THE PILLOW BOOK

UK/Netherlands/Luxembourg, 1996, 126 minutes, colour.
Vivian Wu, Yoshi Oida, Ken Ogata, Ewan Mc Gregor.
Directed by Peter Greenaway.

Peter Greenaway’s films are unique. Trained as an artist, his films look like paintings. But he belongs to the lavish school, almost crowding many scenes with as much visual detail as possible. He also loves music and incorporates it always as a significant part of his films.

This film has a Japanese origin, and uses a Japanese filming style, sometimes in black and white, to introduce the central character, a young girl who grows up to be a provocative woman. As a child, an artist exercises his calligraphy on her body. The scene recurs throughout the film. When she is an adult and has moved to Hong Kong, the woman is interested in calligraphy, in storytelling, in using calligraphy to write the stories on the bodies of men with whom she has a sexual relationship.

The most significant of these is the young British translator in Hong Kong, played by Ewan Mc Gregor, who is in a sexual relationship with a publisher. He allows his body to be written on, takes himself to reveal the book on his body to the publisher. There is resistance and the woman tries writing on many men, with many relationships, in order for her book to be published.

In the first half of the film, the visual sequences are numbered and listed from an original book. In the latter part of the film, there are 14 books, Pillow Books, which recount the experiences of the young woman, her relationships.

Many audiences will find the film rather esoteric – and it is in many ways. But it is characteristic Greenaway and those who admire his films will be more than satisfied.

1. The films of Peter Greenaway? His interest in art, calligraphy, music and pageantry? The role of film and incorporating these elements? The development of Greenaway’s career?

2. Themes of life, science, publishing, writing, sexuality? The characters? Asia and Europe?

3. The impact of the visuals, sets, decor, costumes, design?

4. The kinds of music, East, West?

5. The recurring images, the girl child, writing, the artist, calligraphy, the story, the destiny? The sequence repeated throughout the film like a chorus?

6. The range of quotations, the numbers, the visuals? Life and sex?

7. Nagika, little girl, the painting, the body, her sensuousness, sensuality, the various versions? As an adult? The desire to publish? The refusals? The range of characters, the quality of their skin, their bodies, methods of writing? Texture? Clarity of calligraphy? Blurring?

8. Sexuality, traditions, magic, experiences, writing of the books?

9. Jerome, the translator, his work, from Britain? In Hong Kong? The sexual relationship with the publisher, his influence? His permitting Nagika to write on him, the effect, their sexual encounters, going to the publisher?

10. The range of versions, the range of men, the style of writing, the sexual experiences? The men going to the publisher, delivering the manuscript on themselves, pillow book?

11. The title of the film, the number of books, the headings?

12. Jeromr, the books, his work, his mother and sister talking about him, his mother’s reflections on his life, sexuality, with the publisher, with Nagika? His death? The funeral?

13. The other men, the range men, the variety of appearances, tall, short, thin, fat? The appearances of the men, their experiences, nudity and sexual, and the calligraphy on their bodies?

14. Naked and choices, experiences?

15. The Japanese background, Hong Kong and its modern style? Permissive? The effect of all these experiences on Nagika?

16. The audience sharing them – or observing them?

LOU

Australia, 2010, 85 minutes, Colour.
John Hurt, Lilly Bell Tindley, Emily Barclay, Daniella Faranacci.
Directed by Belinda Cheyko.

Lou is a small film but very effective. It is set in northern New South Wales, around Mount Warning, around Murwillumbah. It captures the isolated towns, the canefields, excursions to the beach.

At the centre of the film is a single mother with three daughters. The mother is played by Emily Barclay, aged 27, frustrated, trying to deal with her children and her work, as well as her loneliness and her sexual needs. In the title role is Lily Bell Tindley as Lou, a strong screen presence, convincing as a knowing 11-year-old. It is her only screen appearance.

