Movie Reviews: 2022

2022 Academy Awards: Best Picture Reviews – Part Two

Jon The Blogcentric1 Comment

It’s something that if you see all ten Best Picture nominees, that means you would have seen 65 of the 125 Oscar nominations! Possibly more than most Academy members!

A single blog having all the Best Picture nominees reviewed would be too exhausting to the eyes. Makes sense to split the ten Best Picture nominees over two blogs. You read the first. Here is the second review of this year’s Best Picture nominees:

The Fabelmans – “Movies are dreams that you never forget.”

After I saw this film, I’ve been telling people this is a reminder that for every big-name director, there was a child with a dream. We’ve seen films before of children being enchanted by film. This is Spielberg’s chance to tell his own story. Essentially that story of Sammy Fabelman is the story of ‘Stevie Spielberg!’ It all started when Sammy’s parents Mitzi and Saul took him to see The Greatest Show On Earth and they told them of the magic of movies: from both the scientific and artistic side. Sammy tries to remake the train crash scene with his toy train set and film it with an 8mm camera… and that was the making! One thing I have to say is that what’s missing in the theatres nowadays are films that make people want to chase their dream. I don’t know about you but if I saw this film as a child, it would make me want to be a film maker. Even adults who grew up with Steven Spielberg movies and have been blown away by them would want to see the story of how it all started.

There are many scenes where one can see that this is how it all started for Spielberg. The scene with Sam biking will remind many of E.T. The scene where he does his war films will remind many of Saving Private Ryan and other war-themed films he’s done. The scenes where he experiences anti-Semitism will tell people of what inspired Schindler’s List. Speaking of which, it’s not to say the dream doesn’t have its rocky moments. We are reminded of times when the dream faced some bumpy paths. There was how his filming exposed Mitzi’s concealed love for Bennie and would lead to the friction in her marriage to Burt. There’s the anti-Semitism Sammy went through being the only Jew in his Northern California town. There’s that time Sam did not want to shoot a movie for years because it would mean using the camera Bennie gave him. It’s funny how when he was young, he insisted to his father “It’s not a hobby,” and as a teen Sam wanted nothing to do with it. I guess the message the film tries to give the audience is that if the skill is in you, the dream can’t die no matter how hard you try to end it.

Top admiration to go to Steven Spielberg. It’s not easy to do a semi-autobiographic story of the director without it getting egotistical. Instead of something egotistical, we get an inspiring story. On top of it, this isn’t any director we’re talking about. We’re talking Spielberg. His films have thrilled us since the late-70’s to now. The film showed he was the type who went that extra mile in adding affects to his films even when he was young. Sometimes I think this film is Spielberg’s gift to us.

Young actor Gabriel Labelle was great in his performance of Sam Fabelman. It was not an easy task playing a boy with film dreams but going through the frustrations of teenagerhood. He did an impressive job. Michelle Williams was also excellent in playing the troubled mother. It was not easy playing the mother that supports her son’s dream but going through a troubling marriage. Also great was Paul Dano in playing the father caught in the middle. Judd Hirsch was also great in the brief scene he played the eccentric uncle. In addition, John Williams gives a great score to go with the film.

Tár – This is a story that we often see of a toxic personality falling from the top of their game. If there’s one thing we all learn as we get older, it’s that if we want to excel and be among the top, we need to have some amount of arrogance and some amount of ruthlessness to get there. Lydia Tár is exactly that case. Yes, she’s condescending to those that think differently. Yes, she does get this feeling that she owns the show when she really doesn’t. And yes, her controlling personality does not leave her when she’s with the women she loves. One thing we often forget is that Lydia Tár’s toxic control-freak persona is something very common in show business. We see it time and time again. Most commonly from the men in show business. This film shows it’s even possible for a woman to be this controlling and manipulative. It’s very easy to try and go from the top of your game and then face the comeuppance of a downfall as your actions catch up to you. That’s the story of Lydia Tár. It got to the point everyone had to turn on her. The suicide of Krista Taylor was the beginning of the end.

The film is a straightforward story of a conductor on top of her game who faces a downfall and then finds new life in the aftermath. Despite that, it still has to capture the essence of the conductor and their music. Despite Lydia Tár being a control freak of a person, like most people at the top in arts and entertainment are, it also has to capture Lydia’s passion for music. The film itself has not forgotten about Lydia’s passion for music as it shows itself throughout the film. Music is a common theme throughout the film and it captures the essence excellently.

The brains behind this piece is Todd Field. Todd has had other films that looked like potential Best Picture nominees like 2002’s Far From Heaven and 2015’s Carol (which Blanchett also plays lead) that have “missed by that much.” This time, he finally gets it! While the two aforementioned films are timepieces, this takes place in modern times. It’s an excellent work about a toxic musician facing their comeuppance in modern times. Also making the film soar is Cate Blanchett. Her performance as a prima donna conductor owns the film from start to finish. She keeps her character interesting and helps the audiences into sharing her passions. Although Blanchett practically owns the film, supporting performances from Nina Hoss as her wife and Noemie Merlant as her angry assistant also add to the film.

Top Gun: Maverick – I’m sure the idea of a sequel to the original Top Gun had been an idea ever since the film became a hit. It was possible one could be out two or three years after the first. Most sequels are out in that time, and it’s mostly duds in such cases. A sequel thirty-six years after its original release seems like quite the gamble. Sure, there has been a lot of this retro-80’s stuff coming back and yes, there has been a lot of rebooting and remaking, but a sequel? Can a Top Gun sequel work with a sixtysomething Tom Cruise?

Peter Craig and Justin Marks were able to write a story to serve as the catharsis for the Top Gun sequel. The story ended up being a believable story of Maverick who’s on the verge of moving from pilot to teacher, but was born to fly. In the meantime, he has to teach a new generation which includes the son of Bradshaw. It’s a story that makes sense to have. In addition, it’s a story that gives the effects of flying a fighter jet. Most of us will never fly in one. The first Top Gun film was a hit because it gave the thrill of flying a fighter jet. This film continues to give us that feel without making us forget the physical toll flying such a jet can take on the passenger.

Top marks go to director Joseph Kosinsky. It was no easy task to direct this sequel; a sequel to a film that came out when he was 12. A director with proven work in science fiction was needed for a film like this an Kosinsky was the right one. He delivers a sequel that has a sensible story and keeps the action active and dazzling. The dream team of scriptwriters also did a very good job in delivering a story that’s believable and a story that isn’t too similar to the original film, like most film sequels are.

Tom Cruise returns to give his best acting in many years. Maverick was the role that made him a superstar in 1986. To play Maverick 36 years later was no easy task. It was not easy playing a man who has aged over time, but still had that young love for flying big. Tom did it very well. Jennifer Connelly was also good as Penny, but her role was not as developed. The set of young actors to play the new recruits were also very good. Miles Teller was not only good as Rooster, but he was able to steal the show from Maverick many times. Glen Powell was easily dislikeable as Hangman, Nevertheless the main attraction to a film like this is the effects. Again, this film delivers in its effect to give the audient the feel of what it’s like behind a fighter jet at supersonic speed. It’s what makes a movie like this!

Triangle Of Sadness – This is a rare case of a comedy with a message to deliver. There are a lot of themes in this film to take note of. One is social status. The story goes from the young model/influencer couple who debate about paying for a date to the various business people and socialites. They flaunt their riches, they enjoy their time without a care in the world, they all have their dinners of choice. The workers on the ship are just there to do their job. All that changes after the heavy rocking of the ship and its shooting down. The scene of the ship rocking is especially key as we see the Russian oligarch not only share control of the ship with the American captain, but also them shouting both anti-capitalist and anti-socialist sayings on the intercom.

In the aftermath, the eight surviving passengers are on an island with nothing. There’s also the theme of power. On the ship, the rich had it all while the workers did what they wer told and has basic living conditions. After the sinking the Filipino woman who was a cleaner on the ship is now the leader because of her survival skills. Power going from the bottom to the top. It also shows how even she can use her power to get what she wants and how power can even be an addiction for her.

The film doesn’t just deliver a message about classism and superficiality. It does so in a unique fashion. First it starts with a male model who makes less than his influencer girlfriend. Then it’s an argument at a restaurant which then leads them to this cruise with the mega wealthy. The cruise introduces us to them and their mindsets. Then the ship rocks furiously with everyone getting sick on board. Then the ship is torpedoed which leads to the eight survivors on what appears to be a deserted island. The time on the island gives a new structure with the former cleaning lady leading and the other survivors co-existing. It’s a clever arrangement of a story mixed with the bizarre and the disgusting to go along with it. Nevertheless the message doesn’t get lost. Nor does the story of the model/influencer couple lose its status as the prime story.

