BORIS SANS BERENICE/ BORIS WITHOUT BERENICE

Canada, 2016, 93 minutes, Colour.
James Hyndman, Simone Elisethe, Girard, Denis Lavant.
Directed by Denis Cote.


A film from French-speaking Canada, a drama about the businessman, his politician-wife who is some physical and mental collapse, and how they will handle this unusual situation.

James independent is a strong presence as pompous, Russian background, the successful businessman, with a large factory, having to deal with his wife situation but not unwilling to take on some sexual consultation on the side. To that extent, the picture of Boris and Berenice’s straightforward.

What makes the difference for this film is the presence of a stranger, played by French actor Dennis and, who appears at different times but who is a key scene where he tells a story from Greek mythology, that of Tantalus, successful in winning favour with the gods who oversteps his mark and experiences and downfall.

To this extent, the story of Boris, with and without Berenice, is clearly Tantalus allegory.


1. Canadian production? French Canadian sensibility?

2. The opening with the field, the helicopter, the focus on Boris? Holmes, apartments, the interiors? The musical score, classic styles?

3. The title, the focus, Boris’s story, explored? The importance of the In, you – Lewis? His influence on story?

4. The realism of the film, Surrealism, the examination of Boris’s life, judgement on him? Self-awareness?

5. The stranger, the encounter with Boris, coming with the group to his home, telling the story of Tent to less, Tankless and his desires, favour with the gods, yet who briefs, and Who is spelling this out, punishment?

6. Boris in himself, height, manner, Russian background, the extensive factory and its achievement? His first wife, Justine, his relationship with his daughter, her absence, going to find her, meeting the two actors and their gay performance, talking with them? Discussions with Justine? Beatrice, her background in politics, illness, in herself, Helga, irises relationship with her as compensation? Clara, the attraction, helping with Berenice, her anger with Boris? The significance of Boris’s mother and her presence at the final discussion?

7. Justine, away from her father, acting, with the gay young men? At the final discussion, about Tent Alice?

8. Helga, in herself, the relationship with Boris, the affair?

9. Clara, her care, her angers? The mother, Berenice, her losing her memory, not remembering the drink?

10. The final meeting, the telling of the story, the allegory for Boris?

HEDI

Tunisia, 2016, 88 minutes, Colour.
Majd Mastpoura, Rym Ben Messaoud, Omnia Ben Ghali.
Directed by Mohamed Ben Attia.

Majd Mastpoura won the Silver Bear for Best Actor at the 2016 Berlinale. He is the star of this rather brief film from Tunisia.

Hedi is the title role, a young man, the dominated by his imperious and pompous mother, compared with his allegedly more successful brother who has found of life, family and job in France. He works for Peugeot and is a salesman, but not having much success in difficult financial times.

And, he is about to get married, his mother controlling the setup with the in-laws, asserting the superiority of her family. The fiancee is an attractive young woman, Hedi looking forward to the marriage but realising that he knows very little about his fiancee excerpt from some furtive meetings and phone calls, and then realising she has very limited vision of what life might be.

Hedi travels to a resort town, visiting various companies without any success, trying to promote car deals, fleet deals. He is more than passive and gives up on his work, preferring to go swimming – but is caught out at the beach by a company phone call and foolishly tries to explain it away to an attractive young woman who is part of an entertainment team at the local hotel.

Hedi is attracted to her, which opens up an attraction beyond that he has for his fiancee. The girl is a free spirit, travels Europe as part of a hospitality team in hotels, performs exuberantly on stage, and the couple find that they like each other very much, enjoy each other’s company.

What would happen – especially when his mother has to explain away his absence to the in-laws (who have problems of their own with the father promising jobs but being exposed as paying bribes) and then go in search of Hedi? Will Hedi capitulate as always and go through with the wedding? Has he found a freedom that he never knew existed? Not hard to anticipate and audiences who like him will be most impressed by his outpouring of his feelings about his mother. And, of course, the film ends leaving us wondering what will happen to Hedi and his future.

We do not see many films from Tunisia – and, while a Muslim country, Tunisia always seemed to be much more relaxed than many other Islamic countries. And we might wonder whether Hedi himself is typical of the man of the country.

1. Tunisia in 2015? Cities and towns, tourist resorts, homes, religious celebrations, the world of business and Peugeot? The musical score?

2. The focus on Hedi, one man, the symbol of Tunisian men, dominated by his mother, the preparations for the marriage, not knowing his fiancee well, his job as a salesman, expectations of him, his not achieving them, a passive man moving to an assertive man, facing realities and freedom, leaving or staying? His future?

3. Hedi and tying the tie, the credits, going to his job, not happy, the meeting, the demands on sales, the boss, not giving him leave for his wedding, his travelling to towns, his sales pitches, unsuccessful, brochures and cards? No joy in his life?

4. The wedding preparations, the two families meeting, his mother and her style, dress, pompous, photos of her son? Her talk about the brother and his career in France?

5. Hedi at home, skyping the brother, his arrival, not bringing his daughter, the mother not liking his wife? The plains, the details of the wedding, the preparations?

6. Hedi travelling, the resort, going from swimming, ignoring the calls, ignoring the phone, answering, hurrying to the shelter, his lies about his mother’s fall? The explanation to Rim? Her performance in the show, the tourists, his detailed explanation to her about his life, her reaction? The bond between them, going out together, swimming, kiss, the sexual encounter, his ignoring all calls, sharing with her, his coming alive?

7. Rim as a person, lively, her work, travelling to hotels, memories of Bologna, the attraction, the explanation, together?

8. The effect on Hedi, the texts, meeting with his fiancee in the car, his discussion with her and her plans for life, not loving her?

9. The meeting, the parents, the arrest of the bride’s father for bribes? His promising jobs? The embarrassment, the mother and the brother going to the resort, finding him, the enormity of his first criticisms of his mother and his life?

10. Telling Rim the truth, her reaction, then changing? Going to collect his clothes, the discussion with his brother and his brother supporting him?

11. At the airport, Rim, his not being able to travel and live with her? Her disappointment? What future?

MIDNIGHT SPECIAL


US, 2016, 111 minutes, Colour.
Michael Shannon, Joel Edgerton, Kirsten Dunst, Jaeden Lieberher, Sam Shepard, Sean Bridgers, Bill Camp, Scott Haze.
Directed by Jeff Nichols.