Crisis comes when the family is asked to take in, temporarily, the girls’ grandfather, father of the missing husband. He is suffering from Alzheimer’s. Once again, there is a completely convincing performance by John Hurt as the grandfather, remembering his time at sea, reliving his falling in love with his wife, mistaking Lou for his wife, proposing to her, putting her in an emotional dilemma, her accepting, getting to like the man that she initially did not want in the house and is prepared to run away with him.

The film is very strong in its attention to local detail and the characters within this way of life.

1. The title, the focus on Lou? Her family? Her attitudes? The impact of her grandfather’s arrival?

2. Northern New South Wales, the town, the countryside, the sugarcane? The musical score?

3. Rhia, three children, her age, care for them, the meals, hard work, going out, phone calls and welfare checking on the children? Her boyfriend, the money, buying gifts, the dresses for the girls?

4. The girls, at play, the relation between them?

5. The welfare officers, the repossession men, the girls hiding? The documents under the door?

6. Mrs Marchetti, the visit and discussions with Rhia, information about Doyle, his arrival, taking Lou’s room, the meals, his reactions, the children spying
on him?

7. Doyle, his age, dementia, work as a sailor, in the Pacific, imagining scenes from the past, seeing his wife, her departure? Doyle inside, searching for his wife, singing, standing and looking at the crops?

8. Lou, reaction to her mother and her mother’s work? In the backyard, playing, dance, searching Doyle’s room, the photos, the ring, the confrontation, the fight? Locking him in, letting him out, searching for him, through the crops?

9. Doyle, the gentle side, his wife, mistaking, the memory song, listening to the records?

10. The children and the new dresses, the boyfriend, coming to dinner, Doyle spitting out the meal?

11. The boy on the bike, the papers, at the party, the new speed on his bike, Doyle attacking him?

12. Doyle, giving the flower to Lou, thinking she was his wife, Lou accepting it?

13. The party, the new dress, the food, Rhia’s boyfriend, dancing, the paperboy and putting alcohol into the drink?

14. The background, the cane, the crops, the burning off?

15. Lou putting on make-up, the sisters? Doyle saying Rhia was not the marrying kind? The decision to sack Rhia? Rhia and her slapping her daughter?

16. The promise of the day at the beach, Doyle and the girls going to the beach, enjoyment, the food, talk about the wind in the Pacific, the caress? Getting the bus? Mrs Marchetti’s visit?

17. Rhia, sick of everything, 27, the boyfriend leaving?

18. Lou becoming friendlier, the photo, her father, his not coming back? Lou as Annie, Doyle’s proposal, accepting the ring?

19. The repossession, taking the television? No credit?

20. Locking Rhia in the room? Doyle gardening, Lou giving the ring back, the young boy, Doyle jealous?

21. Lou, anger at her mother, saying she hated her, packing, running away with Doyle, going into town, the ATM, his remembering his number, at the bus stop? Returning?

22. The boy, the beach, the family, looking at the ship at sea, remembering Doyle and his song, the Maori Farewell?

THE DEVIL’S DUE

US, 2014, 89 minutes, Colour.
Allison Miller, Zach Gilford, Sam Anderson, Roger Payano.
Directed by Matt Bettinelli- Olpin, Tyler Gillett.

The Devil’ Due is a variation on the Rosemary’s Baby theme, the mysterious impregnation of the young woman, her carrying a diabolical child, the melodrama and blood of its birth.

The visual style is that of the Blair Which Project and the Paranormal Activity thrillers, a great deal of hand-held camera and contrivances to have other sequences filmed, putting the camera fixed, CCTV coverage…

Allison Miller and Zach Gilford are enthusiastic as the couple, Allison Miller suffering more and more as the film goes on, not really conscious of what has happened to her. Ultimately, the sinister doctor assists in the birth, the child is taken, the husband is left with his bleeding wife and interrogated as a suspect in her murder.

A slight treatment of the theme – with some religiosity brought in with a priest, seemingly Catholic, but no stations of the cross in the church, affected by the demon child, unable to speak and bleeding at first Communion ceremony, and collapsing, visited by the husband in hospital to interrogate him about strange signs associated with his wife – and the priest, rather unrealistically, giving information about the signs in the early church and then demanding that the husband leave.