Top accolades to go to director/writer Ruben Ostlund. This is a unique tragicomedy that lampoons the rich but also reminds us how addictive power can be for even the smallest of the small. It has a lot of bizarre humor and even treads on the disgusting, but it all works when you look back on it. It’s actually a smart edgy comedy. Harris Dickinson and the late Charlbi Dean were also very good playing the couple. Their roles weren’t too deep, but they did well in playing the young and superficial pair. There were scene-stealers in this film. The most notable being Dolly de Leon as the cleaner-turned-leader. She was excellent in going from just a cleaning lady to becoming the leader with all the unfairness that comes with it! Also a scene stealer is Zlatko Buric as the Russian oligarch who helps endanger the ship with the captain.

Women Talking – If there’s one thing we’ve learned in 2022, it’s about how religion is often used to control women. That is one world issue felt big in 2022 with the loss of Roe v. Wade and also with the Women’s Revolution in Iran. Here we’re presented a story of a community whose religious beliefs create a community separate from the rest of secular society. It’s a community with strict values unchanged for centuries. This strictness causes a problem as there’s a rapist in the community threatening the women. The men have not made any effort to protect the women from this madman so they have to organize things themselves. It’s in this conversation that they have to decide, to stay and fight or to leave all at once before the men return? Even though leaving seems like the best choice, how will they do it? How will the children be raised properly? Will the boys be raised to treat women with respect? There is a lot to think about in this film. August, the university-educated token male in the discussion, serves as the image of hope for the women. He’s the one man in the community they can trust to raise the boys right.

The film is done very smartly. It presents the issue and the vote which leads to the discussion. It’s fair to say 85-90% of the film involves the women meeting in the hall for the discussion. That’s possibly the most critical part of it. While the men who dominate the community are away, the women finally get their moment to discuss things and make the choice to do something of their own choosing. When you hear them talk, it’s not simple common blabbing. These are the women speaking their fears, their anger, the hurts they’s endured, their passions and their families who mean so much to them. The discussions get very heated with all that’s happen, but they all have a bond that’s like a sisterhood that they show near the end. Even though it is primarily about the women, it’s also about August as he is their sense of hope to make the community better. He does it at the sacrifice of having to lose the woman he loves. It hurts him, but he knows it’s worth it.

The biggest praise of this film should go to writer/director Sarah Polley. Those of us living in Canada have seen Sarah develop over the years first when she was a child actor in the Road To Avonlea TV series, then seen as the next “it girl” in films like The Sweet Hereafter, Go and Existenz, only to drop acting and move in the field of writing and directing. She has come of age greatly over the years and one could call this film her crowning achievement so far. She does an excellent adaptation of the novel into a film that will get one intrigued of what will happen, what will be decided upon. I’ve often felt since the story is mostly in the same room, it can be adapted into a stage play. We’ll see. As for the acting, it’s hard to pick a standout. All the women here did an excellent almost-unselfish job of portraying their characters well. If I could pick the standouts, they would have to be Jessie Buckley, Rooney Mara and Claire Foy. A tough call. Ben Whitshaw also did an excellent job as playing the man watching, observing, and providing both wisdom and hope.

And there you go. There’s my second blog of my review of the Best Picture nominees. My predictions for the Oscar wins I anticipate to have by Saturday.

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2022 Academy Awards: Best Picture Reviews – Part One

Jon The Blogcentric2 Comments

The 95th Academy Awards are coming soon. Once again, I saw all ten Best Picture nominees. For the first time in three years, I didn’t need a streaming service to see any one of them. Elvis was the only one I saw outside of a theatre; on an airplane divided by two flights. The other nine I was lucky to see in theatres. There is your mix of enjoyable and unenjoyable. A mix of common popcorn fare and serious topics.

This year’s batch have some notable details. For the second straight year, a film directed by Steven Spielberg is nominated. For the second straight year, a remake of a Best Picture winner is nominated. Two of the nominated films are sequels to legendary sci-fi or action films. Two of the nominated films have four acting nominations each. On the contrary, half the films have no acting nominations. Also interesting that comedies, which normally get the sort end of the stick at Oscar time, are this year’s toast as two of the heavy favorites are comedic films.

The purpose of my reviews are to give a summary of the Best Picture nominees. I will be saving my predictions for a separate prediction blog. In the meantime, here is the first of my reviews of the Best Picture nominees of the 2022 Academy Awards:

All Quiet On The Western Front – Just like the 1930 film, this is an angry film. This film makes it look like World War I was a vanity effort. Like all the war was where it was all about the egos of those in power. While the young men fought and many died, these leaders with the power only cared about themselves and the power they wanted to hold onto. Even those who worked in the military seemed to take the losses of life very lightly. Seemingly not caring that a generation of young men were being lost. The last 20 minutes of the film would especially enrage many. Armistice had been declared for November 11, 1918. Germany was the losing side, but the German leader wanted one last battle. Another bunch of young men dead, just shortly before the war finally ended. Will definitely have you leaving the theatre asking what was it all for?

I’m planning on doing a comparison of this film to the 1930 original for after the Oscars. So in looking at this film, I won’t compare it to the original. I won’t even call it a remake because even the original was adapted from a novel. It’s possible this film is a re-adaptation. I will say the film is an excellent work. The film does a good job in telling the story from the point of view from the young soldiers and the meetings with the leaders. It shows the two different worlds between the two very well. The battle scenes are also intense to look at. Of course, war is ugly. There’s no compromise in the story here. Most surprising is how they slowed down the last 24 hours of World War I over a period of just over twenty minutes. That paves the way for the final dramatic scenes that would make the viewer angry at the end.

Top credits go to director/writer Edward Berger. He brings back the horrors of World War I in grand style and delivers a film that has a big message to send even now as Ukraine is going through a war of its own. The acting from newcomer Felix Kammerer was also excellent, even if his part didn’t have that much depth. Albrecht Schuch was also very good at Kalczinsky. The film also had excellent technical elements like the music of Volker Bertelmann, the cinematography of James Friend and some of the best production design and visual effects of the year. The visual effects really did a good job for the battle scenes.

Avatar: The Way Of Water – Usually when a sequel comes out, the freshness of the original seems lost and the rehash seems to be too similar to the original. Nevertheless the story does aim to have some notable differences from the first. One of which is Jake’s new family on Pandora, including his relationship with his oldest son. The other is facing rivalries both from Earth and his world. The best thing about this film is that the first Avatar took the audience to a new world. This film is also successful in taking people to a new world. Although it feels there may be something missing in this film, it’s still very spectacular and gives the audience the escape they’re looking for. The new twists in the story will also give people the drama they’re looking for and the action scenes they all enjoy.

James Cameron does it again. Not only does he bring back the world of Pandora successfully, but he does it so in breaking box-office records! To think James Cameron films have knocked each other out in setting the record for the highest-grossing ever! First Titanic, then the first Avatar, and now this! However it’s not simply box-office numbers. Cameron succeeds in creating a world where people can escape and be enchanted by. Pandora dazzled people back in 2009 and 2010 and it does it again here. Cameron also wrote an excellent story with four other writers and compiled the official script with two of the writers. They had to make it a believable story, especially since this film is thirteen years since the first. It does a story that works for the film. There was very good acting from returning actors Sam Worthington and Zoe Saldana. Also excellent was newcomer Jamie Flatters in playing Jake’s oldest son. The film’s best qualities, nevertheless, are its visual effects. It’s these effects that give people the escape to Pandora they’re looking for and keep their attention on the drama as it unfolds. Simon Franglen also does a good job in composing a good score for the film.

The Banshees Of Inisherin – This is a film not everyone can understand at first. Even after one sees the film, they can only guess what the film is about. Some say it’s about human weaknesses, or about men and their inability to relate, or even about Irish pride as seen through the eyes of McDonagh. I’ve often felt the story is as much about the island town of Inisherin as it is about the central story. Inisherin is a town away from the mainland and lucky to be out of the range of fighting during the Irish civil war. However Inisherin comes across as a town where nothing really happens or nothing really improves. Anybody who wants to get anywhere have to be like Siobhan and leave the island. Sometimes it seems like the dead friendship of Padraic and Colm is symbolic of how dead the town of Inisherin is. In addition Inisherin being a small town, it’s often a case where word easily gets around about what’s happening. The feud between the two soon becomes the talk of the town.