Jeff Nichols may not be a well-known name for a film director but in the audience who has seen his films, Take Shelter and Mud, will know that he is the director of great interest. And, while Midnight Special may not be as impactful as the previous two films, it is still a film that commands some attention.

Nichols has said in interviews that he was impressed during his younger days by films which dealt with aliens – benign aliens, especially Close Encounters of the Third Kind, to which this present film pays some homage, to’s ET and Starman, films from the 1970s and 1980s.

However, it begins in an arrest in vain, two men at night conducting a little boy, setting out on a journey that is mysterious with a gradual revelation that the boy himself is mysterious, needing to stay in the dark. But, as the story progresses, the two men around the side of good. They are played by Michael Shanahan, often a sinister character, plain the boy’s father and Joel Egerton playing a local policeman. one of the great advantages of the film is the performance by Jason Leibler as And to mysterious boy.

The scene shifts to The Ranch, the home of a cult group, said by Sam Shepard, were interrogated by the police, especially about their predictions for the end of the world. Behind the scenes, the leader sends some of his henchman to track and the boy, bring him back, because his entrances key is for the date of the apocalypse.

Most of the film is a road journey, the two men with the boy, initially taking refuge with a former disciple of the H The Ranch and then on to find the boy’s mother, played by Kirsten Dunst. A lot of the drama is even interlude and the pursuers. And a lot of the drama concerns the health of the boy, his fragility, his inability to be in the light and growing audience curiosity as to who is, whether he is human or not, despite his parents.

Also in the drama representatives of the police, the FBI, and national security organisations, especially in the form of Paul said via, played by as driver Adam Driver whom the boy himself chooses as the means for communication.

There is some suspense intention as the appointed day approaches and it is necessary for his father to get the boy to the special place – at which the film becomes something of a 21st century Close Encounter.

The screenplay does not offer detailed explanations of what happens but it draws the audience in, and empathy with the characters and their flight as well as the anticipation of what the appointed day will bring.

While the title of the film refers to a song, it is a pity that it does not have a more dynamic title with indications of character and plot.

1. The impact of the film? Drama? Science fiction?

2. The work of the director, his reputation? The strong cast, and usual?

3. The title, the final credits song and light shining from the midnight special?

4. A road movie, the road at night, during the day, the gas station, homes, the countryside, the swamps and fields? The visuals of the alternate world?

5. Introduction to Roy and Lucas, good or bad, performing the abduction? The television information? The woman ringing the police?

6. The introduction to the Ranch, the head, the two men and is commissioned to find the boy? Speaking to his flock? The sermons, the repetition of the numbers? The hope that the boy would bring salvation? The search for him to bring him back? Unscrupulous? The FBI, the attack on the Ranch, taking all the residents, the range of interviews, the information gained?

7. On the road, Elden and his compliance, the goggles, in the back, reading the comics, asking questions, his being kept in the dark? The accident on the road, turning off the car lights, the deputy, confrontation, the shooting, the injured woman? Getting to Elden’s house, the welcome, the room, his missing the Ranch, the light in the boy’s eyes, Roy hitting him, taking the boy? Stopping forgiveness, provisions, his walking out into the road, the woman accosting him, the satellite and its explosion, the escape?

8. Information about Roy, his parents, been taken to the Ranch, his wife, her not able to look after the boy, his mission to save him?

9. Background on Lucas, friend from school days, state trooper, responding to Roy’s request to help, his reaction to the shooting of the deputy, his concern about the boy’s health?

10. Alton, intelligent, a sheltered life, his knowledge, speaking in tongues, coinciding with the radio station in the car? Sick, by the side of the road?

11. His mother, her story? The plans, travelling along the road, the decision to separate and for the boy to go with Roy?

12. Venturing out into the daylight, the change, Alton able to see in the day, the new experience?

13. Levi and his associate, finding the motel, the shots, taking the boy? The irony of the chase by Roy and Lucas, the hold-up on the road, seeing that the FBI had taken the boy?

14. The FBI, the interrogations, the head, Paul Sevier arriving, the interrogations, his looking at the codes, realising the destination? His national security background?

15. Alden captured, seen both sitting and standing, refusing to answer the questions of the childcare operator, wanting Sevier, everybody out? Talking, their escape, Sevier making contact, the coordinates, bringing him in the car?

16. Tackling the roadblocks, the side road, crashing through the barrier? Alden and his mother going by themselves? The two men crashing in the car and its overturning?

17. The vision of the city, huge, a close encounter? The mother watching, the boy watching, the farewell, con?

18. The mystery of the boy’s origins, his powers, the fact that he was taken to the Ranch, the religious interpretation, national security and satellites, detecting nuclear explosions, testing the debris at the gas Station?

19. The end, Paul Sevier interrogating Lucas? The mother cutting her hair? Ron the wires on his head?

20. The film and its links to the science fiction genre, Close Encounters, Starman, ET…? The 21st century interpretation and imagining?

CONCUSSION

US, 2015, 123 minutes, Colour.
Will Smith, Alec Baldwin, Gugu Mbatha- Raw, David Morse, Arills Howard, Mike O'Malley, Eddie Marsan, Hill Harper, Adewale Akinnuoye- Agbaje, Stephen Moyer, Richard T.Jones, Paul Reiser, Luke Wilson.
Directed by Peter Landesman.

Concussion seems a title straight to the point – but the question remains as to what exactly is its point. For someone seeking an action film, it might indicate plenty of fights and head-butting. Head-butting is the case – but it is in the sport so beloved to Americans, their football, the hard-playing tackles, leaps, clashing of helmets, the hitting of heads, the repercussions for brains.

This is a fact-based film, the story of strongly-qualified coroner, Bennet Olumu, originally from Nigeria, working in Pittsburgh. He has way with the people he examines in an autopsy, speaking to them, trying to elicit something of their story, the background of how they died. The nurses assisting are sympathetic. The supervisor is certainly not. But he has the support of the medico in charge (Albert Brooks).

Bennet is played by Will Smith, a strong and serious role, Smith affecting an African English accent quite effectively – skilled, confident in his qualifications, a strong ego, and serious about his craft and eager to investigate mysterious illness. This comes in the form of a player whom the audience has already seen (David Morse), receiving tributes, in action in his long sports career, a popular player, but his life collapsing around him, alienated from his family, isolated and ultimately killing himself. Bennet wants to know why this happened to such a popular man.