1. How successful a film? The mysterious pregnancy? The consequences during the pregnancy, the effect on others, the effect on Sam? Zach?

2. The American scenes, the wedding, home, hospital, ultrasound? Family gatherings? Audiences identifying with the couple and their situation?

3. The opening, Zach’s interrogation, accused of killing his wife?

4. Santo Domingo, the beaches, the nightlife, the driver, the mysterious club? Musical score?

5. The camera styles, hand-held? The contrast with the fixed camera? The tradition of the Blair Witch Project? Paranormal Activity?

6. The parallels with Rosemary’s Baby?

7. Zach, his camera, continued photography, love for his wife, the wedding, speeches, the dance? The honeymoon, the shared enjoyment? The decision to go to the club? Returning home? His response to the pregnancy? The ultrasound, the kind doctor, filming?

8. Santo Domingo, the taxi driver, the club, the darkness, the drinking, Sam not aware of the experience, her being on the pill, her pregnancy?

9. The joy of the family at the pregnancy? The mysterious reactions, at the birthing class, the effect on the mothers? The effect on Sam? Moody? Eating? Going to the river – the later episode with the deer, the blood on her mouth? The buildup to the date of the birth?

10. The church, the priest, his advice, the first Communion, the children, his mouth and the bleeding? His later collapse? Hospital? Being asked about the mysterious signs, his knowledge of the early Church? His wanting a Zach to leave?

11. The original sympathetic doctor, new doctor, the absence of the previous doctor, his being sinister?

12. Susan, come to help, Sam and the violence, her death? Zach and his return? The violence, the blood? The birth of the child, being taken away?

13. Zach, interrogation, his seeming guilt? His future?

14. Paris and a new couple being groomed by the taxi driver…

SLANDER

US, 1957, 85 minutes, Black and white.
Van Johnson, Ann Blyth, Steve Cochran, Marjorie Rambeau, Harold J. Stone, Lurene Tuttle, Richard Eyer.
Directed by Roy Rowland.

Slander is a small and brief drama from MGM as it moved out of the era of musicals where stars, Van Johnson and Ann Blyth had done so well during the early 1950s.

The film has a strong theme, spending a good deal of the opening highlighting the character of the editor of a scandal magazine, Real Truth, played in a somewhat dogged and unemotional way by Steve Cochran, always appearing respectably in suit and tie. It emerges that he has no scruples. He is concerned about circulation and targets a star of musical theatre in New York to boost his sales.

Van Johnson appears as a puppeteer, skilful with children, auditioning for the makers of the breakfast food and children’s program and succeeding. Ann Blyth is his wife. Harold J. Stone is his agent.

The editor, with his group of hack journalists, uncovers a scandal concerning the puppeteer, the fact that he had spent time in prison for armed robbery and assault. He decides to print the story but will not print it if the puppeteer offers information about the targeted star. This causes a great deal of anguish for husband and wife and, eventually, for their son leading, unexpectedly and very emotionally, to his death.

The film makes a strong statement about the gutter press, about ethics, about the destructive nature of the publication of gossip under the guise of integrity and truth. At the end, Van Johnson goes on a television programme making an impassioned speech about the death of his son and the effect on his family and the boy’s death.

Marjorie Rambeau appears as the editor’s pampered mother who does have a conscience, confronts her son – and, perhaps in too American way, shoots him dead at the end.

Very interesting to compare with 21st century social media and the spread of gossip, slander and calumny.

1. An MGM drama of the late 1950s? Topical? Scandal magazines and their popularity? Readers wanting gossip? Wanting scandalous stories? In comparison with later decades – and social media?

2. Black-and-white photography, MGM style, the cast? Musical score?

3. The title, scandal-mongering? Magazines, readership? Critique of the publishers, with little effect? The continual search for gossip, for uncovering dark pasts?