This film is unique as it attempts to make a comedy out of something intense and dramatic. It’s a story of a drama that is slow, but the slowness is its quality. A story about a man deciding to end a friendship because his friend is ‘dull’ and spend the rest of his years composing music seems odd and pointless. Nevertheless the film allows for the intensity to build over time. It also has its ugly surprises, but the surprises become important to the drama. The different characters also add to the story. They help provide for the environment of the story almost as if the film is based on a classic Irish fable. In addition, the scenery adds to the story. The film is as much about the scenery and the landscapes as it is about the town and its drama. Its addition to the film help builds the story.

Top credit should go to director Martin McDonagh. McDonagh infrequently shells out works. It seems like almost once every four to five years. In fact his last film before Banshees, Three Billboards Outside Ebbing, Missouri, was five years ago! This is quite possibly his best work. It’s a story that gives you the unexpected and Martin did an excellent job with it. Also when you see the ending, you easily forget that this film is a comedy. Once again, a case of a film that mixes comedy with tragedy, and it does a memorable job here.

Additionally, the story came alive from the excellent acting. Colin Farrell did a great job making Padraic to be kind and loyal and always trying, but pushed to his limits near the end. Brendan Gleeson was also great as the stubborn Colm. He captured his hardness very well. Kerry Condon was also great as Siobhan, the sister who tries to find a way out. Also great was Barry Keoghan, the troubled son of the policeman Padraic and Siobhan try to help out. The supporting characters like the Garda, the banshee and the priest also added to the story. There were also additional technical feats with this film like the cinematography of Ben Davis and the score from Carter Burwell.

Elvis – It’s not easy doing a musical biography and making it into something different. On top of it, you can be sure there have been countless made-for-TV movies made about Elvis. So how can you make an Elvis movie for the big screen of 2023? One ingredient that makes it different is the story being told from the point of view of Colonel Tom Parker. Those of us who know a lot about Elvis may have overlooked his relationship with the Colonel, especially the rocky moments. Another is to add some creative flares. Those that remember Moulin Rouge will remember how that film has creative flares. Luhrmann applies similar creative flairs from Moulin Rouge here. Another ingredient is to have the best songs of a musician’s career as well as their career’s most significant moments. You can’t pack everything about Elvis into 159 minutes of story. This film does showcase the most famous moments of his career.

Another excellent work from Baz Luhrmann. Just when you thought you couldn’t bring Elvis back to the big screen, Luhrmann does it, and in a stylish winning way. He pulls the right moves to deliver an Elvis film people of today will want to see at the theatres. Of course it’s the performance of Austin Butler that has to be the biggest quality. A thirtysomething of today able to epitomize Elvis? The answer is Yes! Butler does an excellent job in playing The King in with a performance with dimension and doesn’t go cartoonish, as one can risk doing performing Elvis. Tom Hanks is also quite good as the colonel. It’s hard to picture him with a Dutch accent, and there were a few times when I questioned if it was off or not, but he did a good job with his role. The technical details also make the film excel. The cinematography, production design, makeup and costuming are all some of the best of this past year.

Everything Everywhere All At Once – Now there have been some absurdist films that have been nominated for Best Picture or other major categories. What makes this film-of-the-absurd is that this takes place in a multitude of worlds. Thanks to technology, Evelyn is able to make many trips of the mind to many different universes and assume many different personas: past, present and future. Even the persona of a rock somewhere in the desert is possible! Usually most people look at stories like these and ask “What the hell?” This is one absurd story that many people found enjoyable. The kung fu fighting scenes also helped a lot too. And to think this all started as Evelyn’s taxes were to be done and she was to get some bad news!

To think it’s the magic of the directing/writing team of the Daniels (Kwan and Scheinert) that delivered this gem. The two have not had a lot of directing experience. Until this film, they’ve only directed some short films together and their only feature was Swiss Army Man from back in 2016! Here they have the perfect breakthrough film for them, and boy is it unforgettable. It’s a fun, thrilling story that comes off as weird and bizarre at first, but starts making more sense as time goes on.

Also excellent is the combined acting. Michelle Yeoh shines as Evelyn. When I first saw her in Crouching Tiger, Hidden Dragon, I had a feeling she would go far. She had a lot of grace with her. Although this role is way more multidimensional, she still does excellently here and delivers one of the best performances of the year. Ke Huy Quan is also excellent as the meek Waymond. Quan is also this year’s former child actor comeback story. He is best remembered as Short Round from Indiana Jones and the Temple Of Doom and Data from The Goonies. Here he gets the adult actor breakthrough he was waiting for, and what a scene-stealing performance! Additional scene stealers are an unrecognizable Jamie Lee Curtis as the IRS agent and Stephanie Hsu as the daughter whose nihilism threatens the multiverse. All the aforementioned actors had a lot to do with their main role and their various roles in the many worlds of the multiverse. That’s a lot of work! Additional technical credits go to Shirley Kurata for the costuming and the band Son Lux for the score that fits the film well.

And there’s the first of it. This is the first half of my review of this year’s Best Picture nominees. Second half coming in a day or two.

2022 Oscars Shorts Reviews: Documentaries

Jon The Blogcentric1 Comment

Once again, the nominated documentary shorts had a long combined running time. A time too long to be in a single film reel. I saw one set of shorts one day and another set the other day. All five documentary shorts are unique in their own subjects and in the themes they were trying to convey. Here are my reviews of this year’s films nominated in the category Best Documentary Short Subject:

The Elephant Whisperers (dirs. Kartiki Gonsalves and Guneet Monga) – It’s Mudumulai National Park in the Tamil Nadu area of south India. The park consists of mostly tribal people and many wildlife. In recent decades many species have become endangered. One couple of the Kattunayakan tribe named Bomman and Bellie are known to care for baby elephants. One of the elephants they care for is a baby elephant they named Raghu. Raghu was found badly injured and his mother was killed by electrocution. The couple nursed it, took care of it and raised Raghu as a pet until he can be of juvenile age. Soon they come across another baby elephant that was left behind as the elephants did their seasonal migrating. The elephant, who’s a female, is also tended to by Bomman and Bellie and Raghu treats her like a little sister. Over time, the government takes Raghu before the couple is ready to let him free. They still take care of the female.

This Netflix documentary is a story of an environmental theme. It’s as much about the tribal people taking care of the elephants as it is about the actual elephant itself. Both the species and the tribal people are both threatened with modernization and of climate change. The threats are made obvious, but the story does not get too heavy. In fact the story takes on an enjoyable feel to it. We see as the couple form a bond with the elephants and love them as if they were their own human child. They show as they put colors on the elephants as part of a religious ritual. The film is as much colorful and enjoyable in spectacle as it is good on its environmental topic. In addition, this film consists of five years of footage with the elephants and the couple. That’s why I place it as my Will Win pick.

Haulout (dirs. Evgenia Arbugaeva and Maxim Arbugaev) – A man is sent to the Chukotka region of Russia; the area of Asian Russia that’s a close distance to Alaska. He’s a marine biologist in a remote uninhabited area who’s given instructions through radio and enough food to last the season. One day, he notices a huge flood of walruses have come to the coast. They threaten to intrude the place he’s residing in. For hours throughout the day, he has to find refuge on top of the roof. Nevertheless he has to study the populations and the temperatures. Over a hundred-thousand have migrated to the area. Then as the season pass, they swim back in the Chuchki Sea. He then studies the dead walruses left behind. We then learn at the end the biologist, Maxim Chakilev, is studying not only a species but also the effects of climate change as the huge migration is a result of the changes, as well as the record numbers of deaths from the high temperatures.

This story is good as it comes without narration. It’s a series of events that happen and the story tells itself over the elapsed time. The directors, who are brother and sister, don’t just simply have a message to deliver. They have a message to show and let the story deliver that message. It’s as impressive as it is informative.

How Do You Measure A Year? (dir. Jay Rosenblatt) – From age one to age eighteen, film maker Jay Rosenblatt films his daughter Ella on each of her birthdays, or around them. With each film, he asks Ella the same questions, about her dreams, what she thinks power is, what she wants to be when she grows up, and her feelings toward her father. One of her goals is to be a singer and often she sings one of her favorite songs in the films. As she grows up, her answers go from playful to more serious. The questions about their relationship also have noticeable differences as there are times when it’s real serious. The final one at eighteen is tearful for Ella as she knows it will be the last one.

