Film Review: Let the Sunshine In

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Category: Cinéma - Movies

Published: Saturday, 26 May 2018 03:59

Written by Gilbert Seah

LET THE SUNSHINE IN (Un beau soleil intérieur)(France 2017) ***
Directed by Claire Denis

LET THE SUNSHINE IN has been touted by critics as Claire Denis in lighter form.  From the film’s opening scene with Juliette Binoche having sex with an older man taking too long to reach orgasm, lighter form might still be very serious to the average moviegoer.  Denis’ films as the director herself, is not always say to take, the director recently giving her interviewer for THE GUARDIAN a hard time at all the questions asked, but her films are often more rewarding and a challenge than the typical Hollywood kitsch.  LET THE SUNSHINE IN is not a comedy but a drama.  It follows its heroine, Isabelle (Juliette Binoche), a middle aged divorced painter living in Paris, as she looks for love.

Isabelle’s love encounters, each lasting some months or so.  The first is the banker (Xavier Beauvois), next, a good-looking actor (Nicolas Duvauchelle), then, a fellow artist (Alex Descas) and lastly her ex (Laurent Grevill).  The film can be divided into 4 separate segments bound by one theme followed by a conclusion.

For each of the segments and lovers, Isabelle exhibits the same personality - that of a head strong, intelligent woman wanting to find true love and a relationship but just meeting the wrong men.  The common trait is her frustration often leading to anger when she is unable to get what she wants.  She ends up ditching the lover and moving on to the next one.  It is interesting to note that she always starts off on a wrong footing.  The first one, she tries is a married man, another she picks up at a club, and another one her ex, whom she had, had before.

Denis allows her audience to see what is wrong with each man and emphasizes their faults.  The banker is seen to be the worst, abusing a waiter at the bar where they have a drink.  “Put the water there,” he insists to the waiter.  “I need hot water.”  He also has the gall to tell Isabelle that his wife is extraordinary but she only charming.  It takes great pleasure later to see Isabelle tell him off and slam the door in his face.

The film has a unexpected ending in the form of a segment involving Isabelle and a fortune teller played by no less than Gerard Depardieu.  Depardieu delivers a speech on Isabelle’s love lives even going down to specifics on whether a particular lover might or might not work out.  This ending looks like a cop-out with a too all written out conclusion dished out to the audience, which goes against the flow of the rest of the film.

Denis’ film is a very intriguing watch as Denis makes very emotional wrenching films often dealing with characters unable to get out of the rut their themselves have gotten themselves in as in CHOCOLAT, her first and one of there best films.  LET THE SUNSHINE IN is aided by an extraordinary and charming performance by her star Juliette Binoche.

Trailer: https://www.youtube.com/watch?v=ps_Sau7xqQY

Film Review: Le Redoubtable (Godard Mon Amour)

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Category: Cinéma - Movies

Published: Monday, 14 May 2018 02:25

Written by Gilbert Seah

LE REDOUBTABLE (GODARD MON AMOUR) (France 2017) ***
Directed by Michel Hazanavicius

The film GODARD MON AMOUR (American title) /LE REDOUBTABLE (French title) that premiered in Cannes last year, a loose chapter in the biography of Nouvelle Vague director Jean-Luc Godard and directed by Michel Hazanavicius who made THE ARTIST is one anticipated by many especially cineastes.  

During the making of one of his films, French film director Jean-Luc Godard (Louis GarreL) falls in love with 17-year old actress Anne Wiazemsky (Stacy Martin) and later marries her.

The film is shot in the style of many Godard films - the way and mannerisms the characters speak, the large word title, the colourful huge lettering, clothes and so on.

In the film Godard is shown to be quite the oddball occasional jerk when he is on his politics activist side.  Anne, in one scene claims she married Godard the film director not the activist.  It is clear what Anne thinks, as the film is adapted from her novel "Un an après”. Anne dislikes any political activism.   This is emphasized in a street demonstration scene when a activist/marcher Jean-Jock laughs at a film critic/director that his film is to be played at Cannes.  “With what is going on, who is going to Cannes?”, he remarks and laughs controllably.  Not much else needs to be said as it is clear that Jean-Jock is the total idiot.  Films, as everybody knows can influence what people think, hence any political activity can be affected by film.