4. The setting of the theme? Manley, serious, suit and tie, his background, building up the magazine, two years, Walsh and the investment, 500,000 buying
the magazine, signs of diminishing readers? His secretary, the staff, the staff meeting, the background of each of the journalists, their hard times, uncovering scandals, making suggestions? His seizing on the musical theatre star? Walsh and his intrusion? Learning that he owed Walsh $100,000?

5. Manley, his mother, pampered, in bed, not welcome at the restaurant, her plan for the day, the mink stole, the restaurant, tea? At the restaurant, with her assistant, her reaction to her son? Her not agreeing with him? The cancellation of the television appearance and the reasons? Watching the critique on television? Statements about her disapproval of his work life? His retort about her comfort, Park Avenue, drinking?

6. The introduction to Scott, the puppet show, with the executives, Connie and her being anxious? Love for their son? The success of the audition? His performance, the executives happy, the children excited, rushing for autographs? Possibilities for the future, a home in the suburbs?

7. Connie, the phone call, the visit to Manley, and knowing her husband’s background, Manley’s ruthlessness, the excessive emphasis on the truth, the plaque on the wall, that the truth will set people free? His questions about the singer? His background on Scott, Scott and growing up in Brooklyn, the tough neighbourhood, his mother ill, the robbery, the knife, hurting his victim? Four years in jail? Paying his debt to society? His right to a new life?

8. Connie, returning home, showing Scott the paper mock-up? Her tears, worry, thinking about their son? Scott, acknowledging the past, his integrity, the threat to his job, the agent and the support, understanding? The son, returning home, the tension?

9. The discussions, Connie and the boy going to his mother’s? Scott’s visit, talking with his son, explaining the broken window and lying, explaining his past, the support of his son?

10. The visit to the producer, the letters against Scott, the fact that children were to be protected?

11. Scott, the visit to Manley, Manley and his presumption that he had trapped Scott? His associate present? His mistake, Scott refusing to give any
information about the singer?

12. Connie, with Scott’s mother, her fears in anticipation, after the explosion, calm? Supportive of her husband?

13. The phone call from the television producer, Scott not wanting to go, changing his mind? On television, his appeal to people, the death of his son, Manley and his being responsible for the death?

14. The son, school, being taunted, bullying, running across the street, hit by the car, his death?

15. Manley’s mother, watching the television, shamed in her visit to Connie? Her son’s behaviour, capitalising on a scandal, admitting that it seemed hard-hearted, his mother with the gun, shooting him?

16. A melodramatic ending – but the emotional impact on the audience?

HOUSE OF VERSACE


Canada, 2013, 85 minutes, Colour.
Gina Gershon, Enrico Colantoni, Colm Feore, Donna Murphy, Raquel Welch.
Directed by Sarah Sugarman.

The House of Versace was famous at the end of the 20th century, an Italian fashion company, rivalling Armani. Gianni achieved fame as a designer. Assisting him, and often clashing with him, was his sister, Donatella. She also had a talent for design, but not as strong as her brothers. She had a capacity for making contacts, for entertaining – rather lavishly.

For those audiences interested in fashion, there will be a lot to enjoy in this film, many scenes in the design room, the making of the clothes, the catwalk, the famous people wearing Versace dresses, seen in a prologue. However, he was murdered in Florida by a serial killer and his sister had to take over.

Initially successful, she ran the company into the ground with bad decisions, less fashionable clothes, excessive spending. She also was a drinker and took cocaine. Ultimately, the family, including her daughter who inherited everything from her uncle, stood their ground against Donatella and forced her to go to rehab. This was successful and, while she was there, she said she talked with ordinary women and understood their clothing needs. This was the basis for a comeback, ready to wear clothes and then moving back to success in fashion.

The films are star vehicle for Gina Gershon, completely persuasive as Donatella. Enrico Colantoni is Gianni, and Colm Fiore is Santo, the business manager of the company. And supporting roles include Raquel Welch as Lucia and Donna Murphy as chief dressmaker.

The film is directed by British Sarah Sugarman, Very Annie Mary, Mad Cows.

1. Audience interest in the Versace family, tragedies, their fashion house and success? The initial celebrities, actresses, Princess Diana, commenting on Versace?