This begins an investigation into the suicides of several players after their descent into some kind of depressed and mentally disturbed existence. It leads Bennet to investigate concussion and the repercussions on the brain, detailed and thorough investigations, criticism from his supervisor, support from the medico, paying for the research himself, eventually taking it to a respected doctor (Eddie Marsan) who accepts his finding as scientific and is prepared to be seen as a co-author of the published results.

We are also introduced to a sports doctor, played by Alec Baldwin, enthusiastic in his encouragement of the players but, after hearing the results of Bennet’s investigations, begins to question his own past action, the action of the NFL and teams up with Bennet, pointedly being asked by the NFL to present Bennet’s case when they refused to listen to Bennet himself.

Alongside this is a personal story, and Bennet being humanised as his supervisor suggests. The parish priest asks Bennett to take in a young woman from Kenya who is trained as a nurse and needs accommodation. He is not used to sharing anything much with others but warms to her and, gradually, she being interested in his work, love develops between them, Bennet even going to a site in Pittsburgh where he will build a house for them. The nurse is played by Gugu Mbatha Raw who was seen very effectively in the film about Britain and slavery, Belle.

Bennet is subject to increasing criticism, scepticism about his findings, being accused of fraud and, has as been mentioned, even refused permission to speak to the authorities.

As might be expected, there is something of happy ending but, not before humiliation and suffering, with authorities ultimately accepting his findings, acting on recommendations to protect players against damning concussions with their dire consequences.

One of those “inspiring” films which are also quite enjoyable.

1. An inspiring and crusading film? True story? The impact, medical impact, the world of sport, the world of business? David and Goliath situation with the National Football League?

2. The 2002 setting, the book written in 2009? Bennet and his investigations, career, engagement and marriage, reputation and media and official tests? American citizen in 2015?

3. The title, the tone, the reality of concussion, the visuals of concussion in football matches, throughout the film, the decision of the football managers, the coaches, the players themselves, the underestimating of concussion, reports, cover-ups? The reality, the medical investigation, x-rays, the published paper, the establishment of the illness and its mental consequences, leading to suicides?

4. The city of Pittsburgh, the vistas of the city, homes, building sites, sports arenas, hospitals, morgues, the work of the coroner? Meeting halls? Media? The visit to Washington DC, life in southern California, the town, home, family? The place of football?

5. The importance of football in the United States, God and football? The NFL, the players, the games, tough, the demands of the coaches? People watching, loyalties to clubs? Young boys taking up the sport? The beauty and grace of the movements? Dire consequences?

6. Bennet, his background in Nigeria, his studies abroad, the many qualifications, presenting them in court, his testimony, the study of hands, blood and medical records, the innocence of the accused?

7. His work at the morgue, coroner’s work, talking to the patients, regarding them as persons, eliciting their stories from them? The women working as the nurses, their support? His supervisor and his continued hostility, criticism? Snobbery, racism?

8. Cyril, in charge, his personality, his support of the Bennet, criticisms of the supervisor? The arrival of the body of Mike? Bennet and his questions, the puzzle about his mental state, his killing himself? Wanting further tests, prepared to pay for them himself, $20,000? Cyril and his support?

9. David and his character, self-confidence, civil urging him to make contact with someone else, a girl? And the supervision? Going to the church, the priest, his proposal about the girl, a home, his proper behaviour, his office, her watching the television and his not, sharing?

10. Prima, from Kenya, pleasant, at the church, moving in, and getting a job as a nurse, sharing the apartment, the interest in the issues, going to the plot of land, in its proposal and her acceptance, and the building of the house?

11. Mike Webster, the introduction, a celebrity, his sports career, his family, alienation, mental state, living in the abandoned car, his friend coming to see him, his death? The big football player, his descent into madness, alienation from his family? The other players and their deaths? Dave, his arrogance, not helping his friends, wanting to be Mayor, the clash with Bennett, his latest descent into madness and suicide?

12. The autopsy, the tests, battered discussing with his friends, going to see the expert, the interrogation, the expert believing him, on the basis of scientific method, agreeing to have his name on the publication? Cyril and his congratulations?

13. The challenge, the criticism of the doctors, the coaches, the president of the NFL? The meetings, the denunciations, policies? Julian being allowed to address the group but that hostility, accusations of fraud?

14. Julian, as a Dr, his sports career, in himself, the article, meeting Bennett, the discussions, friendship, his support, collaboration, explaining to Bennett that he could not address the NFL, his failure to persuade them about concussion?

15. The effect on Bennett, not able to talk to the NFL, the denunciations, criticisms, the media?

16. Washington, the explanation of the job, the offer, his turning it down?

17. Moving to Southern California, the years, the growing family, life, his work as a coroner? Decision to stay? His American citizenship?

18. The issues of concussion and the scientific findings? The parallels with other cover-ups, especially smoking? The role of vested interests, cases, testimonies, the revelations of cover-ups and the financial settlements?

DEADPOOL

US, 2016, 108 minutes, Colour.
Ryan Reynolds, Ed Skrein, Morena Baccarin, T.J. Miller, Leslie Uggams, Brianna Hildebrand, Gina Carano.
Directed by Tim Miller.

The worldwide success of Deadpool seems quite extraordinary. Within a week it had broken many records in the United States and, very quickly afterwards, made an impact right around the world.

While it is a film version of Marvel Comics, it is quite different from the usual presentation of superheroes, the mighty saviours of the world. Deadpool himself does have some extraordinary powers but they were not necessarily of his wanting – his transformation is something akin to that of Peter Palmer into Spiderman, and his costume is not dissimilar. But, in personality, definitely different!

The thing is that , Deadpool is really a spoof. Deadpool is actually Wade Wilson, who had a career, a tough career, in righting wrongs around the world, mercenary style. Not that we know this from the beginning. Rather, the film makers have decided to write a screenplay which is something of a jigsaw puzzle: initially showing us Deadpool in vigorous action, then going back to Wade’s story, and a bit of to and frowing between these two periods.

What emerges is that Wade is diagnosed with a terminal illness and, rather than imposing on his loving wife, Vanessa (Morena Baccarin) their vigorous courtship we have also been privy to, accepts an invitation to undergo some kind of surgery which might save his life. However, a villain that we have already seen confronting Deadpool, ensures that Wade is so transformed that he becomes hideous, including an desperate fire fight, gets himself a costume which will conceal his burnt face, and off he goes on a quest, especially seeking the villain, Francis (Ed Skrein), especially when he takes Vanessa as a hostage.