Though the film might look trivial on the surface, there is much going on that can be read between the lines.  This is a chapter of the life of Godard as seen from Anne’s point of view, not a biography of Godard.  Nothing is mentioned of his early life, background or life.  But the film does illustrate Godard’s need to be politically involved, perhaps he has the need to feel important that he can make a difference.  The Godard character does not like films, thinking that they are trivial.  Even when activists criticize him and his movies, Godard takes their side.  Godard has to decide to be a filmmaker or a revolutionist.  He tries both and fails.

Hazanavicius film on Godard will obviously be frustrating as it is unclear his aim of making it.  Hazanavicius shoots with the occasional humour of his OSS 117 and THE ARTIST though the humour is much less.

Louis Garrel (THE DREAMERS) does an almost perfect Godard, capturing all his mannerisms and quirkiness.  Hazanavicius’s wife Bérénice Bejo has a supporting role as Godard’s friend.  It is simply hilarious Godard moves throughout the film annoyed, bewildered and manipulated by the activists.  He is also shown as an insensitive and rude person while always being an oddball.  One feels the urge to punch Godard right in the face at any time.

The film did not earn a high approval rating, likely because of high expectations, but the film may turn out to be an entertaining, light and trivial tribute to an arguably great director of the Nouvelle Vague.  On the other hand, one might end up hating this film thinking that Hazanavicius could have done a more serious piece with more insight on Godard.  It would be interesting to hear what Godard himself thinks of this film.

Trailer: https://www.youtube.com/watch?v=Nh2zKF6Ucv8

Inside out Toronto LGBT Film Festival 2018

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Category: Cinéma - Movies

Published: Friday, 25 May 2018 02:33

Written by Gilbert Seah

INSIDE OUT LGBT Film Festival Toronto 2018

The 28th annual Inside Out Toronto LGBT Film Festival, one of the largest events of its kind in the world, runs from May 24 to June 3.

Opening the festival is the international premiere of Silas Howard’sA KID LIKE JAKE.

To close the festival, Inside Out will host the Canadian premiere of HEARTS BEAT LOUD from director Brett Haley.   This year’s Centerpiece Gala will be the world premiere of Christiaan Olwagen’s CANARY and the annual Women’s Gala will feature Amy Adrion’s acclaimed documentary HALF THE PICTURE. 

For the complete schedule of films click on the link:

https://www.insideout.ca/torontofestival/films/schedule-of-films

The 2018 feature film program includes a total of 49 films. The lineup includes 5 world premieres, 7 international premieres and 27 Canadian premieres from 27 countries.

“This year’s program offers up an impressive lineup of some of the year’s most anticipated LGBTQ+ films, with world premieres alongside award winners from the world’s top festivals such as Sundance, Berlin, and SXSW,” said Andrew Murphy, Inside Out’s Director of Programming. “As industry and distribution models continue to evolve, so too must Inside Out as we strive to offer thoughtful, interactive, and meaningful film and networking opportunities to our queer film communities and allies.”

28 narrative and 21 documentary features will debut over the course of the 11 day festival. The feature program includes 6 Galas and Special Presentations, 10 Premieres, 6 Icons, 4 Spotlight on Canada and 23 International Showcase. The festival will also screen 84 Shorts from a wide variety of exciting emerging and established LGBTQ filmmakers.

Single tickets will be on sale Friday, May 4th at 10:30 AM ET via insideout.ca or by phone at 416-599-8433.

