the Innocents, has died. The family are living in Alexandria with other refugees from Judaea, especially the family of Clopas, his wife and his son, Jesus’ cousin, James.

Audiences will find this visualising of life in Egypt a helpful filling in background. Jesus is played by a young British boy, Adam Greaves- Neal, giving a fairly serious performance, perhaps wise beyond his years but not understanding quite who he is, his parents not having given him much background of his origins, a boy who is asking questions but who also has moments of play. One of the local boys is a bully and Jesus help save a girl from the bullying when the boy himself trips and dies – Jesus being blamed, but going to visit the boy, touching him and the boy reviving. Joseph is concerned as his Mary and they feel that it is time to return to Nazareth.

Sean Bean plays a Roman Centurion, reporting to the new king, the young Herod Antipas, who remembers the heritage of his father, is superstitious and consults witches, but has heard rumours of the healings of the young Jesus and wants to see him. The role of the Centurion and his men is to hunt down rebels and, as the family make their way towards Nazareth, they encounter the Romans and the Centurion allows Jesus and family to go on their way.

The family eventually arrive in Nazareth, after another healing episode (of Clopas) at the Jordan, then are welcomed by Sarah, and Jesus makes a great impression with his knowledge of Scripture on the local rabbi who knew Jesus’ parents before he was born. But Jesus, still consumed with a desire to know more about who he is, fostered by James telling him the story of the Magi, asks permission of Joseph to go to Jerusalem. In this sequence, the film anticipates Jesus at age 12 and recounts the story of Jesus, meeting the rabbi in Jerusalem (but also healing him of blindness), Mary and Joseph looking for him.

In the meantime, the Centurion receives information about Jesus and his family, that he is in Jerusalem and makes an effort to find him – which he does, but let him go.

This is a Faith film but not one preachingly so. Allowing for the fact that it is all reverent imaginative speculation, the film will probably be acceptable to most audiences – and is the kind of film that could be useful for parish groups and school classes, especially for younger children.

Risen, mentioned earlier, focuses on Jesus death and resurrection from a Roman perspective.

1. An imaginative Jesus’ story? Inspired by Scripture? Rooted in Scripture?

2. The sources of scriptural information used: Matthew 2, texts used, Mary and Joseph, the decision to marry, the rabbi in Nazareth, going to Bethlehem, the stable, the birth of Jesus, the coming of the Magi, the gifts, the encounter with Herod, the killing of the innocents? Joseph and his dreams, going to Egypt? And the verbal description of the Annunciation and the angel Gabriel, Mary’s response? The variation on to and Jesus found in the Temple? the visualising of the story through flashbacks?

3. Adam Greaves- Neal as Jesus? British, age, his serious expressions, his questions and interrogation of Joseph and Mary, seen at play? The relationship with Mary and Joseph? Cleopas, his wife, with James? A seven-year-old boy?

4. Mary, quiet, her concern, going to Nazareth, the search of the Temple, the narration of the Annunciation?

5. Joseph, strong, decisive, with Mary, his dreams? In Egypt? The death of the Innocents, his strong stances? Defending Jesus? The decision to return to Nazareth, the trip, Jesus running to the canyon, the encounter with the soldiers? Cleopas and the healing in the Jordan? Allowing Jesus to go to Jerusalem, the search in the Temple?

6. Cleopas, his wife, James? References in the gospel, in the Acts of the Apostles? In Egypt, the family, leaving, his jovial personality, becoming sick, in the Jordan, Jesus healing him, his enthusiasm, his revealing the secrets about Jesus?

7. James, attitude towards Jesus, the death of Eleazer, his attitude, changing during the journey, telling Jesus some of the background, of the Magi?

8. Life in Egypt, Alexandria, the city, the coast, the boys bullying Jesus, Eleazer a bully, his trip and fall, his death, Jesus saving the girl and her gratitude, the accusations, Joseph and his reply, Mary and her concern, the parents of the dead boy, the authorities? Jesus visiting him, touching him, reviving? His reputation – even Herod hearing about it?

9. Going to Nazareth, discussions with pilgrims on the way, the gift of the carved camel and its later use? The discussions, the encounter with the rebels, the danger to Jesus, the soldiers? Arriving in Nazareth? Sara and her welcome? The soldiers later coming to Nazareth, threatening Sara, her giving them the information?

10. Severus, as a Centurion, the soldiers, his personal assistant, joining in his activities? Pursuing the rebels, fighting with them, the encounter with Jesus, spearing him? Reporting to Herod, Herod and whims? The search, the Temple, the information about Jesus from Sara, the blind rabbi, his being healed, seeing and staring at Jesus, letting him go, to Herod and telling him that the boy was dead?

11. Herod, memories of his father, personal whims, his court, young, consulting with witches, the dancer, expelling her, wanting to see Jesus, wanting to see the miracles – the anticipation of his behaviour later?

12. The dancing girl, the escape, taking refuge with the family, Mary and Joseph allowing her to stay with them? In Nazareth? With Sara?

13. Jesus, Jerusalem, wanting to go, the catechism with the rabbi in Nazareth, replying to all the questions, the quotations from Scripture? Going to Jerusalem, the crowds, encountering the rabbi, blind, responding to his questions, the rabbi regaining his sight?

14. An introduction to the person of Jesus via an imaginative scriptural story?

THE DAUGHTER

Australia, 2015, 95 minutes, Colour.
Geoffrey Rush, Odessa Young, Ewen Leslie, Miranda Otto, Paul Schneider, Sam Neill, Anna Torv, Nicholas Hope.
Directed by Simon Stone.

The Daughter seems a rather generic title, especially when one discovers that it is an adaptation of Norwegian Henrik Ibsen’s play, The Wild Duck. (There had been another Australian version of The Wild Duck in the 1980s, set in Tasmania, with Jeremy Irons and Liv Ullman in the central roles.)

Ibsen’s play has been adapted by theatre director, Simon Stone (who contributed a story to the omnibus film, Tim Winton’s The Turning). He has certainly made the transfer credible, locating the contemporary story in southern New South Wales, in mountainous timber country, with a logging industry that is collapsing, filmed around Tumbarumba and Tumut. The film has visually impressive photography.

Stone has the advantage of an expert cast. In the background, though not dominating, is the patriarch of the family, who has inherited the logging company and has to face loss of contracts, workers losing their jobs, and the repercussions for the town. He is Henry, played by Geoffrey Rush. Henry has been married, his wife has died and his son, who was born in the United States, has returned there after doing his schooling in Australia. Henry intends to marry again, a younger woman who has worked in his house. And the son, Christian (Paul Schneider), returns to Australia for his father’s wedding.