There are a lot of these films on social media where parents film their child as they grow. This film is not as complicated as the other films. This is one film a day for eighteen years. Nevertheless it tells a lot. You can see Ella grow and her mannerisms change. She goes from playful as a toddler to enjoying it as a child to being annoyed or disgusted with it as a teen to sad to see it all end at eighteen. These annual films also tell of a lot of her concerns and her deep hidden emotions. That’s what makes it unique from most chronological child films. It’s the depth of Ella’s answers and the relationship with her father that makes this set of films unique in its own way.

The Martha Mitchell Effect (dirs. Anne Alvergue and Beth Levison) – This documentary tells the story of Martha Mitchell, wife of John Mitchell. When Richard Nixon was elected president of the United States in 1968, he chose John to be his Attorney General. At the time, the White House was practically a male-dominated government. wives were supposed to be out of their husband’s business, just appearing aside them in public. Martha Mitchell was different. She was known to be unafraid to speak her mind. She’d even call in to radio shows and spill the beans of what’s happening. Things really became uncomfortable for the Nixon administration as she was not afraid to be critical of the system. We all know how much of a control freak Richard Nixon was. And for the wife of the Attorney General to blab all that, you could see how they could see her as a threat. She even became a celebrity with the public. Then around the time of the Watergate break-in, coincidentally or not, Martha was kidnapped at a hotel for three days. She was even injected by a member of the government. In the end, Watergate became Nixon’s downfall. John Mitchell was sentenced to prison and would eventually divorce Martha. Many people assume Martha paved the way for Nixon’s downfall.

This Netflix documentary is an important film to have right now. It focuses on a lot of things in politics that we see happening right now. First, it’s of political corruption. People are still encouraged to stay quiet and play the game. Those that spill the truth out are still punished. Second, it’s of a male-controlled environment. The whole political system in the US was male controlled and Martha’s husband was part of the people pulling the strings. So hearing of how a woman not afraid to tell it as she saw it would naturally make them comfortable. Third, it’s of control. Even though the US is to be seen as the “land of the free,” they have some hidden truths. There was a president who was a control freak and wanted everything done his way and feared opposition. In sure there were many times Nixon saw Martha as his top threat. That case where Martha was kidnapped and injected around the time of the Watergate break-in will leave you guessing. Was it an act of control from Nixon? This documentary will leave you with some unanswered questions. This documentary is very much a reminder that the more things change, the more they stay the same. Knowing how our system lies to us should make us glad for loudmouths like Martha.

Stranger At The Gate (dirs. Joshua Seftel and Conall Jones) – The film begins with family talking of former Marine Richard (Mac) McKinney. His daughter mentions of him being a mass murderer. The film then leads to an Afghani couple living in Muncie, Indiana. They talk of how they immigrated. The film then leads to Mac. He tells of when he was growing up and what led him to be a Marine. Footage of the WTC attack on September 11, 2001 changed everything. Mac was then to do service in Afghanistan and Iraq. His service ended in the mid-2000’s, but the war was not over in his head. He returned to Muncie to see Muslims. That, combined with the PTSD from the war, led him to see them as the enemy. He puts together a pipe bomb which he plans to detonate at the mosque in Muncie, without his wife and daughter knowing. One day, he goes to the mosque to see any particular areas where to put the bomb. Instead he sees a welcoming community. Members of the community talk of what it was like to meet Mac. Over time, Mac kept coming back. His desire to kill disappeared over time and he had a new desire to be part of this community. Then it’s exposed. His bomb is discovered. Everyone is in shock and Mac is interrogated to see if he’s a domestic terrorist. He served time, but eventually was welcomed back into Muncie’s Muslim community.

This is a remarkable story that forms itself well. As the story starts, the audience would first guess that Mac was responsible for a huge hate crime. As time passes, you would still think he committed that terrible act. Then as we progress on, you learn that Mac didn’t commit an act of domestic terrorism. He almost did, but it turned out to be a case that love won over. Those interviewed show the story from various angles from family to the Muslim community to the Afghan refugees to the police. They all have a lot to say and it leads to the overall message from the film. The message being hate is very often a state of mind. We see that as Mac was a soldier and was taught to hunt down the enemy during the war. His PTSD from fighting in the war mixed with his war-time mentality towards Muslims were the ingredients for his Islamophobia right there. The film also shows that hate can be defeated by love. It’s a message we need to hear right now, especially since we hear news about so many shootings and so many hate attacks. This is a remarkable story of how one such attack was prevented from happening when the almost-perpetrator allowed himself to heal. That’s why I decide this documentary to be my Should Win pick.

And there you go! That’s my focus on the nominees for the Oscar for Best Documentary Short Subject. Very rarely do I want to see documentaries. These five films made it worth watching.

VIFF 2022 Review: Riverside Mukolitta (川っぺりムコリッタ)

Jon The Blogcentric1 Comment
Riverside Mukolitta is the story of an unlikely bond between a young man who just lost his father and a group of strangers he encounters along the way who end up helping him in the end.

If you get tired of all the intense dramas during the film festival, Riverside Mukolitta may be the drama-comedy that you’ll want to see. It touches on a touchy subject, but makes light of it.

A train arrives in the Hokuriku Region of Japan. A young man arrives into town. His name is Takeshi Yamada and it’s unclear why he’d be coming to a fishing village. Over time, he finds a job at a fishing plant where he cuts freshly-caught seafood for a processed dinner. The boss doesn’t expect him to last long; most people only last two days. Through the boss, he is given a place to live in an old run-down village nearby where he works called Mukolitta Heights. It’s a quiet run-down place full of people one normally wouldn’t hang around. Takeshi is comfortable being there, but he’s disinterested in making new friends.

Soon one of his neighbors, Kozo, meets him and wants to use his bath. The heat does not work where he lives. Takeshi doesn’t want to, but he reluctantly gives in. To thank him, Kozo gives him fresh vegetables from his own garden. This is very helpful as Takeshi is down to his last yen. Soon he learns of his other neighbors. One is a door-to-door headstone salesman who sells with his young son, and hardly gets a customer. Another is Shiori, the landlady, who lost her husband years ago and still mourns his death. Takeshi finds her a calming presence. Takeshi also learns from Kozo of a monk who is not hired to do anything. So he does his own religious ceremonies himself.

Soon, Takeshi gets a reminder of his dark past. He learns that his father had died. Takeshi never knew his father as he left his mother when Takeshi was a small child. He learns from a city official in a town close by that his father was found dead in an apartment and the official asks him to claim the ashes. When Takeshi arrives at the city hall, the official is insisting Takeshi take the ashes and the cellphone his father was found with. Takeshi is reluctant but soon accepts. Returning back to the village, he doesn’t know what to do with the ashes of a man he never really knew. On top of it, he notices his father’s last phone calls were to a single number. He’s tempted to toss them anywhere, but Shiori stops him.

Over time, Takeshi continues with the squid job. The boss is surprised that he’s willing to stay with it longer than usual. One day, an earthquake happens. The earthquake causes the ashes to fall off the top of a bookcase. Takeshi is distraught. That becomes his first real emotion towards his father. Over time, the salesman’s son makes friends with the young daughter of the landlady. They find themselves making music over by the village’s pile of refuse. We learn that Shiori still has a bone of her deceased husband to maintain some type of connection and to keep from feeling complete loss. We learn Kozo himself has experienced loss of some magnitude. In addition, the salesman makes a sale, his first in six months, to a rich woman who wants a headstone for her dog.

Eventually Takeshi warms up to his neighbors and they all have one big dinner together. Soon Takeshi goes near the river where he crushes his father’s cremains to make a powdery ash. Shiori sees him and the two have a conversation. Additionally over time, Takeshi learns more about his father of the way he lived and the way he was found dead. He also discovers that the last number his father tried to call continuously is a suicide hotline. Takeshi eventually admits truths about himself. That he was abandoned by his mother when he was 16. That he eventually turned to a life of crime. That before he came to the village, he was in jail for a lengthy term. It’s after coming to terms with his past and the father he never knew that he can finally have the ash-scattering ceremony near the river with the monk leading and his neighbors being part of the march.

At the beginning of the film, the audience is told that a Mukolitta is a unit of time in Buddhism equal to 1/30 of a day: 48 minutes to be exact. The film features a lot of themes of Buddhism. There’s the monk who can’t be hired for anything, but is still prayerful, even if he is the only participant in any of his ceremonies. There’s the brief prayer Takeshi and the others have before eating their dinner. Outside of religion, the biggest theme of the film is about death and loss. People have their own way of dealing with the losses of loved ones. There’s Shiori who still has a bone from her husband and does something bizarre with it. There’s Kozo who also has a bizarre way of dealing with death. And there’s the headstone salesman who may try to make death lucrative for him and his son, but his value would be evident over time. It could be assumed the message of the film is the common Buddhist message that all lives and deaths matter. Even the most humble and those of the estranged. That was something Takeshi would eventually learn over time.