Here are the brief descriptions of the major films:

CLOSING NIGHT

HEARTS BEAT LOUD, directed by Brett Haley. (USA) - International Premiere. Frank and Sam are the coolest of father/daughter duos. Frank owns a record store in Brooklyn, Sam is months away from heading off to UCLA pre-med, and every week the two get together for family jam sessions. The only problem? Frank’s store is failing and he finds himself in need of a new career path. When he and Sam write a particularly catchy song during their weekly session, Frank has an idea. They should start a band! As Sam struggles to balance her studies, her budding romance with Rose and her father’s sudden intense interest in creating music together, their relationship begins to crack. And when that catchy song goes viral, they are forced to make some major life decisions. With Kiersey Clemons, Sasha Lane, Nick Offerman, Ted Danson, Toni Collette.

CENTERPIECE

CANARY (KANARIE), directed by Christaan Olwagen. (South Africa) - World Premiere. Set in South Africa in 1985 against a backdrop of apartheid, religion and war, Canary is a charming musical drama that chronicles one teen’s struggle to find his voice. 

OPENING NIGHT

A KID LIKE JAKE, directed by Silas Howard. (USA) - International Premiere. While preparing applications to private schools for four year-old Jake, Alex and Greg are told to focus on what makes their child unique, which, according to their preschool advisor, Judy, is Jake’s gender-expansive play. When Jake begins acting out in preschool, Alex and Greg must come together to lend support and not lose each other in the process. With Claire Danes, Jim Parsons, Octavia Spencer, Amy Landecker, Ann Dowd, and Priyanka Chopra. 

WOMEN’S GALA

HALF THE PICTURE, directed by Amy Adrion. (USA) - Canadian Premiere. The documentary goes further than merely offering up disappointing statistics. The story told in Amy Adrion’s vital debut feature is one that manages to paint a clear picture of the severity of the damage while instilling hope for the future. Featuring compelling interviews with some of our most prolific female directors, this film takes an inspired look behind the camera and into the careers of your favourite filmmaking women. With Ava DuVernay, Jill Soloway, Gina Prince-Bythewood, Lena Dunham, Jamie Babbitt, Miranda July, Nisha Ganatra, Kimberly Pierce.

Following are capsule reviews of Selected Films:

(These will be updated with new capsule reviews added.)

LOVE, SCOTT (Canada 2018) ***
Directed by Laura Marie Wayne

LOVE, SCOTT is a sad documentary made by the NFB (National Film Board of Canada) following the life of director Wayne’s friend, an openly gay musician Scott Jones, three years after he was the victim of an attack outside of a club in Pictou County, Nova Scotia.  Now paralyzed from the waist down, Jones’s curiosity, charm and sense of humour remain intact, as do the family and community that surround him.  The voiceover narration is provided by both Wayne and Jones.  It is clear that Wayne loves the musician, which is the reason this film got made.  In the film’s one moving and disturbing scene, Jones describes the incident (a very common one) that led to his beating.  He was checking out a straight guy who caught him when their eyes met.  Still it is no reason for any straight to stab a gay guy for being checked out.  Worse of all, is the fact that the assailant was never charged with a hate-crime.  Wayne’s documentary not only addresses the small-town homophobia and the failings of the justice system but reveals Jones’s resilience and courage to survive against all odds.  A sad but occasionally inspiring film.

Trailer: (Unavailable)

A MOMENT IN THE REEDS (Tämä hetki kaislikossa), (Finland 2017) ***

Directed by Mikko Makela

MOMENT IN THE REEDS opens with gay undergraduate student Leevi (Janne Puustinen) revisiting his hometown in Finland to help renovate the family’s lake house.   When his father (Mika Melender) drives him to the house, it is revealed that his father does not approve of his son’s sexual orientation but there is nothing he can do about it anyway.   Leevi helps in the innovation but is not particularly good at it, storming off at one instant when hitting his finger with the hammer.  (Most gay men are not good in this field of work!)  The dad has hired a helper (Boodi Kabbani), who shows up unable to speak much Finnish.  The father is unable to communicate with him but the help and son speak English.   Dad is suddenly called away.  No surprises then when the helper, who is a Syrian refugee turns out to be gay and he and Leevi have really hot sex before the father returns.  If his film was made 20 years ago, the son would not have come up to the father.  Despite the familiar well-worn theme, the film is quite an entertaining watch, primarily for the reason that it does not aim high.  Coming-of-age, father/relationship, refugee problems are just a few issues tackled in this film.