This means there is a lot of tongue-in-cheek action as well as very straightforward stoushes, sometimes involving his friends, especially two mutants from the well-known school from the Ex-Men? films and some jokes about Hugh Jackman and Wolverine, one a mutant that resembles a Frankenstein monster in some ways and another is a teenager, who waits to go into action until she has finished tweeting, who becomes a speeding ball of fire.

But, what makes the difference, is the repartee in the dialogue, smart, jokey, quite a number of film references even to Ryan Reynolds commenting on his own acting abilities…

And this seems to have captured the imagination and emotional response of audiences in 2016, probably indicating that along with the very serious, big-budget action shows that are to come, there will be a lot more humour, deadpan humour and spoof – which the trailer of Suicide Squad seems to indicate is another in this trend this year.


1. The worldwide success of the film? Its appeal? action hero fans? Critical approval?

2. The traditional Marvel Comics, the films and the superheroes? Stan Lee and his influence – and his cameo as the DJ in the strip joint?

3. The dark side of world heroes, the spinoff, the satire, camp?

4. The tone, during the credits, the backgrounds, the jokes about the performing performers, and what was required, hero, hot chick, British villain, CGI creature…? The jokes, the movie in-jokes and references, even to Ryan Reynolds himself? Ryan Reynolds as Wade? His special services, mercenary, his job, the violence? The relationship with Vanessa, Francis as the villain, the many fights? The mutants? The effect of all these characters, parallel with X-Men? and the jokes concerning Wolverine and Hugh Jackman?

5. The film having its cake and eating it, having all the exploitation of the action? Yet the spirit of criticism?

6. The plot, the narration, the jigsaw pieces, the effect of the puzzle, audiences curious, understanding, suspense, building up to the finale?

7. The introduction of Wade, as Deadpool, look, awkwardness in the taxi, getting into the seat, discussions with the driver about his relationship (and the next taxi ride, and the crash and the driver not answering the phone and the body of his rival in the boot)?

8. The fights, the weapons, the acrobatics, Francis and his brute strength, his thugs, the two mutants, the iron man, the fiery teenager, the moralising of the mutant, violence and language, the teenager and her Twitter action? Their coming from the X- Men school? The first encounter, Deadpool talking with them on the bridge – and Francis escaping?

9. The bar, Weasel as his friend, the types in the bar, the drinks, setting up the fight, the bets? The discussion about his name, the list of the bets as the Dead Pool? The friend, continued support – but not wanting to come to the finale?

10. The bar, the strippers, Vanessa, the banter between the two, the time available for him to be with her, the relationship, the proposal and her expecting it, the effect on each of them? Marriage? Wade, going to the doctor, the diagnosis of cancer? Vanessa and her responses, the various possibilities? Wade and his deciding to leave, quietly?

11. Gerard and his approach, the promise of healing, the deception, the process? The mutant genes? The confrontation with Francis, the fight and the flames, the transformation to Dead pool? People in the street looking at him? His not wanting to let Vanessa see him and his disfigurement? The encounter with Al, her blindness, friendship, tough talking, boarding with her? The friendship? The details of his making the costume, Weasel and his advice?

12. Francis’ search of him, the thugs and their tricking Vanessa, abducting her? Wade seeing her in the club but not approaching her, discovering she was taken?

13. Wade, his mission, in the taxi, with the mutants, the vast site, the special effects, the fights, the weapons and lack of weapons? Deadpool hanging on the edge, putting Vanessa in the cocoon, her being saved? Vanessa cutting herself free? The confrontation with Francis, his death?

14. The happy ending, drawing audience attention to it – and the breaking of the fourth wall during the film? The post credits and Deadpool talking about the sequel and urging people to go home because the show was over?

CREEPY

Japan, 2015, 130 minutes, Colour.
Directed by Kyoshi Kurosawa.

Creepy is an effective Japanese thriller. The central character is certainly creepy in his attitude and behaviour, giving the film, especially as it goes on, an eeire atmosphere.

The central character is a detective, with expertise in the mentality of serial killers who, at the beginning of the film, tries to confront a killer who then takes a hostage and kills her when the detector had pleaded with the man, even giving up his gun. A year later the detective is lecturing at a university, explaining the nature of serial killings to his students.

He becomes interested in an unsolved case and one of his former assistants wants to work with him. In the meantime, he and his loving wife have moved into a new house, want to be hospitable to the neighbours, one of whom is quite eccentric, with a young daughter who goes to school, who becomes somewhat infatuated with the wife – and, through the complexities of the plot, is at the centre of the case that the detective is investigating. It all builds up to quite a melodramatic climax.

So many of the crime dramas from Japan in the 1990s and onwards tended to be ghost stories or with the touch of the supernatural – this is not supernatural, rather a straightforward story.

1. The title? Serial killers and their work? The eerie neighbour and his crimes?

2. Japanese setting, police story, police precincts? The quiet suburbs, homes and streets? The interiors of the homes? The sinister cellars and corridors? The musical score?

3. The detective, the prologue, his interrogation of the criminal, the psychopath, the criminal saying had a code of morality? The assistant with the gun? The escape, the search, the criminal holding the woman hostage? The detective mediating, offering to turn his back, his being stabbed, the criminal slitting the woman’s throat, his being shot?

4. Transition, one year later? The detective and his wife, the quiet home in the suburbs, moving in, unpacking, the quality of their relationship? Pleasant, cooking, the various meals sequences? The gift for the neighbours, the cranky woman and her sick mother? The next door neighbour, awkward, his appearance, being rude, the chocolates, the daughter coming home from school? His accosting the detective and complaining about his wife’s invasion of privacy? Wanting her off? His eerie presence?

5. The detective, the university, becoming a professor, the students in class, his reading his lecture, serial killers, the 20th century, in the United States? Organised, disorganised, mixed characteristics? The office, the research officer, showing him the computer listing of crimes? The interest in the open case?

6. The former assistant, his visit, the going to the house, not going in, the photos? The background of the story, the family and the disappearance? The mixed testimony of the daughter and the case being dismissed? The second visit, finding the daughter, the discussions with her? Her gradually remembering things? Her grandmother warning them away? The later meetings, her wariness, being upset, gradually remembering more? The confrontation with the photo of the sinister neighbour?

7. The detective’s wife, at home, meeting Nishino, his seductive manner, his using the drugs, his sway over her? Inviting Nishino and Mio over to the meal, the nice meal, praise, bonding?