The film is not just about death and loss, but also coming to term with one’s own failings. The film just starts with Takeshi coming to a fishing village, but it’s not clear what the purpose is. Time would eventually tell that Takeshi moved to the village to escape his hard childhood and criminal past. The news of the death of his estranged father and the ashes he reluctantly accepts are possibly seen to him as ugly reminders of the past he wants to leave behind. It’s over time as Takeshi meets other misfit people like the neglected monk, Kozo the eccentric self-described “minimalist,” the headstone salesman, and the widowed landlady that Takeshi comes to terms with his own failings. He’s ready to see his late father as a failure of a person, but he learns over time that his father was another troubled person. Just like him. Takeshi may be a misfit but over time, he learns there’s nothing wrong with it.

The film does touch on a lot of dark themes like loss, abandonment and personal failure. However the film succeeds in doing it in a light manner. It manages to tug at one’s heart without trying to pull it. It also adds humor along the way without it being insensitive. Over time, the film that could have gone the direction of being dark turns out to be a light-hearted and even enjoyable film about loss and failure. Takeshi may see himself as a misfit and may have moved to escape his misfit label, but a village of misfits are successful in helping Takeshi come to term with himself as well as his late father. At the end, Takeshi had his own way of honoring his late father and does it with the help of the misfit neighbors he befriends along the way. The scattering ceremony at the end appears more to be a happy ending than a sad ending.

This is an excellent work from director Naoko Ogigami. Born in Japan, she studied at USC and did work in American productions for a few years before returning to Japan. Since her return, she has written or directed one short film, three television series’, and eight other feature-length films. Her most renowned film is 2017’s “Close-Knit” of a close-knit family coming to terms with one of their members outing themselves as transgender.

In this film, which is based on a novel she wrote, she touches on a subject that’s less controversial, but still causes discomfort to many. The subject of death is still something people are nervous about touching on or talking about. Even personal failures are something one would not want to talk about, especially since we live in a society that stresses success. She succeeds in taking a touchy topic and turning it into a parable about dealing with ones failures and coming to terms with family who left them behind in the past. Even though the Mukolitta is a religious element, the film is a good parable of the Buddhist belief of valuing all lives without stressing the religious aspect of it too much. The film also has excellent acting from Kenichi Matsuyama. He does a good job of portraying a young misguided man with a past he wants to keep secret from all he meets, but comes to term with it thanks to the help of his neighbors. Also excellent are the supporting roles of the actors playing the supportive neighbors. Hitari Mitsushima, Tsuyoshi Muro and Naoto Ogata were all good at playing their characters and owning their moments.

Riverside Mukolitta is a surprising film. It touches on life’s hurts, sorrows, and failures, but it adds comical elements to it. It’s a film that does all the right moves in telling its deep story in a humorous way.

And there you have it! This is the last of my reviews of films I saw during the 2022 Vancouver International Film Festival. Wrap-up blog coming soon!

VIFF 2022 Review: Like A Fish On The Moon (زن، مرد، بچه)

Jon The Blogcentric4 Comments
An Iranian mother (played by Sepidar Tari) struggles with her suddenly-mute son (played by Ali Ahmadi) and a troubled marriage in Like A Fish On The Moon.

Sometimes at a film festival, films that don’t have a lot of buzz can surprise you with what they say and the story it tells. The Iranian film Like A Fish On The Moon is one story that impressed me with its story.

The film begins with a psychologist telling Ilya, a 4 1/2 year old Iranian boy, to draw a picture. The psychologist talks to his parents, Haleh and Amir, and explains the problem. Ilya was a normal boy but up until recently, he became a mute. The parents can’t understand the sudden change. The psychologist explains it may be about friction in the family and recommends they make some changes for Ilya. Like the two switch their common roles.

Over time, Amir reluctantly does more of the things with Ilya that Haleh normally does while trying to manage his career. Haleh also spends more time with Ilya but can’t help but be silent about the situation. Something is bothering her about this new arrangement. In the meantime, Ilya is still not talking. Ilya can communicate through body language but not through talking. He occasionally cries, but that’s it.

In the meantime, Amir and Haleh try and look for better treatments or better doctors for Ilya. They try one doctor who makes one recommendation and another that makes different recommendations. Another doctor recommends putting Ilya in a daycare for children with special needs. The parents are upset with the arrangement Ilya’s put in. As the parents make each attempt to help Ilya’s situation, it starts weighing down on them and causes friction in the marriage. It even includes moments where they’re silent to each other. Ilya is able to notice it all.

Then one day, the family decide to go to the beach. Amir plays with Ilya but Haleh can’t get herself involved. Amir warns Haleh that it’s too dangerous to get close to the fierce waves, but Haleh is quietly hurting. She walks closer into the waters much to the shock of Amir. As Amir rescues Haleh, Amir has had it. He’s ready to abandon Ilya if he doesn’t talk on the spot. All Ilya can do is cry. It’s after this shocking incident that it ends on a note of family unity and the couple again working to help Ilya.

This is a story of intrigue because this is a scenario one can identify with. If not directly, one can know of a couple going through this.A child has a problem or a disability and it affects both parents. A father may have to make adjustments in his career. The wife also would have to make adjustments in her life too. Through it all, it affects both of them emotionally. Sometime the parents think their child’s disability or condition is their failure. Sometimes it affects the marriage. I don’t think it would end up in such extremes as it did in the film’s ending climax, but it does affect them.

The unique thing about this film is that we so easily forget that this is a fictional situation and they’re all acting. In a lot of ways, the film tricks us into thinking this is like a docudrama where we’re watching a real situation unravel itself over time. A lot of things come into factor, like how low in tone the actors are acting, or the follow-around cameras. That has to be the film’s best quality. Taking a fictional situation and making it feel real, in addition to the quality of the story itself. Throughout most of the film, there are hidden feelings. We see the parents say and do one thing, but we can sense that’s something is hidden. You will notice it in the more silent moments of the film. Whatever is kept hidden, it is slowly but suddenly revealed in the ending climax. Seeing how it quietly builds and builds and then reveals itself in the end is another quality of this film.

This is a very good film by writer/director Dornaz Hajiha. She has done two short films in the past and this is her first feature-length film. Her film touches into the topic of family relations and roles of the members of the family as much as it is about the family itself. I supposed Hajiha is trying to make a statement about gender roles and how it conflicts with family unity. Especially in a country like Iran. Sepidar Tari does an excellent job in her performance as Haleh. She says more during her silent moments than when she’s talking. Even as she acts like she’s carrying on well, we get a sense that something’s wrong. Shahdiyar Shabika is also good as Amir. He comes across as the husband who tries to go along with the situation and make it work, only to explode in frustration at the end.

Like A Fish On The Moon is not just the story of a family in crisis. It’s a story of truths hidden and kept silent that eventually come out at one particular moment. However it almost seems like you’re watching a real-life situation before your eyes.

VIFF 2022: Music Pictures: New Orleans

Jon The Blogcentric1 Comment
Blues legend Little Freddie King one of four legendary New Orleans musical acts featured in the documentary Music Pictures: New Orleans

Sometimes if you’re tired of documentaries that try to push a one-sided political message, a musical documentary can fix that. The documentary Music Pictures: New Orleans is an insightful documentary of a town with a century of a music legacy.

The film begins with Irma Thomas. She has been dubbed the Soul Queen Of New Orleans. They show her as she’s finishing up a recording session. She had a Top 40 hit in 1964 with “Wish Someone Would Care.” She’s had many songs and albums on the R & B charts. However she’s often been overlooked by the likes of Aretha Franklin or Tina Turner. She tells of her career. She’s had a career since she was 19. She has had cases where she has been a victim of racism in music. Nevertheless she’s fought on and continues to record. She also tells of living in New Orleans, of her experience, of her loves, of raising a family.

The second part comes after the passing of one of Thomas’ band members. Leading the funeral parade is led by the Treme Brass Band. The vignette then focuses on Treme Brass Band leader Benny Jones. The marching brass band is an important part of New Orleans. They’re the band that would perform during festivals, especially Mardi Gras, and funeral processions. Benny was born in a family of musicians and he always wanted to be a part of it. He even married a woman who had family in music. The film goes into how he founded his first brass band, the Dirty Dozen Brass Band, and then goes into his latest brass band, the Treme Brass Band.