2. The role of Gianni Versace, his company, design, exhibitions, success? The support of Donatella? Their clashes, love for each other, her shrewdness, promotion and connections? And his business sense, exasperation with his brother and sister?

3. The Italian settings? Milan? The workshop, the offices, homes? Scenes in Florida?

4. The 1990s, the fashion world, design, rivalries, Armani? The constant work, the drive for success, the effect on the individuals and their lives, their families?

5. Gianni Versace, the background of the family, building up the company, world success, his stormy relationship with his sister, her shrewdness, his petulance? His relationship with Antonio? Comfortable with his homosexuality? His love for Allegra, designing for her? His relationship with the staff? The criticisms of Santo? The success of the exhibitions, appearing on the catwalk? Spending money? His going to Florida? The suddenness of his murder?

6. The serial killer, Versace in a succession of murders? The effect on the family?

7. His will, eliminating his brother and sister, everything going to Allegra, age 18 and to take over the company? Donatella and her anger? Suspicions of Lucia?

8. Lucia, her presence, looking after the family, her continued concern, her being hurt? Helping Donatella, the recovery, wearing the glamorous clothes?

9. The decisions about the company, Donatella continuing, the hard work on the exhibition so soon after Gianni’s death? The effect on her?

10. The succeeding years, her past taking of cocaine, smoking, drinking? Devotion to her children but her absence? Her relationship with her husband, his support, being edged out, his confrontation with her and leaving? Petulance, firing people, relying on Maria? The company going downhill, losing money, the new board, the takeover? Allegra and her agreeing to the decisions?

11. Donatella, persuaded to go into rehab, the effect on her? The return, the apologies? Her saying she had met ordinary women, knew their needs, started new designs? The hard work, the workers returning, collaboration? Success of the new clothes? Achievement?

12. The picture of the children, Allegra and her devotion to her mother, the recital, the dress, the grief at her uncle’s death, Diana at his funeral, supporting
the family, the clothes, the impact of her death? Her brother, support of his mother? The family sequences, love, tensions, moves to America?

13. The final success, Santo and his approval? The final information, Donatella and her ready to wear line, returning to haute couture.

BIG HERO 6

US, 2014, 102 minutes,.Colour.
Voices of: Scott Adsit, Ryan Potter, Daniel Henney, T.J.Miller, Jamie Chung, Damon Wayans Jr, Genesis Rodriguez, James Cromwell, Alan Tudyk, Maya.Rudolph.
Directed by Don Hall, Charles Williams.

Big Hero 6 is a Disney animation film, an entertaining adventure, based on a Marvel comic, featuring small characters who become superheroes.

It was a bit of a surprise when the publicist announced at the preview that Big Hero 6 came from the same studios that gave audiences Frozen. The two films are at extreme opposites – Frozen for the female audience, especially young girls, with Big Hero 6 for the boys, of whatever age. Not that the girls won’t enjoy it. There are some female superheroes as well and the abduction of the daughter of a scientist and her rescue, but it is aimed mainly at the boys.

The narrative and the settings acknowledge the influence of the Japanese Anime comics and on films as well as the United States comments. The city has called San Fransokyo! The hero is called Hiro, an enterprising young boy, talented in making robots – and he takes them to illegal robot fights, the equivalent of cockfights, where he reigns supreme.

His brother is a much more serious young man, with a laboratory for inventions as well as an eccentric group of male and female scientists. Hiro is persuaded to study after he sees such inventions and passes his exam by building a whole lot of bots which can combine in all kinds of inventive formations.

HIro’s brother has invented a very engaging character, Baymax, a large volume, a cuddly white mass. It has been designed with all kinds of powers, especially care, diagnosis of illness – but is used in the super battle, donning some armour, joining in the action, but really only at home when stripped of the armour, and able to perform his caring functions. We wouldn’t be surprised if the next film focused on him and was Baymax, Big Hero 7.