8. The interiors, the assistant arriving, going into the house, the corridors, the explosion, his death, killing the women? People arriving – and Nishino watching television and his explanation about the sound?

9. Mio, schoolgirl, with Nishino, in the basement, with her mother, death, the corpse, burning it, the detective’s wife and her presence?

10. The detective, the girl further explaining the mystery, the people next door, their identities? The intervention of the police?

11. The attack, in the street, the policeman going into the house and falling into the trap, the detective being taken in, the interrogation, his being let go?

12. The visit, the unmasking of Nishino, the wife and the injection, Nishino as a coward? The detective in the house, falling into the trap, his being abducted? His wife, the bond, yet the injections? Nishino driving them to the new house? In the street, the death, the gun? Nishino and the revelation of all the truth?

13. The solution, Mio and the gun, shooting Nishino? Her being free – and husband and wife being reunited?

MAHANA/ THE PATRIARCH

New Zealand, 2016, 106 minutes, Colour.
Temuera Morrison, Akuhata Keefe, Nancy Brunning, Jim Moriarty, Regan Taylor, Maria Walker.
Directed by Lee Tamahori.

Young director in the 1990s, Lee Tamahori, made quite an impact in New Zealand and internationally with his film about Maori families, Once Were Warriors which won many international awards and opened up a Hollywood career to the director with such films as Mulholland Falls, Along Came a Spider and the James Bond film, Die Another Day.

20 years after Once Were Warriors, Tamahori has returned to his native New Zealand and uses his star of his previous film, Temuera Morrison, as the patriarch of the title. However, the film is set at the end of the 1950s, the beginning of the 1960s on the North Island near Gisborne.

One of the interesting features of the film is that it focuses on Maori families and not on clashes between whites and Maoris, although some of these issues are quite implicit and the injustices towards the indigenous people are highlighted in a courtroom scene where it is made clear that no Maori language can be used, only English, and the plaintiffs are all forced to plead guilty and receive severe sentences.

Morrison is very strong as the grandfather, patriarch of the family, controlling everyone and taking this for granted. He has several sons and sends them out in different groups, their families accompanying them for supplementary work, cooking and washing, for sheep shearing contracts. At the opening of the film, a white land owner is being buried, a man who has the respect of the Maoris, and two rival families race in their cars to secure their shearing contracts before the ceremony. The rivalries between the families run deep and explained as the film progresses.

The character who emerges from the funeral and family gatherings is a young teenager, Simeon, played by Akuhata Keefe. He is a seemingly awkward, but quite clever boy, not having an athletic look, but quite strong, especially with shearing the sheep. But his grandfather wants to control him, especially his cheekiness, which leads to a clash and his family being expelled from the central group. This provides a certain independence which they relish, and the support of their grandmother who also has a serious story about her marriage to her husband and the deep rivalries from the past.

Simeon is a likeable character, the audience identifying with him especially in some of the challenges to his grandfather. Simeon also likes films (his grandfather doesn’t approve) and there is a humorous scene when they all go to see 3: 10 to Yuma in an outdoor cinema and one of the young bucks disturbs the screening by riding into the cinema on his horse – which, in fact, leads to the court scene where Simeon and his schoolfriends have been brought by the teacher to watch the administration of justice.

The film brings quite a number of characters to life, shows the effect of the communal life in the Maori tradition, but also shows the harshness of the patriarchal tradition – and the need to be challenged, especially by the beginning of the 1960s.

For audiences who are impressed by New Zealand locations, especially for The Lord of the Readings, it is a pleasure to see the New Zealand terrain. And it is also of great interest to share with Maori filmmakers this storytelling about the past and the transitions in the 20th century.

1. A New Zealand story? The 1950s into the 1960s, but the memories of the previous past? Maori story? Family, work and pride?

2. Gisborne, the North Island, the town, homes, wealthy, poor, the school, the cinema, shearing, the hearings in the court? The atmosphere?

3. The work of Lee Tamahori, Once Were Warriors – now 20 years later?

4. The period, costumes and decor, cars, manners and style?

5. The cultural references, George Bernard Shaw, John Steinbeck, John Wayne, James Stewart, 3:10 to Yuma, Van Heflin, the Biblical films, the Robe, Solomon and Sheba, Elvis Presley and Don Siegel, Flaming Star?

6. The title, the focus on the family, on the patriarch? The grandfather as the patriarch, his role, traditions, Maori communities? Harsh, the possibility for relenting, only partly?

7. The initial tone, entering the Maori world, grandfather and grandmother dressed, formal, waiting for the cars, the families of the hustle and bustle, the children, arriving late, the grandfather’s inspection, criticising Simeon’s tie, his birthday gift? Going to the church? The welcome by the Minister? The funeral of Mr Collins, a white man, his family and their grief? The grandfather and his speech? Tribute?

8. On the way to the funeral, the two families, rivalries, the cars and getting over the bridge, the grandfather getting the shearing contract? The continued enmity of the families?

9. The grandfather and his role, his commands, dividing the family, the shearing tasks, travelling away, seeing him in action, riding the horse? Grace before meals, Simeon and his prayer? Getting Simeon to chop the wood to toughen up, clean the cow shed, light the fires? To go to school? The bus and the girl? Getting him to go to the shearers and return at the set time? His treatment of everyone? Saying films were bad, Simeon’s retort? His thinking Joshua was weak? His not wanting Miriam to marry?

10. The film’s focus on Simeon, his tie, at the table, the grace, speaking up, intentions? Staying home, the wood, the cars, finding the photo of his grandmother? Going to the shearing, his skill in shearing the sheep, his father timing him and praising him? At school, the girlfriend and their being comfortable with each other? The quote from George Bernard Shaw, his age and the questions? His mother wanting him to respect his grandfather? His love for his father? The other children?

11. The family, the hard work, going with the shearers, cooking, washing, cleaning? The spirit of families?

12. The children going to the films, the rider on the horse, mayhem during the screening, the police? The enjoyment of 3:10 to Yuma, Van Heflin? Going to the court, the teacher and his encouragement, no Maori allowed to be spoken, the pleas of guilty, the harsh penalties? Simeon and not giving his vote of thanks, his speech about the Maoris, lack of freedom of speech, lack of defence, two years of life for a minor kerfuffle? The teacher commending him on his openness?

13. Simeon and the photo, the explanation of the feud between the families, grandmother, her character, devotion to her husband, loyalty, without love? The suitor, Simeon visualising the church ceremony, grandfather coming on horseback, carrying her off? Fiction? The true story, the grandfather coming, raping the grandmother, her pregnancy, people forcing her to marry?