The third vignette focuses on blues legend Little Freddie King. King was actually born in Mississippi and moved to New Orleans when he was 14. He recorded his first album in 1969. In 1976 he did a European Tour with Bo Diddley and John Lee Hooker. However his second album didn’t come until 1996. Since then, he has been more active and has release twelve albums since. King has performed at the New Orleans Jazz and Heritage Festival since 1980 and is a charter member.

The fourth and final vignette is with Ellis Marsalis Jr. He himself is a renowned jazz musician who comes from a family of musicians and is widely regarded as the patriarch in the “First Family Of Jazz.” However in his latest venture, he finds himself working with his youngest son Jason and Jason’s daughter Marley Marsalis in recording his latest album For All We Know. Jason plays xylophone and Marley plays percussion and piano. Returning to a family project was the furthest thing from his mind before this project. Over time, it grew to be something he liked doing and he became happy returning to family roots. In the end we have an album of three generations of Marsalises. Also in the end, it would be Ellis’ last work. Ellis died in April 2020: one of the earliest fatalities of the COVID pandemic. The film also shows images of New Orleans’ legendary night clubs closed because of the pandemic.

For those who like music, New Orleans is a city that has some of the biggest music history. I mean what first comes to mind when you hear New Orleans? Most likely it would be things like Mardi Gras, Dixieland, brass bands. Those that know music will know that it’s the sounds of New Orleans that would be most influential in some of the biggest music of the 20th Century and sounds that are very influential today. The town gave birth to jazz before it took over all of the US. The brass bands of New Orleans are influential in the sound of jazz. New Orleans didn’t give birth to blues, but New Orleans did a lot of shaping of blues. New Orleans has done a lot of shaping of soul music, too.

This documentary is a good reminder of how New Orleans has been quite the shaper of music. It originated sounds and shaped a lot of sounds. This documentary gives good examples of New Orleans musicians and vocalists who have had an impact on these sounds. The film shows a soul legend who is often overlooked, a leader of a legendary brass band, a blues legend, and a jazz father. Through out the documentary, we learn of what led them to their sounds. Some may be for income, some to marry, some because they loved it, each one had their unique story. All of them did talk of the ups and downs. They talk of successes and setbacks. However as we hear each story and listen to the music, we get a good sense of it.

The final vignette of Ellis Marsalis and his family is especially poignant because it’s a reminder that New Orleans should not just be admired for the music of its past. New Orleans is also very much in the present of music and in the future. That is especially made aware in the vignette as he works with son Jason and granddaughter Marley. That was unique that such a vignette was done. The film could have been about Ellis, his life and the careers of his two famous sons Brantford and Wynton, but instead it focused on Ellis with his youngest son and granddaughter. Almost like a legend passing down sounds to the younger generations. And just before his death.

This is a very good work from writer/director Ben Chace. Chace is not known for doing documentary films. His previous films Wah Do Dem and Sin Alas are live-action fiction films and has only previously written and directed a single documentary short. This is his first attempt at a feature-length documentary and it’s impressive. It doesn’t offer any tricks and twists one would see in modern documentaries. Nevertheless it allows the musicians to tell the story. It allows the viewers to hear the music. It allows viewers also to witness other behind-the-scenes looks at making music and working with musicians. It’s a film one who is into music would take a lot of interest in. Especially those that would want to pursue music as a profession. Chace picks out the most signature sounds of New Orleans music, matches them up with New Orleans’ biggest living examples of the sounds, and shows off how they embody the sound of their genre and the sound of New Orleans.

Music Pictures: New Orleans is a great documentary showcasing musicians, both individuals and groups, and how their sound has an impact not only on the sounds of New Orleans but on musical genres as a whole. It’s as much about its past legacy as it is about its present and future.

VIFF 2022 Review: Klondike (Клондайк)

Jon The Blogcentric1 Comment
A young farming couple on the Ukrainian-Russian border struggle to keep their marriage together amidst political turmoil in the Ukrainian film Klondike.

The Ukrainian film Klondike has been the talk of the film festival circuit, and for good reason. It’s also a film that is, unfortunately, well-timed for what’s happening now.

Irka and Tolik are a young couple who live on a farm in Ukraine close to the Russian border in 2014. Irka is expecting a baby soon. Both Irka and Tolik plan on doing their farm work normally until a bomb explodes near their farm. They are caught in between the war between Russia and Ukraine. The explosion causes the wall to their living room to collapse. Despite this threat, Irka does not want to leave the house. She is going to stay here and have the baby here.

Things prove difficult. They try to continue on with their lives. Tolik has to do farmwork and tend to Irka, but the area sees an increase of Ukrainian nationalists and Russian separatists. Frequently he meets up with his friend Sanya. Sanya is a Russian and he’s able to help Tolik get items at a cost. This is definitely frustrating Irka. Especially as Tolik wants them both to leave the area. Then one day a shocking thing happens. An airplane caught in the war’s crossfire crashes down in an area close to the border and close to Irka and Tolik’s farm.

With the plane shot down being a commercial aircraft, this is something that will bring a lot of people down, like the news media, the UN, ambulances, firemen, and soldiers from both sides. This makes like very invasive for both Irka and Tolik. Tolik still wants to move but Irka is still insistent. Irka even has her brother Yurik, a soldier with the Ukrainian army, come to help out. Despite losing the wall, Irka wants the couch placed outdoors. Yurik and Tolik reluctantly take the couch out with Irka still on it. During the stay, Yurik notices something of Tolik’s. He has a Russian uniform. He is convinced that Tolik is a Russian separatist. That leads to conflict between the two which Irka tries to stop.

As time progresses on, more people come to the area, including more soldiers and religious leaders and their followers to pray over the deceased. This frustrates Tolik and he decides to take Irka and leave. Right in the middle of leaving, Irka walks out of the car. Tolik tries to get her back in but she resists forcefully. Tolik agree to continue to help Irka and stay in the house. Unknown to Irka is that Tolik has held Yurik captive in their basement bunker.

Then one day, the area has Chechen rebels in to get a piece of the action. They target the home of Yurik, Irka and Tolik. The Chechen rebels torture Yurik and Tolik and watch as Irka goes into labor. Most of the rebels take Tolik and Yurik outside to deal with them while two watch Irka and joke about what they’ll do with the baby. Outside the rebels get Tolik to execute Yurik. Yurik says to Tolik that he is not a separatist. Then they get Yurik to execute Tolik. Since neither man will, the terrorists execute them both. The terrorists then leave the house as Irka gives birth on the couch.

This film appears to be the right film at the right time. Right as Ukraine is still going through a brutal war against Russia, this film takes people back to the Russo-Ukrainian War. In addition, it adds a major news even from that period: the shooting down of Malaysian Airlines Fight 17 by the Ukraine-Russia border. There’s no doubt that this film is bound to bring up a lot of talk. Especially since there are many areas of Ukraine that have a high Russian population. That has often happened in nations that were former Soviet Republics that Russians move in or peoples would be displaced over periods of time. It’s because of that Putin feels he can go in and take the territories. Even declare some nations like Ukraine as actually being part of Russia.

This film is a story that’s bound to provoke a lot of discussion. Irka and Tolik have their farm close to the Ukraine-Russia border. It’s right in the middle of the Russia-Ukraine border. The plane crash happens very close to their farm. Irka’s brother Yurik is a soldier in the Ukrainian Army. Tolik’s close friend and associate is a Russian. This is bound to get a lot of people thinking. It would not surprise me how many families with both Russians and Ukrainians would face clashes over this war. And to think this is a war where a passenger plane and over 100 of its passengers were unintended casualties. War is always ugly, but it is very intense. And to think this is a story of a pregnancy happening in the middle of it and a wife that refuses to leave her home despite the threat of danger. This is a story that will get one thinking.

Top acclaim should go to writer/director Maryna Er Gorbach. She did an excellent job of delivering a thought-provoking story of a complicated war happening as a pregnancy is happening. She did a very good job of placing the events with the story and not taking anything away or hiding anything from the tense topic. Also excellent is the acting from Oksana Cherkashyna. She does an excellent job as the wife caught in this conflict. She does a good job of portraying a woman confused, fearful, feeling neglected and still trying to maintain hope. Also excellent is the performance of Sergei Shadrin. Hard to believe he died shortly after shooting in June of 2021 at the age of 41. Sergei delivers an excellent performance of a man who is confused and tries to be supportive, but has something to hide. Oleg Shcherbina does an excellent job of being the brother caught in the middle of the friction. Also excellent is the cinematography of Svyatoslav Bulakovskiy. His inclusion of panoramic shots during certain scenes add to the film.