Reflecting the times, there are business deals to be done, entrepreneurs and scientists wanting to get their hands on patents and go into production. Sadly, this involves a death and an abduction, which puts Hiro and his friends on guard, determined to save their inventions, determined to make up for the death of Hiro’s brother, confronting a masked villain who seems bent on world power.

This means that there are some spectacular action sequences in the latter part of the film, all kinds of dangerous feats that would be too difficult to do with live action and special effects. The unmasking of the villain is a bit of a surprise, but justice is seen to be done and everybody goes back to scientific enquiry. Hiro is a hero – as all his friends.

1. Disney superheroes? Based on Marvel comics? Disney using Anime styles? Characters and action?

2. The visuals, the Disney tradition? The world San Francisco and Tokyo? The city, the skyscrapers, laboratories? Action, movement, beyond the ordinary?

3. San Fransokyo, the blend of American and Japanese, characters, names, appearance?

4. Hiro, the boy, robots, taking them to the robot fights, the antagonism, the opponents, the visuals of the Hudson destruction? His brother, trying to save, coming to the rescue? The nature of the robots? The aunt, parents? Hiro’s?

5. His brother, taking him to the laboratory, Hiro’s disdain, the discoveries, the wheels, the risks, the potions, the slicer? His response to these experiences? Becoming involved? The importance of the test, the exam, as reflection, bots and shapes, blending them, success?

6. Wasabi and neatness, Go Go Tomago and his adrenaline and action, Honey Lemon and chemistry, Fred? Personalities, with Hiro, in action?

7. Professor Callaghan, intelligent, his response to Hiro, to the bots? The award? His daughter and her disappearance?

8. Krei and the offer to Hiro for his bots? Seeming villain? Callaghan’s hostility? Krei’s defeat?

9. The theme of freedom, the villain, masked, each character’s response?

10. Hiro’s brother, death, the effect on Hiro, wanting some kind of vengeance? his brother’s invention? Baymax, sweet, the blob, genderless? Nurse? The patients, skills, diagonoses, response?

11. The variety of characters, appearance, voices, technical skills, sciences and the touch of the nerds? The risks?

12. Becoming action heroes, seeing them in action, the excitement, the unmasking of Professor Callaghan?

13. The vengeance, recovering Callaghan’s daughter, his reaction?

14. Hiro, the requirements on Baymax? Changing, making new efforts?

15. Baymax, character, putting on the clothes and the mask, the interview? Fighting? Losing power, saved?

16. Callaghan, his motivation, his actions, prison?

17. The new Baymax and audience response?

SIX ACTS/S#X ACTS

Israel, 2012, 100 minutes, Colour.
Sivan Levy, Eviator Mor, Roy Nik.
Directed by Johnathan Gurfinkel.

Some of the films about contemporary youth and their behaviour make worrying viewing. This is one of those films, especially in an Israeli context.

It would seem that Israeli youth are just as self-centred, hedonistic, this-world-focused as are youth in most Western countries.

Six Acts focuses on a young girl’s changing school, uses social media as do the others, makes contact with some of the boys in her class. One of the main aims of the boys is casual sex, and this is shown in most of the six Acts of the film.Gili is eager to please, with few scruples about sexual behaviour, even in public places or with others in a room. We see her and a boy sitting on a billboard like that in Hollywood.engaged in sex, as in the other sequences in a room with other boys, in the water of a swimming pool. The sex is concerned only with the gratification of the boy who has no consideration of the girl, her sexual experiences, merely seeing her as a service to him, with the compliments that sexual encounter was ‘amazing’, even though it was very standard.

We see the boys, late teenagers, amongst themselves, their talk, watching pornography, discussing sexual behaviour, leaving a cinema because they did not like film while their girlfriends stayed, in the meantime indulging in other sexual encounters. Professions of relationship seem sincere but are completely vacuous. Eventually, the boys consider Gili as a sexual convenience and start to use the language of ‘whore’. Gili becomes a little disillusioned by this treatment from the boys but the film just stops leaving us wondering what will happen to her. The boys, of course, will continue on their ways unless some crisis occurs or some self-reflection. Such self-reflection is not at all on their horizons.