Obviously, some potential for conflict, social and personal.

The film focuses more on another family, that of Oliver, who has been working on the mill, went to school with Christian, and his wife, Charlotte. They have a teenage daughter, Hedvig. Oliver and Charlotte are played by Ewen Leslie and Miranda Otto, and the daughter is played by Odessa Young, who also made an impression as a teenager in the title role in Looking for Grace. Also in the picture is Oliver’s father, growing older and seemingly with the touch of Alzheimer’s, a former partner with Henry, but living on the farm, Walter, played by Sam Neill.

While there is quite some focus on the daughter, her tending the wild duck that had been shot by Henry but not killed and is now in the care of her grandfather, Walter, who has a collection of wounded animals, she is the pivotal point of the plot and the long keeping of secrets. She is seen at school, sexually curious with a young fellow student who then has to move from the town because of the unemployment situation. She then becomes a victim of the secrets.

One of the main thrusts of Ibseb’s drama is the nature of secrets and whether they should be kept secret or, if they revealed, consequences can be disastrous. And that is certainly the case in The Daughter, with Christian at the centre of the secrets, tense with his father, relying on his bond with Oliver, some wariness of Charlotte, concern for Hedvig.

The performances are very good, the atmosphere of the town created admirably, the interactions of the characters involving – which means a great challenge to the audience concerning the secrets, and the importance of their being kept and the consequences of their being revealed.


1. Acclaim? Impact?

2. The work of Henrik Ibsen, the adaptation, hemispheres, the 21st century, an authentic Australian setting?

3. The strength of the cast and performance?

4. The town, the background scenery and the glimpses of the mountains, clouds and weather? The city, the University? Homes, the hut, school? The mill and the forests? The musical score?

5. The social setting, the mill, the meeting, the closing of the mill, the issues, the lack of contracts? The visuals of the mill, the wood, making the timber, the machinery? The men, the workers, the meeting and their reactions, hostility? No jobs, having to leave the town? The effect on the life of the town with people leaving, students leaving the school? The importance of the setting for the personal interactions?

6. Ibsen, the title of The Wild Duck? The hunting of the ducks, the wounding of the duck by Henry, his being unwilling to shoot it and kill it, getting the help of his assistant, giving it to Walter to care for it? Walter and his sanctuary for animals, the rabbits, the birds, saving them and nurturing them? Hedvig and her help? The duck as an image for Hedvig, her care, tending it, her fondness for it, encouraging it to fly at the end? Its freedom?

7. Henry, his age and character, as head of the mill, inheriting it, his home and estate? Christian, going to school in the town, leaving for New York City? Henry’s time in America? His wife, care for her son, her illness and collapse, her suicide, his being alone, Anna and her working in the house, his dependence on her? The relationship, the planned marriage? Tensions, Henry as a hard man? Christian and his return, expectations, his reaction to his father, to Anna? The discovery about Charlotte and her relationship, Hedvig?

8. The audience understanding the family, Christian’s story, his boyhood, growing up, friendship with Oliver? His return? His relationship with Grace, communicating with her, her not coming? Oliver and the past? The issue of Charlotte and Henry, the secrets and lies?

9. The title, relating to Hedvig, her age, relationship with her parents, her winning the prize and their reaction, love for her mother, devotion to her father? Sexually precocious, the relationship with Adam, their being at school, the walk in the forest, the kiss, postponing sexual relationship to her birthday, out of the forest, the sexual approach, the awkwardness, Adam and his frustration, Hedvig’s decision, in the classroom, her making models of the students who had left, the humour, Adam to go, her discovering it, the effect, the reaction to his leaving? Hedvig and the plans to go to the wedding, being happy?

10. Issues of suffering, secrets, lies, telling the truth? Henry and his deception with Charlotte? Concerning Hedvig? Charlotte and her love for Henry, pregnancy, marrying Oliver, growing in love for him? Love for her daughter? The symbol of the duck for Hedvig, her skill in shooting the gun, and getting the gun after freeing the bird, her attempt on her life, the final images in the hospital?

11. Christian, living in America, his American accent, his age, his decision to return for his father’s wedding, his behaviour towards Anna? The dinner, the clash, his apology? The story of his mother and her death? The bond with Oliver, meeting him in the supermarket, the family, going camping, the speedboat, getting to know Charlotte, getting to know Hedvig? Helping Oliver with his interview, the suit, going to the city, their drinking? Grace, Skyping, her being with another man, not coming – and his waiting at the airport with the flowers? His dilemma about telling Oliver the truth or not? His motivation? Spite after being hurt by Grace? Going to the wedding, being late, as a witness, not looking interested? The confrontation with Christian? Telling Oliver – but this not being seen on screen, and the consequences? His dilemma about telling Hedwig, meeting her, this not being seen on screen but the consequences?

12. Charlotte, ordinary, working for Henry, loving him, the sexual relationship? Her pregnancy, marrying Oliver, the happy life together, their home? Supporting Oliver, his losing his job, going for the interview? Pride in Hedvig’s winning the science prize? At the camp, uneasy meeting with Christian? Her teaching at the school? Going to the wedding, Christian and his confronting her, being upset, the truth? In the class – and Hedvig’s public denunciation? Oliver and his rejection of her? At the hospital, together with Oliver, sadness, reconciliation?

13. Walter, Oliver’s father, the story about his relationship with his wife, her affair, her return, his beginning again, the happy life together – and a foreshadowing of what could happen between Oliver and Charlotte? His partnership with Henry, the deals, dishonesty, his accepting this, going to jail instead of Henry? Henry and his financial help, the hut? His love of animals? His mental state, confused? With Hedvig? The ultimate defying of Henry and wishing him away?

14. Oliver, as a focus of the film, in himself and his work, family and his love Charlotte, his devotion to Hedvig, pride in her, the prize, coping with losing his job, the interview, dressing up, the girls and the bar, drinking with Christian, the wedding, the truth and its effect on him, moving out, the motel, his clash with Charlotte, his not wanting to look at Hedvig, her being so hurt? Her attempt on her life, at the hospital, his coming to his senses, with Charlotte, hope for his daughter?

15. Adam, the boy, at school, sexual behaviour, his expectations of Hedvig, her encouraging him, the attempt, her delay, his frustration, coming to school, his apology, the reaction of the teacher? The sadness of his leaving with his parents?