14. Joshua, the attitude of his father, of his brothers, his hitting his father, the family being ousted, travelling in the rain, the grandmother giving her house? Settling, rough, the storm, the roof coming off, Joshua falling and injuring his leg, Simeon right about taking off the boot but its not being done, the rival coming, with the mechanism to fix the leg? The doctor, the successful healing? Simeon, going to the Collins family to renew the contract? His idea to go in the shearing competition? The grandfather watching, riding? His trying to tell a family what to do and their telling him to go, that he was trespassing?

15. The competition, the audience cheering, the radio commentators, the grandfather present, his collapse? Joshua and his team, winning their round? Grandfather’s team being beaten? The grand finale, the talented shearer winning the individual prize, Joshua’s team winning the team prize, the cash, the family pride and joy, dedicating the award to his father?

16. At the table, the young man, in love with Miriam, going to help Joshua of the family, grandfather ousting him, Miriam making a decision, their arriving, the separate room, sexual noise and people laughing, Miriam’s pregnancy?

17. The inability to pay bills, the news of the job, everybody going to the mountain, chopping the bush, grandmother helping? The grandfather watching?

18. The grandmother and her patient dignity, with the bees, the song, the mysterious departure?

19. The grandfather dying, everybody gathering, taking it in turns to watch, Simeon’s turn? The letter and the Bible, the explanation of what had happened? The grandfather not forgiving but some relenting?

20. The funeral, the rivals coming, the ceremonies, the threatening of the fight? Simeon speaking, telling the truth, the grandmother and her declaration, telling the story, her love for her suitor? Simeon achieving some kind of love and peace and reconciliation?

21. Maori heritage story?

L’AVENIR/ THINGS TO COME

France, 2016, 100 minutes, Colour.
Isabelle Huppert, Andre Marcon, Roman Kolinka, Edith Scob.
Directed by Mia Hansen- Love.

Mia Hansen- Love is A French director who has made an impact with the films, Goodbye, First Love and Eden. This time the protagonists of her drama are much older, teachers at college level and graduate students. It is also a star vehicle for Isabelle Huppert, star billing for almost 40 years, who has sustained star billing and continues to be a dominant European actress.

This is also a film whose screenplay will please audiences who take philosophy seriously. Nathalie, Isabelle Huppert, loves philosophy, teaching, reading, discussing, comparing notes with her husband. This gives the opportunity for the naming of several philosophers, student discussions about issues, and many references to classic philosophers in the French tradition like Rousseau, Pascal and Chateaubriand.

The couple have two adult children who are not so interested in philosophy and become supportive of their mother when the 25 years of marriage break, to Nathalie’s shock. However, she seems to calmly have discussions with her husband, with her children. One complication is the constant harassment from her mother who is growing old quite ungracefully, leaning on her daughter. It is of interest that when the mother dies, Nathalie has a discussion with the parish priest who listens attentively so that he can prepare a suitable eulogy for the mother, raises issues of faith, religious practice – and Nathalie herself uses quotations from Pascal about faith and doubt, significant in France’s secular society.

The other aspect of the film is Nathalie’s friendship with a former student whom she promotes, assists in the publication of his essays – although, she has to have sessions with new marketing experts at the publishing house who are influenced by the move away from books to the Internet, away from the plain presentation of text to images and gimmicks to promote works. The student who admires her decides to move into a commune in the Alps and Nathalie pays several visits, especially with her mother’s cat who causes a amount of mischief. It is interesting that the screenplay does not take its audience in the direction of the romance of the older woman with the young man, the student having his own girlfriend.

This is a story with a love for philosophy, reflecting on ageing, memories of the past, happiness and regrets, the courage to continue living despite setbacks and drawing on one’s own resources to keep going.

1. The title? The Future? Things to Come? reflection on the past? What futures?

2. The director, drawing on her memories?

3. The French tone, style?

4. Paris, homes, schools, parks, walks, the home for the elderly, the publishers? The contrast with Brittany, the coast, the islands, the beach, the statue of Chateaubriand, asking for quiet? The mountains, the train journey, the roads, the farm, the huts, the woods, the winter season and snow?

5. The score, classical music, popular songs, Woody Guthrie, Unchained Melody…?

6. The introduction to the family, on the ferry, Nathalie and her philosophical manuscript, the family walk, the statue, asking for quiet?

7. Nathalie and Heinz as teachers, student protests, memories of 1968, banners, causes, the emphasis on majority rules in a democracy? Nathalie assertive, going out, confronting, bringing the students in? Her classes, texts, discussions?

8. Fabien coming to see her, his visit, his memories of the past, his idle time as a youth, his encouragement by Nathalie, publications? Their walk, his changing views, his writing? Her getting the books from the publishers? His visit during the family dinner and Heinz’s reaction? Going to the mountains, to write, to publish, the anarchists, their identity, the different types, the Germans, Fabien’s girlfriend? Welcoming Nathalie, adopting Pandora? His own age, life, its meanings?

9. Nathalie and Heinz, married 25 years, at home, meals, the relationship with their children, the talk, taking each other for granted, interactions about philosophy and classes? The love for philosophy? Their children not so keen? Life as a routine, Nathalie expecting to be loved forever?

10. A film about philosophy, audience response to philosophy, the range of authors, Rourssequ, Pascal, the range of books, classes, debates, texts, the tutorial on the grass? Getting the students to think, free to think? Nathalie and her devotion to philosophy, continued reading? Enduring discussions?

11. The visit to the publishers, the marketing people, being modern, the new design, Nathalie thinking it an eye-sore? The later return? Accepting the recommendations from the market?

12. Nathalie’s mother, the continued phone calls, panic attacks, her moods, getting the fireman to rescue her, not wanting to go to hospital, her resignation in going to the home for the elderly, leaving Pandora behind? Not eating, watching television, not recognising Sarkozy, the papers? Her past as a model, uneducated, being a cadaver on a television film? Her fall, her death?

13. Nathalie going to the priest, explaining her mother’s life and background, wanting the burial in the church, not going to church frequently but a believer? The priest and his listening, taking notes? Welcoming Nathalie and the family? The service, his sermon, praising Nathalie, her love for philosophy, her mother’s encouraging her? The doubts and questions and their relationship to faith? The secular ceremony and Nathalie and her quote from Pascal, his questions about God, evidence of God, signs of God?