In 1995, Larry Clarke made the film Kids, focusing on similar situations in New York City. The film raised a lot of controversy, a lot of denials on the part of parents. It was recommended for parents to see to appreciate something of the lives of their children, aspects which are concealed from them. It will be the same for Six Acts.

CUBE ZERO

Canada, 2004, 97 minutes, Colour.
Zachary Bennett, David Huband, Stephanie Moore, Martin Roach.
Directed by Ernie Barbarash.

The Cube series has a special place in regard by horror buffs, solvents fiction buffs, terror fill buffs.

The first film takes place entirely in a giant cube, in moving rooms which have cube designs everywhere. Each cube has cube designs as well as doors which can lead to safety with the right interpretation or to disaster and death. A group of people find themselves in the cube, sometimes cooperating, always with the will to survive, with a dominant policeman, Quentin, taking charge but ultimately becoming a destroyer himself. And the end of the film is quite nihilistic.

The second film is situated in a cube which is called a hypercube. Once again there is a group of strangers, sudden deaths, moving rooms. Once again, the group help each other, clash with each other, some killing some of the others. However, this time there is an explanation, a focus on a large weapons factory, and experiments, and the elimination of those who do go the tests.

The third film, Cube Zero, goes once again inside the cube but it is the story of rescue, with some scenes outside the cube but offering some interpretations of explanations of the whole series..

1. The third in the trilogy? Drawing on the other films? The idea of the cube? Innocent people trapped? Being tested? Attempts to survive, to escape? The new ideas, of focusing on the guards, the authorities and the technology experts, the attempt at a rescue?

2. The visuals, the rooms in the cube? After, colours, exits? The contrast with the basement, dingy, the television screens, the filing cabinets – echoes of old-style compared with the technology of the cube? The musical score?

3. The initial focus on the person in the cube, attempted escape, death? The gory aspects of the woundings and deaths?

4. The group, the older man and his trying to reason, going into the room, the hoses on him, his skin and bones?

5. The others in the group, Haskell, his military background, his not remembering, black character, the clash with Rains, her accusations about the military? The large man, his helping with the escape, his being scratched and wounded, his transformation, Haskell dropping him and killing him? The woman, her contribution, attempted escape, her death?

6. Rains, with her daughter, the chase, being taken by the soldiers, finding herself in the cube? The attack on Haskell and the military? Her contribution, trying to help? The letters and their puzzle, commas, disappearing?

7. Wynn and Dodd, recruits, following orders, Wynn sketching, playing chess with Dodd, winning, knowing the moves? Dodd’s exasperation? The various sketches, of the victims in the cube? Of Rains and her daughter, his explanation that the dreams were transmitted and sketched? His character, no background? His suspicions? Looking in the files, not finding Rains’ pink slip? Questions, doubts, going into the elevator, going into the cube, encountering the group, the suspicions, the attack? His telling Rains about herself, knowing that she was a political agitator? His tips to help, the explanations, the cutting of the power, 10 minutes to re-setting? Haskell, his being re-activated with the chip in his brain, his attacking the group, his finally be pulverised with the re-set?

8. Wynn and Rains, the attempted escapes, down the elevator, jumping into the water? The pursuit in the forest, Wynn being wounded, Rains escaping?

9. The visit of the doctor, his one eye, his associates in their suits, working on the technology? The confrontation with Dodd? The search for Wynn? Dodd and his decision, disconnecting the power, asserting himself, refusing to obey, his being killed with the powder?

10. The attempted reconnection, the idea of Haskell’s chip, the deadline and the re-setting?

11. Wynn, captured, bound in the hospital, the taunts of the authority, Wynn asking them to wait, glad that Rains escaped, the cut in his head, his being mentally disabled, his gestures – similar to those of Kazan in the original film?

12. A glimmer of hope with Rains and her daughter? More nihilistic approach with the role of authority, ruthless exercise of authority, the victims in the cube?