16. A portrait of people, secrets and lies, interactions, motivations, truth and consequences – and the transition from 19th-century drama to 21st century cinema?

SAUL FIA/ SON OF SAUL

Hungary, 2015, 107 minutes, Colour.
Geza Rohrig.
Directed by Laszlo Nemes.

Son of Saul is demanding viewing. This is a Hungarian film, set in Auschwitz 1944, life in the concentration camps, Jewish prisoners, questions of survival but also questions of human values and Jewish traditions.

The film won many awards, in Cannes 2015, Golden Globe award for Best Foreign Language Film and then the Oscar for Best Foreign Language Film.

A number of audiences found the film to gruelling to watch, some having to leave the cinema because they found it. However, over the decades, Holocaust stories and concentration camps stories have been continual reminders that the memory must not be lost.

Saul and many of the other men in the camp are considered as sonderkommanders, indispensable for work, especially in preparing those who are to go into the gas chambers (being cajoled by voices coming through speakers saying that they would be given soup) but who are being asked to strip, leave their clothes and their valuables behind and then being locked into the chambers. The men have to collect the clothes, classify them, examine possessions, even to the gold in teeth.

But, these sonderkommanders are also dispensable, ready to be executed after they have served their time in working.

With the focus on Saul, the film is able to bring some humanity into this inhumane situation. Saul finds a young man who has not finished dying, is moved by his plight, sees him as something of a son-figure and treating him with some reverence, wanting to find a Rabbi to provide some kind of closing ritual for this man’s life, concealing him from the authorities while he tries to fulfil the rituals.

This is difficult as he enlists the help of the Jewish doctor who conducts autopsies, has to avoid the criticisms of some of the other prisoners and sonderkommanders, the audience becoming more involved in the character of Saul and this humane quest.

The visual style of the film is quite stark, sometimes not clear, simply immersing its audience in this dark and confused and confusing world.

The film builds up its tension, especially when the prisoners have planned an escape, involving Saul in making contact with a source for explosives that they would use to create a diversion so that they may make a run. And Saul finds a Rabbi whom he brings to the body of the young man.

But, this is a sombre story and the plotline would not necessarily go as the escapees have planned, not for Saul, not for the body of the boy, not for the role of the Rabbi, not to the escapees – which, after harrowing action, means that audiences will leave the theatre, feeling that they have been put through harrowing experiences, the vision of the boy in the woods as they escape, the oncoming German soldiers, sombre experiences, and an acknowledgement that in inhumanity there is humanity – but, as the concentration camps showed, humanity does not always conquer.



1. The impact of the film? Nominations and awards? Holocaust story for the 21st century?

2. The Hungarian perspective? Hungary and its war experience, the Jews, prisoners of war, Auschwitz, deaths?

3. The locations, the unsaturated colour, the interiors of the death rooms, the exteriors of, lineups, workplaces, the autopsy room, the quarters for the prisoners, massacre and the uprising? The forest? The minimal musical score?

4. The unusual visual style? Saul emerging out of focus, then the focus on him, the first three lengthy shots, all on Saul, his face, his back, the action and deaths around him, yet all from his limited point of view? The particular commandants among the prisoners in the camp, the initial information, then work, ultimate execution? The work, collecting the clothes, the valuables, scrubbing the floor, the minimal words? Reliance on body language and expression?

5. The extensive action, but always from the point of view of Saul or from behind him, beside him? Everything from Saul’s experience and its limits, uncertainty and confusion? The whole film? The effect on the audience and their identification with Saul, his experiences, motivations, suffering?

6. The prisoners, Jewish, the internment, the camp? The German authorities, the use of the German language, translators Hungarians? The German commanders, the officers, the doctors? The brutal mentality?

7. The rounding up of the quota for execution, telling the people lies, talk about work, the hot soup, getting them to strip, herded together, into the room, the locked doors, the screams, the carrying of the bodies away, the collection of the clothes, valuables, scrubbing, the heaps of ashes and carting away?

8. The boy surviving the death room? The title of the film and its relationship to him? Saul’s real son or his imagined son? His wanting a son? His friends saying that he never had a son? His saying that it was not his wife’s? Saul’s explanations? The doctor, the autopsy, Saul‘s request not to cut him? Giving him motivation, care, the search for a rabbi, hiding the body, washing, carrying it, digging the grave, the uprising, his carrying the body, the false Rabbi, digging by the river, the false Rabbi running away, the detail of the crossing the river with the body, losing it, his rescue, hiding, trying to make contact and escape? The little boy at the door? Real? A symbol?

9. The Kapo, work, working with the Germans, with the other prisoners, the plans, the revolt, other prisoners, Saul going to see the girl, getting the powder, the plan for the explosion, the massacre at the river, the confusion, Saul and his losing the powder?

10. The variety of workers, the jobs, clothes, searching, gold, possessions, hiding possessions in shoes, the exchange, the pressures?

11. The doctor, saving the body?

12. The rabbis, the false Rabbi, Saul wanting rituals and prayer?

13. The crowds, lining up to go into the death rooms, the repeats of the executions?

14. The group, the escape, Saul rescued, in the hut?

15. The little boy, a vision for Saul, his going away, the encounter with the soldiers, Saul and his smile? The sounds of the soldiers and the massacre of the prisoners?

16. The story of the Holocaust, 20th century suffering, the cinema experience for younger generations?

RISEN

US, 2016, 107 minutes, Colour.
Joseph Fiennes, Tom Felton, Peter Firth, Cliff Curtis.
Directed by Kevin Reynolds.


There is an unusual film phenomenon at the opening of 2016. Two films, Scripture-based, but imaginative interpretations of gospel events.

Since 2000, have been many religious films, success attributed to Mel Gibson’s The Passion of the Christ. there have been quite a number of Jesus films: The Miracle Maker, Mary mother of Jesus, Jesus, The Gospel of John, the South African Son Of Man. It seems that there is an appetite in a wide range of audiences for Biblical films (more recently Noah and Exodus: Gods and Kings).The two films further 2016 are The Young Messiah, a film about Jesus at the age of seven, and Risen, a perspective on the death and resurrection of Jesus from the point of view of a Roman Tribune. This is the kind of story that was developed in the 1953 film, The Robe, and used in the current comedy about Hollywood film-making, Hail, Caesar!.