Trailer: https://www.youtube.com/watch?v=5oyJodhVRok

OCTAVIO IS DEAD! (Canada 2018) **
Directed by Sook-Yin Lee

Sook-Yin Lee, best known as the actress in the hit HEDWIG AND THE ANGRY INCH directs this odd film produced and starring Sarah Gadon who broke into fame with David Cronenberg’s COSMOPOLIS.  Gadon plays, Tyler the daughter of an obsessive over-spirited mother (Rosanna Arquette).  She decides to leave her mother for Stelton City (Ontario’s Hamilton standing in for the city) to learn about the father she never met.  She discovers his ghost, trapped and unable to escape his apartment. They forge an uneasy bond, but by communicating with him, and learning about his tumultuous and secret past, Tyler discovers new ways to engage with the world, to seek love in unexpected places, and to explore life in new and unfamiliar territories.  Love is discovered in death!  She falls for the cute blonde student that had an affair with his father, who she learns left both her mother and her because he was gay.  The supernatural angle fails to blend with the coming-of-age drama.  Nicely shot, but the film fails in that it leads nowhere and turns terribly annoying Lee’s attempt to create a moody atmosphere. 

Trailer: (Unavailable)

Film Review: Revenge

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Category: Cinéma - Movies

Published: Thursday, 10 May 2018 23:27

Written by Gilbert Seah

REVENGE (France 2017) ****

Directed by Coralie Fargeat

REVENGE borrows from many classic films like MAD MAX, THE HUNTING PARTY and female stalker movies to provide another gore fest in which victim becomes hunter with a few more tricks on display.  This is French director Carolie Fargeat’s debut feature shot in both French and English and an impressive one at that.  She presented her film at the 2017 Toronto International Film Festival, proving that she talent as well as beauty.

A rich businessman, Richard (Kevin Janssens) takes his mistress, Jen (Italian model Matilda Lutz) on a getaway in a gorgeous mansion by a desert.  His two hunting friends, Stanley (Vincent Colombe) and Dimitri (Guillaume Bouchède )show up and abuse her while he goes off on a chore for two hours.  Instead of being on her side, Richard takes his friends side.  When she threatens to tell his wife, Richard pushes her off a cliff.  She survives.  They hunt her down while she, turns the table on them. 

The film is the real BATTLE OF THE SEXES and one that is relevant considering how women have ben abused by celebrities like Harvey Weinstein and Bill Crosby.  Fargeat’s strong feminist imprint is present in her frill from start to finish.  She shows that the female is not a plaything and if treated as one with disrespect, will come fighting back for REVENGE.

Fargeat’s film is gorgeous to look at in all respects from the exterior landscape to the interior sets.  The stunning desert landscape that includes one pool of water, as well as the cliffs are well photographed.  The mansion in the middle of the reset with its swimming pool is a marvel in modern architecture.  Around 20% of the film is set in the darkness in the dead of night.  The cinematography by Robrecht Heyvaert is nothing short of magnificent with just enough light to see what is happening in the dead of the desert night.

This French horror slasher can be seen to be quite different from the American counterparts.  REVENGE is ultra violent, flashy with less distracting humour and hardly any false alarms (excepting the nightmare sequences) and cheap tricks to jolt the audience.  Fargeat’s attention to detail like the blood dripping on the ant in the desert and the one hunting friend chewing a crunchy chocolate bar while a rep is going on is particularly menacing.

A few gory set-ups include one where a man extracts chards of glass from the base of his foot and another with Jen tending to her wounds with the aluminium of a red hot beer can.  The latter segment lasts a full 10 minutes and almost too gruesome to watch, while Jen takes peyote so that she will be unable to feel the pain while tending the wounds. 

The climatic scene is full of inventive cat-and house chasing complete with Richard applying Saran wrap around his wounds.

It will be a very eager wait for Fargeat’s next film.

Trailer: https://www.youtube.com/watch?v=YTJrztVvmx0