ASUNDER

US, 1999, 101 minutes,:
Blair Underwood, Debbi Morgan, Michael Beach.
Directed by Tim Reid.

Asunder is very effective title and could have been used on a more effective film than this one.

This is a film about African- American characters, friends for a long time. As the film opens, the group are at a fairground, Chance photographing everything, Michael being pushy, the two women forced to go on a wheel and one, pregnant, falling to her death.

Chance, the husband (Blair Underwood) is distraught, moves in with his friends, but begins to focus madly on Lauren (Debbi Morgan), Michael’s wife, Michael played by Michael Beach. Chance forces Lauren into of an affair situation, but he then moves out, returning transformed in appearance, hair, earring’s… Now he begins to stalk Lauren, with his camera, physically, sexually. She tries to resist, Michael trying to deal with the situation, ultimately leading to a violent solution.

1. The strong title? The relationship to marriage, friendship, personal character?

2. The meaning, disintegration, destruction?

3. The fairground, Chance taking the photos, flirting with Lauren, the friendship, with Michael? Long time? the atmosphere of tension? Michael and his pushy character, going onto the wheel, swinging the seats, nervousness, Roberta falling, pregnant, going to the hospital, deaths?

4. The effect on Chance, how much love Roberta, his affair with Lauren, his being distraught, moving in with Michael and Lauren, the situations, the beginnings of violence months, suspicion? The clashes? The photos? His going away, return, hair, earrings? His stalking Lauren, hounding her? The effect on her, on Michael, his leaving? Becoming aware of Chance, his greater violence, madness and death?

5. Roberta, the past, love for Chance, pregnant, the fall, her death? What would have been the different future for her with Chance?

6. Michael, long friendship, work, together, Michael blaming himself about the death, at home, love. And, yet the tension, the arguments, his going away, return, trying to cope, Chance and his attacks, Michael’s violent response?

7. Lauren, the character, the past, marrying Michael, the affair with Chance, renewed after his wife’s death? His using her as an object, stalking her? Lauren not wanting it, the resistance, his intrusion and the final violence?

8. A heightened melodrama about friendship, love, obsession and violence?

BIG BAD WOLVES

Israel, 2013, 110 minutes, Colour.
Directed by Aharon Keshales, Navot Papushado.

Big Bad Wolves advertises itself as one of Quentin Tarantino’s best films of 2013. He might well have been attracted by the basic situation, the intense characters, interrogations, environments. However that may be, this is a serious look at a situation in Israel.

A serial killer, sexually targeting young girls, has not been caught. A police officer, strong personality and relentless, goes on a mission to find the killer, targeting a mild-mannered schoolteacher he arrests and brutally interrogates. When the video of this goes on to You Tube, he is sacked and a replacement appointed. However, he continues the search, arresting his suspect, brutally interrogating him. Then a new character appears on the scene, the father of the latest victim, just as relentless in his search and interrogation.

The schoolteacher is released, goes home – and it would appear that despite his protests, his mild-manner at school, he is actually the perpetrator.

1. An award-winning film in Israel? The Israeli settings? City, homes, school, police precincts? Authentic atmosphere?

2. The title, with reference to abuses, with reference to rogue police and interrogators?

3. The basic situation, sexual aggression, the victims? The scandal in Israel? Media handling? Police concern?

4. The focus on Miki, his role in the police, strong personality, aggressive, affected by the sex crimes, his fixation on Dror, convinced that he was guilty? The investigation, the interrogation, the brutality, it’s being filmed, going on to You Tube? The consequences, his being sacked? His substitute, Miki’s anger, still pursuing his investigation and vengeance?

5. Dror, mild-mannered, teacher, his work at the school, his reputation, his home life? His being abducted, interrogated, tortured? His maintaining his innocence?

6. The arrival of the father, on a mission, relentless and ruthless, the confrontation with Dror? His personal anguish?

7. Dror, released, going home, seen at home, the collection, his being guilty despite his protestations?

8. An atmospherical book at a crime situation, the role of the police, rogue police, grieving parents? The perpetrators – cool, yet seemingly innocent?