In an age where the title might suggest zombies in the living dead, is interesting to see that the title is for the risen Jesus. This is a worthy film, in some ways a Roman spectacle but, ultimately, a film about faith.

Technically, the film is very well made, using Morocco settings, re-creation of Jerusalem, Pilate’s residence, Calvary, the disciples in the upper room, as well as the Judaean desert, the sea of Galilee and the mountains. The director is Kevin Reynolds who, in the past, directed such blockbusters as Robin Hood, Prince of Thieves and Waterworld. The film is technically well-crafted.

But, for many viewers, the key question is: how is the resurrection of Jesus treated? Basically, the answer is with reverence and some awe.

The audience is giving the setting of troubles in Judaea at the time of Jesus. There is an opening battle sequence, quite vivid in its action, where the Roman soldiers are confronting the Zealots, the Romans being bombarded by heavy rocks but capitalising on military strategies, using their shields for protection and advancing on the Zealots, defeating them and taking Barabbas. The commander is Claviuis, played very seriously by Joseph Fiennes.

Then we are given the background of Pilate, his concern about beating the Zealots, his remarking to Clavius that he has had trouble, allowing the chief priests to take a prisoner, Yeshua, and crucifying him. Pilate has been troubled and thinks that Yeshua has had a death wish, wanting to sacrifice himself. Pilate and then sends Clavius to Calvary to oversee the breaking of the legs of the thieves and of Yeshua but he authorises the piercing of the issue aside with a lance, despite the Centurion’s professing faith in Yeshua. Mary and the others are glimpsed at the foot of the cross.

This means that the Gospel events are being looked at from the point of view of the Romans. This is particularly the case when Joseph of Arimathea brings a message from Pilate with permission to take the body of Jesus, Clavius inspecting the tomb before the huge stone is rolled over it and Roman seals put on the stone. (The other bodies are seen being thrown into lime pits.)

The film makes much of the incompetent soldiers, drinking on guard, wanting a night off, experiencing something strange and then reporting back to Caiaphas with the invention of the story of the stealing of Jesus’ body. Pilate is insistent to Clavius (and Caiaphas even more insistent) that the body be found and any rumours of Yeshua Risen are quashed.

Which means that the audience goes behind the familiar scenes, with Clavius and his assistant searching for all the recently buried bodies (a desecration that the people abhor) and then interviewing various disciples of Yeshua, including a cheery Bartholomew, an old blind lady, and a very serious Mary Magdalene, identified professionally by a number of the soldiers.

But, one of those interviewed is prepared, Judas-like, to betray the disciples and leads the Romans to the upper room, Clavius entering at the time of Thomas’s encounter with Yeshua and astonished at seeing him.

From this point on, the film changes gear, Clavius rather overwhelmed by what seemed impossible, his leaving his post, travelling north and encountering Peter and the other apostles, sharing their experience with them at the Lake of Galilee, even talking to Yeshua about his search for meaning, and then an ascension scene, not a levitation, but Yeshua speaking the familiar words and walking into the sunrise.

By this stage, the focus is on faith, the encounter with Yeshua and the consequences.

As has been said, the film is well crafted technically, is written with serious intent, performed seriously, with Peter Firth as Pilate and a very sympathetic Cliff Curtis (the New Zealand Maori actor) as Yeshua.

The film will be sympathetically received by believing audiences, by Christians of all denominations, and with some interest in interpreting the Gospels from the Roman perspective by those who do not share faith.


1. The faith story – for believers, for Christians, for non-believers?

2. Inspired by Scriptures, rooted in the Scriptures? An imaginative story, what if…?

3. The texts, relying on the passion according to Matthew, the passion according to John, the finale of Matthew’s gospel?

4. Drawing on the experience of faith, the experience of Jesus, Jesus of Nazareth, the crucified Jesus, of the risen Jesus? Encounter with him? Life, change, mission? The credibility of faith in him?

5. The Spanish and Maltese locations for the Judaean desert, the city of Jerusalem, on the hill, the walls? The interiors, Pilate’s headquarters, the Temple? The Sea of Galilee, the mountains, Cesarea? The musical score?

6. The framework, Clavius and his wandering, the desert, the hut, hospitality, telling the story? The end, his reflection, going back out into the desert?

7. The battle between the Romans and Zealots, bloodthirsty, the Romans with techniques and strategies, use of shields, the Zealots throwing rocks? Clavius and his command? Barabbas, his death, carrying the dead Romans? The return to Jerusalem?

8. Clavius, as a Roman, Tribune, his command, his submissions to Pilate, being summonsed, dirty and needing a bath, Pilate asking if he won, going to the baths, relaxation?

9. Pilate himself, his talk, bathing, the symbolism of his washing his hands, talking about his problems, the impression of Yeshua, his being calm, Pilate allowing his death, thinking that Yeshua had a death wish, sacrificing himself? Pilate and his response to Caiaphas? Sending Clavius to finish the deaths of the thieves and Yeshua?

10. Clavius, his new assistant, command, riding to Calvary, the experience of the quake in the city, the walls and the gate, the dark, arriving, the Centurion and his questioning the death, his expressions of faith, the crowd, the defiance of Yeshua, the three crosses, Mary and the others at the foot of the cross? The breaking of the legs of the thieves? Piercing Yeshua’s side?

11. Joseph of Arimathea, the message for the Tribune from Pilate, taking down the body, other bodies being thrown into the lime pit, the contrast with the taking of Yeshua’s body, it falling to the ground, the reverence, the burial?

12. Pilate, his concern, Caiaphas proposing the theory about the body being stolen, the claim of resurrection? Clavius, checking the interior of the tomb? Sealing it? The heavy effort for moving the stone? The seals? The soldiers, wanting a night off, drinking, their rehearsed story, Caiaphas and the bribe? Clavius and the same telling of the tale, the use of the word rabid? The soldier and his fear, returning to the chief priests? The encounter with the second soldier, at the inn, his drinking, the evidence? His admitting the truth?

13. Pilate and the news, the presumption that the body had been stolen, Clavius and his assistant, examining every dead body in Jerusalem, the Jews and their reaction to this horror? Pilate and his demands, Clavius getting a dead body, with the wounds, the claim that it was the body of Yeshua, that nobody could tell the difference? As the days moved on, with decay?

14. Clavius, the interrogations about Jesus, the avaricious man, getting the money, later pointing out the upper room? Giving the name of Bartholomew? The interview with Bartholomew, his cheerfulness, witness, Clavius getting no further? The finding of Mary Magdalene, the soldiers identifying her as the prostitute, the interrogation, the firmness of her faith and witness? The old blind woman, her experience of Yeshua? The threats of torture, the reactions, Clavius letting them go?