14. Chloe, talking with her father, knowing that he was having an affair? Heinz telling Nathalie, dispassionate, less evident emotions, her response? Getting things, his books? Nathalie and remembering the house, happy memories, the holidays with children? Her going to swim, her last visit to the house? The irony of her glimpsing the woman with Heinz from the bus, giggling?

15. The decision to go to the mountains, taking the cat, its running away, bringing back the mouse? Her seeing for herself what Fabien in the group were doing?

16. One-year passing, the birth of the grandchild, her joy, holding the baby, Heinz present, the mother weeping?

17. The decision to go to the mountains again, Pandora to be taken by Fabien, her comments on her age, her views, Fabien accusing her of doing what pleased her rather than social change? The disappointment? The Woody Guthrie song?

18. Heinz, arriving to take no book, Schopenhauer, his leaving as Nathalie was cooking the Christmas meal, her children coming, the baby, the presence? Her singing with the baby?

19. The final credits, the rooms, partly empty, the presents there? Unchained Melody?

A QUIET PASSION

UK, 2016, 125 minutes, Colour.
Cynthia Nixon, Jennifer Ehle, Duncan Duff, Keith Carradine, Jodhi May, Joanna Bacon, Catherine Bailey, Emma Bell, Annette Badland.
Directed by Terence Davies.

This is a portrait of the 19th century American poet, Emily Dickinson.

It is a film written and directed by Terence Davies, who made an impression in the past with his classic Distant Voices, Still Lives in 1988 as well as The Long Day Closes in 1992. Davies also made a screen version of Edith Wharton’s House of Mirth and a very telling remake of Terence Rattigan’s The Deep Blue Sea.

Davies might be called a fastidious director, great attention to detail, a great sensitivity to human feelings, and setting them within a historic and cultural context. A Quiet Passion is set between the 1840s and the 1880s and Davies re-creates the period, its look, its feel, costumes and decor, sensibilities meticulously. The period covers the lives of very proper Bostonians with a Protestant and evangelical religious outlook, the challenge of the Civil War, the unsettled aftermath. It also covers the media of the period, the newspapers and magazines, especially for outlets for the publication of poetry.

The film opens with Emily asserting herself at the religious school for young ladies, some in the group choosing to be women of faith and Christianity, others choosing to be women of faith but not committed to Christianity, with Edith standing in the middle, her own woman, defying the threats of hell from the prim women in charge. She feels it necessary that her family come to rescue her, her patrician father and her younger sister and brother. She returns to their quiet, comfortable and settled life in Boston. She is skilled in writing poetry but it is not the done thing for young women to be published – especially when they go to a concert and her father disapproves exceedingly of a woman singing in public. Despite the objections of her aunt, the father does make contact with an editor and a problem is published.

Externally, nothing very much happens in Emily Dickinson’s life, though there is an intensity in her inner life. She is played, very effectively, as a traditional spinster by Cynthia Nixon (a long way away from Sex and the City). Her sister is played by Jennifer Ehle, one of those smiling, kind and gentle performances at which Jennifer Ehle is expert. The patriarchal father is played by Keith Carradine.

Edith and her sister stay at home, with some views on slavery and the Civil War, religious in outlook but Edith, especially, refusing her father’s invitation to actually go to church. Their mother is loving but is sickly and dies.

Edith is self-contained, has no desire to marry, is happy and secure in her home life, with some women friends who pass in and out of her life. There is quite a moral crisis when she finds that her brother is unfaithful to his wife with whom Edith is friendly, sharing books and other matters of taste. She emerges as quite intolerant, unforgiving, despite efforts by her sister and brother to mollify her outlook – and she does, at times, admit that she can be far too harsh.

As she grows older, she becomes unwell – and the scenes of her illness and treatment are quite forthright.

On paper, it might be said that the life of Emily Dickinson is not a subject for a feature film. Rather, it might have been effective as a piece of theatre. As it is, it is a film of words with many of the Emily Dickinson’s problems being recited by Cynthia Nixon – although, poems which require more than one reading to grasp their meaning and tone, something not possible with the film. It is a film of tableaux. To that extent, A Quiet Passion is quite theatrical but, with Davies’ sensitivity and sensibility, it does offer an audience an opportunity to get to know and appreciate Emily Dickinson.

1. A portrait of Emily Dickinson? Of herself, her times, the United States in the middle of the 19th century?

2. The films of Terence Davies, a man of taste, at home in the 19th century, visual elegance and techniques?

3. Locations in Amherst, Massachusetts, the majority of the film made in Belgium? A film of interiors? The musical score, classic, religious hymns?

4. Audience knowledge of Emily Dickinson, the poetry? Its being spoken throughout the film, by Cynthia Nixon? Cynthia Nixon embodying Emily Dickinson?

5. The initial setting, the school for girls, Miss Lions, her speech, Evangelical, emphasis on hell and sins, the women to be saved to the right, non-Christians wanting to be saved to the left, Emily Dickinson left in the centre, the interchange with the teacher, about certain to hell, sin, God in creation?

6. The family coming to take her home, Vinnie as a young girl, Austin as a young man? The patriarchal father, the mother too sick? Arrival at home, with Aunt Elizabeth, prim, judgemental, wanting religious answers, the children and their smart reactions and responses? The moralism of the times?

7. Going to the theatre, Emily’s joy in the singing, the father refusing to applaud, anti woman on the stage? Yet prepared to contact the editor about his daughter’s poems being published?

8. The family portraits, 19th century style, serious, the gradual transformation and the traditions of the older members of the cast?

9. Her father permitting Emily to write a night, the quiet? Her routines? Upon being published, her aunt’s purses and Austin is comparing them with Paradise Lost? The aunt reading the poem and glad that it was anonymous?

10. Emily, growing older, keeping to herself, the spinster personality, sexual issues or not? Joyful at Austin’s marriage, greeting Susan, their discussions and reading? Yet remaining reserved, her apprehension about men? Susan’s pregnancy, part of the family?

11. Vinnie growing up, sweet personality, at home, not marrying, mediating in difficulties? A plea for tolerance with Emily?

12. The father, stern, religion, church, the Minister and preaching, the issue of slavery? His death and funeral? The mother, quiet, loving her children, Emily playing hymns? The vivid sequence of her illness and death?