This film is Ukraine’s official entry for this year’s Oscar race in the Best International Feature Film category. At the Sundance Film Festival, the film was nominated for the Grand Jury Prize for the World Cinema – Dramatic category. Er Gorbach won the Best Director Award for the genre category. The film has since received many accolades like winning the Ecumenical Jury Prize at the Berlin Film Festival, winning Best International Film at the Fribourg Film Festival, Grand Prix Winner at the Ghent Film Festival, Best International Film at the Heartland Film Festival, Winner of Best International Feature at the Santiago Film Fest and winner of Best Feature Film at the Seattle Film Festival.

Klondike is the right film at the right time. It says a lot of the differences of Ukraine and Russia. It also tells how political turmoil can threaten a family in even the most remote areas. It’s a message we need to hear right now.

VIFF 2022: The Word (Slovo)

Jon The Blogcentric1 Comment
The Word is the story of a Czech couple played by Gabriela Mikulkova (far left) and Marin Finger (far right) trying to keep their lives and family together after intense political change.

The first feature-length live-action film I saw during the VIFF was the Czech film The Word. This is a historical drama that tells of a story quite personal to the director.

Vaclav Vojir is a successful lawyer in Czechoslovakia in 1968. It’s not made clear where he works but he lives in a small town with his wife and two children. Vojir is good in his work and he deals with his clients in a humane way. One day in the summer of 1968, he meets with two men whom he didn’t have an appointment. They are men from the Czechoslovakian Communist Party. They dictate to him of how he is to do his profession. Ever since the Prague Spring earlier that year, the Communist Party has a heavier hand than before. They also noticed that Vojir was one person who signed a manifesto for more freedom that year. They threaten him with possible imprisonment in the future if he doesn’t sign an agreement with them.

Soon after, he meets with his wife Vera Vojirova and his children Ales and Emicka. He tells her of what happened and how he fears for the future. It comes at a tough time as summer is approaching. The family go on vacation at the beach, but Vaclav can’t forget what could happen to him. He tries to hide it from his children and wife and try to be a family man, but he can’t let it out of his head. Vera is in close contact with her sisters and tells them of all that’s happening. Word soon gets out over town.

Soon the pressures of being under the thumb of the Communist government bear down on Vaclav. He has a mental breakdown. His mental health has deteriorated so much, he has rendered himself bedridden. Soon Vaclav has to be institutionalized. The sisters feel it’s best off that Vera divorce him. They know she loves Vaclav, but the Communist government is a menacing force on the entire nation. Vera gets the nerve to visit Vaclav in the hospital. She has food for him and she reminds him that she still loves him and will do everything to keep the family unit intact.

As Spring 1969 approaches, Vaclav is now feeling better and he’s fit to be released from the hospital. He returns to a home that’s happy to see him again. However as he returns to his job, he is reminded that the pressures from the Communist government to do as he is told have not left him. He’s still under their thumb. Vaclav will stand by his word, but he knows he could face dire consequences. He could avoid them, but he can’t risk another relapse of his mental health. In the summer of 1969, Vaclav then makes the decision for him and his family to move. They’re going to leave the pressures of his job and the talk of the town behind to start a new life in another town. It’s unclear in terms of his career, but it’s known for the sake of his marriage and family.

This film is a reminder of the Cold War. Those 40 and over will remember it. It was the Communist world and the non-Communist world constantly threatening each other or trying to look menacing to each other. In the Communist world, the government were like a big brother to you and your daily life. For Czechoslovakia, things were definitely at their hardest after the Prague Spring of 1968. The government became harder on the people and those who were part of the movement for freedom faced threats of imprisonment. today, the Cold War and the Communist regimes are a thing of the past most Eastern Europeans. The nations did make the move to freedom starting in 1989. Some nations even dismantled themselves, like Czechoslovakia becoming Czechia and Slovakia. However ugly reminders still remain.

This is a story that happened just as the Soviet tanks had just come in and crushed Czechoslovakia’s move to freedom. People who participated in any activities leading to freedom were either punished or threatened. That especially meant people in their jobs like Vaclav Vojir. He was a lawyer who strongly believed in integrity and the power of staying to one’s word. However political pressure was menacing. It became a point where it affected his mental health. It was as much of a frustrating situation for his wife Vera. She too believed in the importance of staying married to Vaclav. She too was one who was willing to fight to keep the family unit together. Even if people advised her to divorce for the sake of the situation, she would not budge. I think the whole theme of the film is of how life under Communist rule really put people’s values to the test. Even though the Vojir family is miles away from the biggest hostility of the Prague Spring, it doesn’t mean they won’t feel it.

The story does a good job of telling of how the Communist government caused a lot of friction in people’s lives, especially in many family units. What’s unique about it is it does a good job of showing it over a one-year period. It starts in the summer of 1968 and it moves over time progressing as it goes from season to season. Each scene is an average of ten-minutes long and takes place in a single location or single area. Holidays are also important as they show the time change and also the occasions where families got together. The vacations and family time are also important as they showcase the relation between the Vojir’s and how much the family means to them. It’s a case where the surroundings are as important at telling the story as the actual dialogue and events. Also the additional element as the end of each scene of showing three photographs of the people involved, especially since no camera is shown, adds to the uniqueness of the storytelling.

This film is an excellent work from Czech filmmaker Beata Parkanova. Parkanova is relatively unknown outside of Europe. She wrote her first feature-length screenplay in 2015 and directed her first film Chvilky in 2018. This film is a different story for her as it is a retelling of a situation that happened in her grandparents’ family. She doesn’t go for big action in this story. The biggest most brutal action of the revolt happened around this time. Instead it’s a story low on action and more intense on the situation. Parkanova helps us keep our intrigue with the story and watch as the time progresses.

Actor Martin Finger does an excellent job of acting as he portrays Vaclav Vojir. He’s one of Czechia’s more renowned actors in recent years. Here he does a very good job in his portrayal of a man who will try to stay strong, but is prone to being under pressure. Also excellent is the acting of Gabriela Mikulkova. Her portrayal of the wife and the one who will most do whatever it takes to keep the family together is worthy of admiration. One could argue it’s her who best carries the film. The additional characters in the film like the Vojir children and Vera’s sisters add to the element of storytelling. At the Karlovy Very Film festival, the film was a nominee for the Crystal Globe for Best Film and Parkanova won the Best Director Ward and Finger Best Actor. The film continues to do the film festival circuit and was a nominee for Best Debut Film at the Haifa Film Festival.

The Word is an impressive melodrama that sends a message of how political change can impact individuals and families. The story isn’t told in intense fashion, but its story does give a lot of impact.

VIFF 2022 Review: Love Will Come Later

Jon The Blogcentric1 Comment
Samir El Hajjy is a young Moroccan man dreaming of love and a better life in Europe in the documentary Love Will Come Later.

DISCLAIMER: I know VIFF ended on October 9th. I’m still posting my film reviews as they can either be streamed or will be released at a later date.

It’s not that often I go to see a documentary, never mind see one during the VIFF. The first film I saw at the VIFF was a documentary entitled Love Will Come Later. It’s an eye-opener of a story as it focuses on a topic that is quite common, but not too many people are aware of.

The film begins with Samir El Hajjy, a Moroccan male in his early 20’s, having a text conversation with a woman. The woman lives somewhere in Europe. The conversation is intimate. Soon we hear from Samir himself. He tells of his dreams and ambitions. He dreams of marrying a European woman, particularly one in France, and dreams of a better life for himself. This may be difficult as he has an arranged fiance.

As the documentary continues, we learn more about Samir and his family. We learn that Samir has attempted to apply to European Universities without success. We learn that he has an older brother whom has married a European woman and is starting a family. We learn that he has sisters who are very religious and very tradition-minded, especially when it comes to the subject of love and marriage.

The subject of love and marriage is one that comes very much in conversation. We hear frequently from Samir’s friends of what they have to say about it. We hear from Samir’s barber of how he married. We heard from other men telling their stories of how they married. Sure, they were arranged, but love came over time. We hear from Samir’s sisters and how they have a negative opinion of marrying a European woman. We even see a scene when Samir’s brother flies into Marrakech with his family. It becomes evident this is the life Samir aspires to have. We also see how Samir faces the pressure to marry a woman he’s arranged to marry.

The film also focuses on Samir’s daily life and the city he lives in. We see Samir as he’s having fun with friends. We see Samir as he’s getting his hair cut. We see Samir ride his motorcycle slowly across the narrowest of streets of old Marrakech. We see Samir as he is in his prayers to Allah. We see frequent celebrations in Marrakech. Some celebrations are national. Some are more local, like weddings or neighborhood festivals.