15. The search throughout Jerusalem, the upper room, Clavius going to the door, his looking at the group, his seeing Yeshua, standing still, ordering his assistant to go, his going in, Thomas’s arrival, the episode with the wounds, Yeshua gone?

16. The effect, talking with Peter? Clavius and his decision to leave, the note, travelling, the encounter with Peter, wounding him with the sword? Helping the disciples in their trek north, their being advised to go by Mary to Galilee? The canyon with the soldiers, his guiding, the confrontation with his assistant, the assistant allowing them through?

17. The Sea of Galilee, the decision to go fishing, the problem with the haul, the stranger and the advice, their recognising Yeshua, the breakfast and sharing it?

18. The episode with the leper, the disfigurement, Yeshua going, embracing, touching, the leper being healed, looking back? The testimony of Peter and the apostles, miracles?

19. The gospel episodes, Yeshua walking with Peter, asking whether he loved him, feed my sheep…?

20. The night on the mountains, Clavius and his talking to Jesus, Yeshua asking what Clavius wanted? His search, looking at the stars?

21. The episode of the Ascension, leaving, Yeshua’s final words, walking into the sunrise?

22. Pilate, Clavius’s assistant, his saying there were no results? Pilate, the imminent arrival of the Emperor, Tiberius, the ships coming closer – and the end of the career for Pilate?

23. Clavius, farewelling Peter, his going into the desert by himself?

24. The gospel stories from the Roman perspective, the credibility of the events, the death, resurrection, the disciples and their faith, sharing and the image of what was to become the early Church?

13 HOURS: THE SECRET SOLDIERS OF BENGHAZI

US, 2016, 144 minutes, Colour.
James Badge Dale, John Krasinski, Pablo Schreiber, David Denman.
Directed by Michael Bay.


One of the great benefits of the film director having a solid reputation is that many audiences will want to see his film without even checking whether it is well reviewed or not. One of the disadvantages of the film director having a particular kind of reputation, especially one that critics continually denounce, is that any film he makes will be tarred with this disreputable brush.

Which serves as an introduction to films made by American director, Michael Bay. He was more acceptable in the 1990s with his comic action police shows, Bad Boys and his apocalyptic Armageddon. But, with his attempt to recreate the atmosphere of Pearl Harbour, he became a victim of critics ire and condemnation, which flowed over a bit into audience reaction. But, then he made the Transformer films, loud, full of action, appealing to the multiplex audience, thus bringing a great division into responses to his films.

Well, 13 hours is a Michael Bay film. In fact, the episodes in which it is based might be called Michael Bay situations, the upheaval in Libya in 2011, after the Arab Spring and the death of Colonel Gaddafi, the civil unrest, the different militias and their objectives, and the place of the United States, especially an ambassador who was interested in some kind of reconciliation but who was killed in action – which had some repercussions for the career of Hillary Clinton and criticisms of her as Secretary of State at this period.

Which does mean that there are some intrinsic elements of interest here, the re-creation of Libya and of Benghazi, the presence of the CIA, especially their security experts, the role of the ambassador and his choices which exposed him to potential violence and ultimately made him a victim of this violence, the ideologies of the militias and their going and violent action.

Michael Bay can really craft an action film and that is what he has done here. He builds up the audience understanding of the situation, introducing a central character, played unexpectedly by John Krasinski who would seem more at home in more domestic and romantic roles, joining the security team in Benghazi, gradually becoming involved in the tensions, in the city, in the compound where the ambassador stayed and was interviewed by the media, in the CIA base, which was protected by some secrecy.

While there is some characterisation, introduction to the members of the team with their different attitudes clashes, their ability to work together, their having to cope with difficult circumstances and some blackouts in information, as well as phone calls home with some domestic background, the bulk of the film, quite long, is in the action concerning saving the ambassador, coping with his death, venturing out into the city, appealing for help from neighbouring countries including Malta, but having to use wits to fight and to survive, finally being besieged in the CIA base.

The film will naturally appeal to action fans, and there is plenty of action. For audiences who may not be action fans but who may have wondered about how this situation could arise in Benghazi at the time, the film fills in the background, highlights the characters, and enables the audience to appreciate how difficult and uncertain it is in Middle Eastern and North African countries, especially when American presuppositions are brought in, and lessons have to be learnt about local culture, local loyalties, local politics.

13 hours has the benefit of having dramatic action but also providing political action background to actual events of 2011.


1. Based on a true story? Recreating the circumstances? Tribute to those involved, those who died, those who lived? The end and the credits’ information?

2. The title, the focus on Benghazi? 2011-2012, that opposing of Colonel Gadaffi, the plane raids over Libya? The stance of the US? The ambassador, the role of the CIA, the different sites, secret in public? The anti American stances?

3. The director, his reputation of action films, birth? The elaboration of the flight sequences? Use of special effects? Real?

4. The molto locations for Libya, the CIA compound, the Consulate, the coast on the road, the details of the city? The musical score?

5. Audience knowledge, information about the situation, the effect of the killing, for American prestige, for Hillary Clinton as Secretary of State, the aftermath?

6. Libya, the effect of the Arab Spring? The end of the film indicating the rise of INS? The opportunity for the audience to see this in action? Life in the crowded cities, ordinary occupations, the role of the malicious, seen them in action, the attitudes and stances? Violence?

7. Jack, arrival, the plane, the audience going in with him, meeting the team, the roadblock, the threats, arguments?

8. The CIA compound, the security guard, the officer in command, the tensions between him and the security and their role, orders? The tour of the compound, introduction to the team, the different personalities? The comment on the CIA graduates from Harvard and the contrast with the practical people (the one reading Joseph Campbell and quoting him)? Communication with their families? Jack, his wife, the children, her pregnancy? Tyrone, his family? His command with the security men?

9. The ambassador, judgement that he was rash, the plane, his personal security guard, at the Consulate, the leaking of the press conference, his benign stances? The attack on the Consulate, his attempts to escape, the destruction of the building and the compound, hiding, the bombs in the smoke, his death from smoke inhalation?

10. The chief, the theoretical man, stickler for orders, his work with his staff, dissertations, his being forced to act, the phone calls, the disaster, his deciding to stay, Jack forcing him to leave?