13. The importance of the Civil War, the announcement, the attack on Fort Sumter? The captions for the battles and the years, cumulative effect of the wounded? Apprehensions? Family discussions, slavery? Many not wanting to talk about slavery? The comments on the speeches at Gettysburg and the dismissal of Lincoln’s?

14. Emily identifying with the slaves – and identifying with women, challenging Austin to become a woman for a week and survive ?

15. Her outspoken friend, wit, going for walks, talking, enjoying the company?

16. The passing of the years, Emily and the routines of her life, staying at home, writing or question or room? Her reliance on Vinnie?

17. Her illness, the tense sequences, diagnosis, suffering?

18. The visiting vicar, his wife, their puritanical outlooks and behaviour, the reaction of the two sisters?

19. Emily, the visit of the University editor, her staying upstairs,not coming down?

20. Austin, the visitor, Emily catching him and their encounter? Her principles, intolerance, her sharp responses to Austin? Compassion
for Susan? Vinnie trying to counter this? The talk, the accusations, Austin and his reaction? His reading out the hurtful article?

21. Vinnie, the talks with Emily, trying to moderate her harshness, Emily religious but not churchgoing?

22. Her seizures, the illness and her suffering? The family surrounding her, the moment of death?

23. Achievement, in the 19th century, later, her reputation? The film as a satisfying portrait?

24 WOCHEN/ 24 WEEKS

Germany, 2016, 104 minutes, Colour.
Julia Jentsch, Bjarne Madel, Joanna Gastdorf, Emilia Pieske.
Directed by Anna Zohra Berrached.


This is one of those films that takes on a very difficult topical issue, that of the termination of pregnancy, a controversial issue which can divide audiences, Pro-life, Pro-choice. But, it is a film that should be recommended to campaigners on both sides. It is one of those films that is able to present a variety of points of view, challenging audiences in their firm beliefs and opening up possibilities of thinking in other directions.

American Archbishop Rembert Weakland once said that he could not write a pastoral letter on this kind of issue for his diocese of Milwaukee unless he had spent a year experiencing with a variety of people the reality of the issues under consideration in 24 Weeks is the kind of film that is essential for this kind of consultation.

It is a German production, featuring talented actress Julia Jentsch (once upon a time the leading role as Sophie Scholl). This time she is Astrid, a stand-up comedian, very popular with audiences, especially women, and at the beginning of the film, obviously pregnant – which she is also able to chat about. She is not married to her partner, Markus, but the film shows they have an extraordinary love and devotion towards each other, sharing everything and, ultimately, differences of opinion about abortion but each standing by the other.

The film takes a tragic turn when the parents are told by the doctors that their child has Downs Syndrome. They make a decision to keep the child and visit centres with Downs Syndrome children and adults, enjoying the visit, sharing the concern with the Downs children, joining in an exuberant dance night. However, the couple’s eight-year-old boy is rather repelled by the idea of having a Downs Syndrome brother.

Family and friends seem to be able to accept the news, Astrid’s mother offering support and being invited to live in, especially to the benefit of their son.

Further visits to the doctors indicate that the baby has two holes in the heart. Explanations are given about the nature of the surgery required and the prospects. This is where the idea of termination becomes quite significant. The father is against abortion, being accused of having some Christian guilt, but not feeling that it was right to kill a child and that he had a responsibility as well as his pregnant wife.

Astrid seriously considers the termination, goes to a hospital, sees a child in an incubator and touches it. She consults the doctors about the nature of termination and the details of the procedure – which are shared with the audience, no holds barred. Astrid also has a discussion with the midwife who assists in the procedures, sympathetic but leaving it to Astrid’s judgement about what is to be done and what would happen concerning the body of the child, the induced birth procedure, the holding of the baby or not…

The film makes a case for not terminating. The film also makes the case about the quality of life of the child if it comes to term and has to experience a great deal of surgery (the parents and the audience by this stage have almost forgotten Downs Syndrome).

The film stresses that this is most significant for the mother, her empathy with her infant in the womb, alive and kicking.

Astrid, at the end, goes on radio to make a statement. But in the noise from the audience as the film moves to the final credits, many will probably miss a key moment, the very last words in the film, whispered by Astrid: “I miss you”.

This film could be an important contribution to discussions about abortion and termination and the repercussions for mother, father, infant.

1. The title, indication of pregnancy, pregnancy issues, Downs Syndrome, babies with holes in the heart, issues of bringing them up, terminating? And the effect on the mother, on the father?

2. The German perspective, medical background, pros and cons, the hospital and medical care? Downs Syndrome and possible help? The surgery for holes in the heart, the issue of quality of life of the child?

3. The pros and cons of termination, a film for both sides to see and to estimate the medical issues, the human issues, life and quality of life?

4. Astrid, performer, jokes, about pregnancy? Her relationship with Markus, not married, yet the deep love, devotion, understanding and shared life, the love for their son – and his touch of being brattish? Her mother, having the nip and tuck, not dealing well with her husband’s death, the family background?

5. Astrid, the interview with the doctor, the explanation of Downs Syndrome, her initial reaction, the decision with Markus, going to meet the Downs children, enjoying the visit, songs, dancing, talking, explanations? The son and his being hostile? The meal, Astrid telling the group, the variety of reactions? The mother’s support? The baby sitter refusing, Astrid calling her fascist, her son refusing? Her mother coming to live in?

6. Her career, contracts, having to cope, going on stage, the episode with stage fright, walking off? The radio interviews? The final radio interview and her declaring about the termination?

7. Women’s perspectives, Astrid and her jokes, pregnancy at the forefront, the number of weeks, the mother experiencing the kicking of the child, empathy for the child, choosing names? The difficult choices, with partner, the strong statements – especially from Markus and his feeling it was not right to terminate the child?

8. The doctors, the information about holes in the heart, the nature of the surgery? Astrid visiting the incubators, touching the child, Markus touching the child, a moment of decision against giving birth?

9. The tensions between the couple, her talking to her mother, Markus talking to the mother? The discussion about Christians guilt? Astrid visiting the church?

10. The explanation of the termination procedure by the doctor, the injecting of the baby, inducing the birth? The audience seeing all of this? The midwife, her role, explaining the choices, the baby put on the mother’s breast after its death, the 24 hours, footprints…? Markus present at the procedure, sharing even though he was against it? Astrid and her wondering what she had done, both right and wrong?

11. The media intrusion, the news, her going onto the radio, and declaration about the abortion?

12. The final whisper before the credits, Astrid whispering that she missed the child?