11. The range of staff, the meetings, the contacts and the dinners, security intervening, the interruption to the meals?

12. The details of the fight, the attack, the bus with the bombs, the drives around the city, and some becoming lost, the supplementary
squad at the airport and not knowing the way, eventually getting through? The pros and cons of action? Jack and Tyrone on the roof, the waves of attack, the shootings, night vision? Injuries to the Americans, deaths? The death count of those attacking?

13. The pathos of the wounded Americans, tending to them, the attempt to get his support, not coming?

14. The importance of the scenes of the death of the militia men, the families and their grief for them? The human dimension of terrorists?

15. The leaving, the staff, the plains, Jack and the others, Tyrone dead? The reflection on what had happened?

16. The effect of the experience, heroics, yet it an American defeat? And the presage of IS?

DONNIE DARKO

US, 2001, 113 minutes, Colour.
Jake Gylenhaal, Jena Malone, Mary Mc Donnell, Maggie Gylenhaal, Daveigh Chase, Holmes Osborne, James Duval, Patrick Swayze, Beth Grant, Seth Rogen, Noah Wyle, Drew Barrymore, Katharine Ross.
Directed by Richard Kelly.

Writer-director, Richard Kelly, made this apocalyptic comedy-drama of suburbia and madness when he was 26. For those looking for an anchor in American cinema, Blue Velvet might be a suggestion. This film has eerie reminders of the work of David Lynch, especially in his use of parallel worlds. Donnie is played with a mixture of innocence, cunning and eruptive violence by Jake Gylenhaal (October Sky, Lovely and Amazing). He is told by his imaginary friend, Frank (who appears dressed as a giant rabbit) that the world is to end in 28 days. In the countdown, many bizarre things happen, especially the flood in Donnie's school, the burning down of a motivation guru's (Patrick Swayze) mansion, encounters with an old lady called Grandma Death and friendship with a girl (Jena Malone) whose father stabbed her mother. In the meantime Donnie sees his therapist (a rare screen appearance by Katharine Ross) and explains his moods and paranoid schizophrenic behaviour to her - and to us.

While the film takes us into the mood swing world and the imagination of the schizophrenic, it is also placing it in the context of the nice average American town, the pleasant family (presided over with sensitivity and vulnerability by Mary Mc Donnell), the generally well-run High School (where Drew Barrymore and Noah Wyle are teachers). But, of course, things are not so nice beneath the surface, with some thug students, the motivation guru exposed as a child porn publisher, the coach of the young girls' dancing ensemble being a campaigner against reading Graham Greene in the school, but sacrificing herself for the counsellor with whom she is infatuated.

In fact, there are so many themes in the film that it sometimes seems too much for mus to take in and deal with in the two hours. Nevertheless, there is a vitality about the film that keeps it in the memory. (Leslie Halperin, reviewing Donnie Darko in Sight and Sound explains that Richard Kelly edited the film from a far more obvious story where Donnie was not mentally ill, where there more explicit religious references, to its present more enigmatic cut: in keeping with the spirit of the film, there are parallel versions.)


1. The status of the film ? And its release? The status? The director? The initial position – and the conditions and the director’s cut?

2. The Americans, the streets, houses, school, parties,, the musical score?

3. The cast, to Gillian will, the supporting cast? The director and his status?

4. The mental health, schizoid paranoia, voices, visions, visions and ends, believing the visions and voices, the imagination, the particular worldview, apocalyptic, the touch of the comic, the creatures? Ordinary, medication,, confronting the psychological state?

5. The portrait of the ordinary family,, job, relaxing, the family, the daughters recital? The mother, tearing, following a dialogue despite himself, going to supervise in Los Angeles? The daughter, her age, laughing at things, partnership, education? Sam, at school, training in movement, the performance, going to Los Angeles?

6. Donnie, his age, life so far, at school, the interaction with the teachers, the literary teacher and the empathy, her telling him the phrase, cellar doors? The sympathetic science teacher, listening to the theories about time travel, holes? The principal, severity? The range of students, the Chinese girl and reactions to at the school, Chinese, flat? The top students and their bullying? Frank? The party? My load, meeting her, nice, the kiss, the story of her parents and stabbing, going to see the Evil Dead and sleeping through it?

7. The hallucinations, the end of the world, belief, the captions for the number of days left? Frank and disappearing, size, the rabbit mask, appearance, giving information, the commands, destructive commands, the water main and the flooding of the school? Swayze and the burning of his house, and the revelation of his secret rooms? The vision of the air and?

8. The therapist, her sessions, sympathy and empathy, listening, don is responding, her hypnotising him, the revelations under hypnosis? The important phone call of warning?

9. Drew Barrymore as the literary teacher, Graham Greene story? Teaching, Simon by the principal, the discussions, her being fired, the animosity of the teacher who taught movement? Cellar door? You were while as the science teacher, the talks, sympathy, time travel, reluctant to continue the discussions?

10. Malone, meeting, personal, have liking for Donnie, going to the party, the encounter together, his wanting to save her?

11. Frank’s real, as an parishioner? His appearing, the bullying friends, the shooting?

12. The teacher with the little girls, movement, her horrified reaction to literature, the attack on pornography, her admiration that Jim Cunningham, his tapes and screening them, his attitudes? Patrick Swayze as Cunningham? His talk, the questions, the children on stage, developing a positive approach? Donnie, his asking a question, his attack, Cunningham’s reaction? The burning his house, the revelation of his pornography, the news in the papers, the teacher and her wanting to thinking, believing him innocent?

13. Donnie, the strength of his dreams, the best dreams, self-aware, relating to reason a world?

14. The episode with the bomb, the effect on the house, Donnie at the golf links and missing it?

15. The recapitulation, his dream as he died, Donnie is dead, Malone and her not knowing him, passing by, talking with a little boy, the wave to the mother, the parents grief?

16. The director’s cut had additional sequences – which some thought effective and others thought added unnecessarily?

17. And experience of the early 2000’s, American life, American attitudes, mental illness? The apocalyptic tone?

RIDE ALONG 2


US, 2016, 102 minutes, Colour.
Ice Cube, Kevin Hart, Tika Sumpter, Benjamin Bratt, Olivia Munn Ken Jeong, Bruce Mc Gill.
Directed by Tim Story.

Ride Along was one of those many comedies, which targeted African-American? audience in the US and which was so successful there that distributors decided it should get a run beyond the US and rely on the popularity of the stars.

This worked well enough, especially with Ice Cube and his long music and rap history as well as his films (and his story being dramatised in the 2015 Oscar-nominated Straight Outta Compton). Then there was the issue of Kevin Hart, a very popular stand-up comedian in the US, small, cheeky, with a motormouth, and making his way in films, sometimes successfully as in The Wedding Ringer and sometimes more than irritatingly in the remake of About Last Night.


Hart also made some impression with various interventions in the 2016 Oscar broadcast with the focus on the absence of black actors in the nominations for 2015. He can be very funny – and not.


His casting in Ride Along was shrewd, he was Ben, the potential brother-in-law of Ice Cube, James, who was a detective, with Hart wanting to be a detective, being allowed to ride along, and causing a fair amount of mayhem before the criminals were captured – with some unexpected help from him.

A formula – and repeated here quite successfully, a pleasure for those enjoyed the first one and a puzzle for those who wondered why a sequel was necessary! The context of this film is that Ben is about to get married to James’s sister, preparations well underway, though there are some comic episodes about the organisation of wedding. When a case comes up in Miami, and James is to go over from Atlanta, at first unwilling, he then decides that it would be a lesson to Ben about his unsuitability - he has already sabotaged a case at home with his over-eagerness - that a detective he is not.

In Miami, there is an overtly respectable gangster, Benjamin Bratt, who is involved in all kinds of crime, especially drug importation, who is considered a leading personality of Miami, but has a whole range of henchmen who kill at his whim. There is also a computer expert (who has a weakness for online sex sites) who finds out whole lot of information about the gangster and is therefore at risk. He is played by the comedian Ken Jeong (quite a presence in such films as The Hangover).

The odd couple detectives also team up with a very serious Miami detective, Maya (Olivia Munn). And thus begins a series of comic adventures, dangers, party crashing, shootouts, showdowns on docks, and James tying up Ben so that he will not be involved in the showdown and will be safe for his wedding. Of course, that is not to be, and Ben is certainly in on the final action, helping to save the day.

And a happy wedding, and, again of course, the stern James having Maya as his Plus 1 at the ceremony.

There is no real reason not to have a Ride Along 3.

1. The popularity of the original? Target audience? Americans, African- Americans? World audiences?

2. The blend of action and comedy – and the touch of social criticism of crime in Miami?

3. The Atlanta base, home, wedding preparation, police department? The contrast with Miami, the views, buildings, the sea, the port and wharves, socials and parties, police precinct? The musical score?

4. The title, James and Ben, their past experience, Ben accompanying James, trying to prove himself, James and his unwillingness?

5. Ben, awkward in the past, engaged to Angela, adventures with James, the police Academy, surveillance jobs, driving the car,
confronting the criminals? The wedding, the wedding planner and the antagonism, the hydrangeas? His character in himself, a motormouth, brash, his skill at computer games – and the later use in the car chases and driving? Wanting to be a policeman, detective, and to relate to his brother-in-law?

6. James, the police, stern, his reputation, the initial setup, the partner, the confrontation with the criminals, the drugs and money, Ben, intervening, awkward with the car, the chase the shootings?

7. AJ, the hacker, the contacts with girls on the computer, listening to Pope, stealing the money, going into hiding? As a target? James and Ben coming to the house, James driving the car and picking him up, Ben and the elaborate chase through the streets and houses? Talking to AJ’s girlfriend, that she was not the only one? The decision to go to the party, Ben having his bachelor party, rowdy? Pope, the arrival of the assassin, escaping? AJ at the beach, communicating with Ben, testing him, the garbage food, the decision to go to the next party, the disguise, keeping in communication, the USB stick,his giving the directions, and his hiding, the information about the truck registration, helping Ben? At the wedding?

8. Pope, rich, police benefactor, reputation, ordering the death of the Commissioner, his work with AJ, tracking him, at the party, dancing with Maya, the trap, not killing them, keeping his respectable cover? The decoy truck and getting the group dismissed from the police? On the wharf, the guns and cocaine, his presence, confrontation, the shooting, his death?

9. The assassin, the thugs, the corrupt officials, Pope’s ruthlessness?

10. Maya, tough, the initial encounter with Ben, antagonism, her skill at work, the disguise at the party, dancing with Pope, the risks, the
dangers? At the wedding, James’s plus one?

11. Ben, the charade of getting into the party, the potentate, hitting James and vice versa? His wanting to prove himself, love for Angela,
James cuffing him, getting out with Maya’s friend’s help, the water, driving the truck, the bullet-proof vest, James using him as a decoy, saving his life?

12. Everybody turning up at the wedding, the comedy, and the possibility of another Ride Along?

THE CHOICE

US, 2016, 111 minutes, Colour.
Benjamin Walker, Teresa Palmer, Maggie Grace, Alexandra Daddario, Tom Wilkinson, Tom Welling.
Directed by Ross Katz.


The easiest way to review The Choice is to note that it is based on a novel by Nicholas Sparks. For those who enjoys Sparks’ novels and the film adaptations, there is no need of review, The Choice will be on the list of must-see films. On the other hand, critics are very harsh on the film adaptations, dismissing them as predictable, sentimental, trite. But, so much entertainment could be described in that way – but does not necessarily stop many being entertained.

There have been 11 adaptations of Sparks’ novels in the last 16 years, one a year since 2012. The first was Message in a Bottle, with Kevin Costner and Paul Newman. The adaptation which has received more praise than the others is The Notebook. Lately, we have had The Longest Ride, with the Rodeo background, The Best of Me, Safe Haven.

Most of Sparks’ stories are set along the North Carolina coast and this is the case with The Choice. Sparkes relishes the beauty of the scenery and the film makers have gone along with it this time, making The Choice a rather pretty picture, the water, the inlets, and at sunset, the golden light shimmering on the water.

As the film opens, Travis (Benjamin Walker) is confiding to the audience that choices and decision-making are important, and that he has a very important decision to make, arriving at the hospital with a bunch of flowers, talking to the doctor and… We go into flashback.

Travis is something of a tough type, with a rather sardonic sense of humour, living by himself in a comfortable house on the water, hosting parties, and listening to loud music – which does not ingratiate himself with his new neighbour, medical student, Gabby (Australia’s Teresa Palmer). And she blames his dog for impregnating her dog – and dogs will feature in the film as well as some puppies.

She goes to the vet and low and behold, Travis is in a veterinary partnership with his father (Tom Wilkinson). Travis will say that Gabby bothers him – but he likes being bothered by her. Initially, she is bothered in the expected way but, somehow or other we know that this is going to end in romance. Complication, Travis has an on-again off-again girlfriend and Gabby is about to be engaged to the local doctor.

Gabby comes from a very wealthy family and she decides to go back home, thinking that she must be engaged – although telling the truth to the doctor.

The Choice is very much in favour of commitment, marriage and family. And the years go by.

It would not be a romance if there were not some suffering in the film – and, in a predictable way, it happens, causing Travis to think, to make decisions…

After the tears, joy and smiles, and that is a Nicholas Sparks’ story. Until the next one.


1. The novels of Nicholas Sparks? The sellers? Target audiences and readers? Themes? The film versions?

2. Love, illness, marriage, family, fidelity and infidelity, family, decisions?

3. The North Carolina coast, the town, the land and the sea, the son and the light, glistening on the water? Homes, the hospital, the veterinary surgeon , veterinary surgery, the wealthy homes? The musical score and tone?

4. The title and themes? Travis, talking about decisions, life and choosing? Love, commitment, priorities, marrying – and the issue of turning off life support?

5. Travis talking about decisions, the flowers, the hospital, the flashbacks and the effect?

6. Travis, at home, by himself, his single chair, the party, the guests, his sister, loud? Sitting, listening to the music? His dog?

7. Gabby, studying, medical student, trying to work, her exasperation, costing Travis, the accusation about the impregnating of the dog, his reaction?

8. Travis, attracted, saying that Gabby bothered him? The irony of his being the vet? Gabby going to the vet, the guilty dog not being Travis’s? The birth of the puppies?

9. Travis’s father, the death of his wife, the clients of the vet, his charm, accepting Gabby, the woman who often visited, the suggestion that he ask for a date, his awkwardness but asking?

10. Gabby and Travis together, their friendship, going on the boat with Travis’s other friends, the attraction, the sexual encounter, the effect?

11. Gabby at the hospital, about to be engaged to the doctor, love for him? Meeting his family, the meal? Travis passing by, Gabby going out to confront him?

12. Her decision, the doctor being upset, her love, but leaving to go and stay with her parents, Travis tracking her down, mistaking the parents for the kitchen staff, his proposal, on his knees?

13. Travis’s girlfriend, on and off presence?

14. The marriage, the years passing, the children, happiness, their grandfather playing with the children?

15. Travis and his work, staying back, Gabby at the restaurant, waiting, driving, the crash, her being in coma?

16. The long time in coma, the doctor and his prognosis, whether to turn off the life support, Travis unwilling?

17. Waking, saying that she heard Travis? Together again? The future?

HEE

Japan, 2015, 72 minutes, Colour.
Kaori Momoi.
Directed by Kaori Momoi.

Kaori Momoi is a Japanese actress who appeared in in Japanese and American films including Memoirs of a Geisha.

She has adapted a novel in writing the screenplay for this film, plays a central role as well as to rectify film.

It is quite brief, the picture of a woman in California, working as a prostitute, picking up local man, arrested, interrogated, visiting psychiatrist and challenging him in his work, and associated with a murder, the detective present at further psychiatric interviews to determine her role.

She gives quite a vivid performance, melodramatic. And every time shifts as well is imagination shifts with the recurring scene in the elevator where she is going up with the client and the psychiatrist and his wife (in the audience sees in life at home, with the child, going to work) are also passengers in the elevator.

While there are some social comment about life in California, the film is principally a psychodrama for the central character.

1. The work of the writer-director, her performance? Her personal investment in the film?

2. The California settings, atmosphere, racial differences, the emphasis on the Japanese? The streets, Azusa washing, John, pushing her round? The elevator sequence, the people in the elevator, the African American couple talking, the Japanese therapist present, A and John, getting out?

3. The theme of therapy, the room, the screen, chairs, Azusa sprawled, the contrast with the therapist home, family, going out, going into the building for work?

4. Azusa, her perspective, the first interview, after the elevator sequence?

5. The therapy, her talk, moods, talking and interrupted early, her story, assuming the questions of the therapist, taunting him, critical of him? The revelation about herself? The significance of Fire? The setting fire to the curtains and her description, the destruction of the house, the death of her parents? Growing up, the orphanage? Marrying, her husband’s affair, the divorce? Her sexual behaviour, prostitution, with John? Yet making up stories, what was true or not?

6. Therapist, listening, his manner, the coffee, taking notes? His family, the meals at home? The recurring elevator sequence?

7. The police, Azusa and her crime, the Detective and his presence?

8. The therapist assessing her story, her talk of the past, daughter – true or not?

9. A ultimate fate? Same or not?

10. The importance of psychology, the therapy, its effects?

TEMPESTAD

Mexico, 2016, 105 minutes, Colour.
Directed by Tatiana Huezo.

Tempestad is a documentary from Mexico, written and directed by a woman, Tatiana Huezo, telling the story of two women who suffer because of the influence of the truck cartels.

One of the women is in prison, prisons which are run by private enterprise, was falling foul cartels but, so, is released, goes to the bus station, travels home to be reunited with her son. But, this freedom is tentative, and the woman is always at risk from further attack.

The other woman belongs to a circus which travels around entertaining in the country. Her daughter has a scholarship to the University but his abducted and the woman and her husband are asked to pay ransom. They spent a great deal of energy searching for the daughter, but without success.

The been many thrillers as well is realistic dramas about the prevalence of the cartels, their reach into every aspect of Mexican society, the ruthlessness – but these two stories are effectively told and illicit an emotional response to the two women and the sufferings.

1. A Mexican story? Audience perspectives on Mexico, the cartels, the police? The place of women, the treatment?

2. The female perspective, the writer-director, the actresses, voice-overs, their stories?

3. The title, Tempest, in conflict?

4. The structure of the film: two stories, separate, interconnected? The effect of each on the other?

5. The poetic style of the film, metaphors and symbols? Realism? The intersecting of the poetic with the real?

6. The young woman, her story, the screen dark with her narration, the images of ruined buildings, the emphasis on the visual, to get out of prison or, a bewilderment, in the night, the bus station, reflections, the bus home, the significance of Martin, his death? Wanting to be reunited with Leo, at home, school, her fears, her having to take stock of the effect of her fears on Leo, her change?

7. The mother, the circus background, husband, life, family and friends, travelling? The abduction of her daughter, the University? The messages, the ransom? The continued search? The favour, her disappearance?

8. The impact of these two stories, in the Mexican setting, and empathy for the women and their plight?