The film doesn’t stray away from his marriage goals. Many times, we get a focus on the conversations he has with the European women. Some are through messenger, some are text message, some are Zoom meeting where by Islamic morals she is not to have her face shown. We see one case of an actual phone conversation with one of the women Samir is pursuing. During the time, Samir reveals his beliefs. In one of his conversations, he talks with the woman of his beliefs of the roles of the man and the woman. He reveals he’s not as tradition minded and doesn’t side with the man dominating. He believes in 50/50. That becomes increasingly apparent as he gets into a religious discussion with someone and even points out that in the Koran there’s no mention a woman should wear a burka.

Eventually the frustrations weigh down on Samir and he feels he should forget his dream, ‘grow up,’ and marry the woman he’s arranged to. The film ends with Samir in his latest pursuit. She’s a woman from France. In the final scene, of Samir in a bus, he tells of his dreams of love and marriage. This appears to be the love pursuit he is committed on making work. As for love itself, he feels it’s something that will come and grow over time.

The story of Samir pursuing love in Europe is a common thing in African countries. French-language countries like France and Belgium have a high number of immigrants from Congo, Cameroon, Morocco and Algeria. Even one documentary I saw at the VIFF years ago showed how in many African countries the belief is to pursue Europe or die trying. It seems to be a common belief of the young in Africa that they have a future, but they can’t see it happening in their own countries. They feel their future is in Europe. It would not be uncommon to see cases where they will want to marry into Europe. Samir is possibly thousands of young men in African countries who want to do just that.

However the film is not just about a Moroccan trying to pursue love in Europe. The story is about Samir. They story paints an intimate portrayal of Samir El Hajjy himself. He wants to marry, but he doesn’t devalue marriage. He knows marriage is as much about love as it is an institution. As the cameras follow him, his life and make his conversations visible, we get a good sense of his life and his desires. We get a sense why he is not too interested in the woman he’s arranged to marry, or any woman in Marrakech. We get a sense of daily Moroccan life for families like killing a lamb for dinner and daily prayers to Allah.

On the subject of marriage and tradition, we get a sense of his family situation. We see how his brother who married in France is quite comfortable, but the sisters are disapproving. They feel it’s against Islamic traditions and they have a negative attitude towards European women. We get a sense of Samir’s loyal faith and we also see Samir’s own beliefs about the role of women and how it correlates with Islamic faith. Samir is not naïve in his Islamic faith and his beliefs. We see how many people view his goals of marrying in Europe to be a sign of immaturity. We also see how the pressure does come down on him. There are scenes near the end where he’s tempted to give it all up and marry his arranged fiancé. Tradition and the modern world frequently clash in the film. It’s not the type of clash that’s heavy on action but heavy on emotion.

Top respect to Swiss director Julia Furer for putting this documentary together. Her film allows Samir to tell his own story and allow the cameras follow him along in his story telling. With a topic like this, it’s best to let the subject tell the story than the director to send their message. Julia also shows a lot of shots that first appear to be irrelevant to the film, but eventually do add to the story when you look back. Shots of Samir on his motor bike show what living in Marrakech is like with its homes and bazaars. Shots of festivals show of the common traditions and celebrations in Morocco. Julia focuses on the good and the bad of life in Marrakech. One thing she shows as she showcases Samir’s story is that there are two different Marrakeches: the Marrakech tourists see and the Marrakech of daily life that only residents know. Shots of airplanes flying off may first appear to just add time in the film, but as the story progresses, each plane taking off from the airport appears to be another missed dream for Samir. Furer does a very good job of making this as much of a story of Morocco as it is the story of Samir.

Love Will Come Later is an intriguing story that first comes off as a story of a Moroccan man searching for love. If you look closer, it says a lot more. Not just about him, but of his family, his town, his faith, his country, and even about what being a young man in Morocco is all about.

The VIFF Is Back For 2022

Jon The BlogcentricLeave a comment

I know it’s been a long time since I blogged. Normally I would fill my summer blogging with a major football event. However the World Cup doesn’t start until November. In addition, this summer I was involved in a heavy duty post-secondary course that took up a lot of my time. However the VIFF is starting up soon so now I’ve got my drive back.

The Vancouver International Film Festival returns. This year, the Festival is an eleven-day event from Thursday September 29th to Sunday October 9th. The Festival this year is a move to having less streaming on VIFFConnect and more getting people to return to the theatres. This year, VIFF returns to having films at the International Village like they did back in 2019.

Me, I will be volunteering this year at the International Village as an usher. This is the first time in three years I will volunteer there. Each year, I talk about my VIFF goals including the three that stand out: Canadian feature, shorts segment, foreign-language Oscar contender. This year is different as I will be leaving Vancouver in the middle of the Fest to attend a wedding. I will have to cut my film-watching short. However I do still have a goal of seeing at least seven films. We’ll see how the week goes. Also it depends if I’m lucky with my volunteer position for each film. Yes, you will get reviews from me. Some of you remember I still had reviews to post but I ran out of energy. You can thank an accounting class for that. But I’m sure I’ll have the energy to post reviews for all the films I see this year.

The Vancouver International Film Festival isn’t just about films. It also has a wide variety of events related to film and the industry including talks from business insiders, high school programs, interactive exhibitions and even an orchestrated replay of a silent film taking place at a church. Here’s what’s on the roster for this year’s VIFF:

VIFF Talks: This year’s VIFF Talks include Brother director Clement Virgo; Avatar costume designer Deborah Lynn Scott who will deliver a masterclass, Dean Fleischer Camp who will showcase his new short film Marcel The Shell With Shoes On.

VIFF Industry and VIFF Labs: VIFF Industry holds talks from industry professionals this year include such topics as filmmaker’s influence on climate change, showrunners of sci-fi talking of their craft, the challenges and opportunities of international coproduction in Canada, shooting analog and guests from the Directors Guild of Canada. VIFF Labs allow people in film to cultivate their craft and is for invitation-only groups.

VIFF Amp: Once again, VIFF Amp explores the connection of music and sound in film. Guest speakers include film score composers, music supervisors, songwriters and managers. Events include masterclasses, case studies, panel discussions, networking, breakout sessions and musical showcases. All are meant to promote up and coming musicians, especially from marginalized communities, to a thriving future in film.

Signals: In the past, it was VIFF Immersed that showcased the latest in virtual reality. Now it’s renames Signals. The interactive exhibitions are back. There’s more variety of new technologies including virtual production, volumetric capture, holograms, and VR/AR/XR technologies.

An Evening With Michael Abels: The composer who composed scores to Jordan Peele films like Get Out, Us, and Nope will be at the Vancouver Playhouse for a night of insight, creativity and his music performed by the Vancouver Symphony Orchestra.

Nosferatu 100 by Big Kill: Pop group Big Kill set the score of gothic pop for a resurrection of Nosferatu in what is it’s 100th anniversary. Set at St. Andrew’s-Wesley Church for the right goth feel, this promises to be an experience like no other!

And of course with the Vancouver Film Festival comes films. There are 130 films and 100 shorts from 74 countries. Theatres include the VanCity theatre (the main theatre only), the International Village, Rio Theatre, Vancouver Playhouse Theatre, Centre for the Performing Arts, Cinematheque and the SFU Goldthorp Theatre. There’s a lot to look forward to and to watch at the Film Festival. Here’s a sneak peak of some of the biggest highlights:

OPENING GALA: Bones Of Crows-Marie Clements directs a story of a Metis woman who goes through the 20th Century enduring the harsh systemic racism forced upon her from residential schooling to enlisting in the army for World War II.

CLOSING GALA: Broker- Directed by Hizoraku Kore-eda, this story starring Parasite’s Song Hang-Ko about a man conducting a baby adoption scam in Korea. It’s described to be as touching as it is comedic. Song’s performance won the Best Actor award at this year’s Cannes Film Festival.

The Banshees Of Inisherin- directed by Martin McDonagh, this story starring Colin Farrell and Brendan Gleeson is of two good friends in Ireland in the 1920’s whose friendship takes a turn for the worse and their enmity has the whole village consumed.

Corsage- directed by Marie Kreutzer, this Austrian film is a comedy of 19th Century Austrian empress Elisabeth. Elisabeth is nearing 40 and struggles with her appearance. Meanwhile she has been politically sidelined against her will and starts acting out. Vicky Krieps’ performance won a special award for performance at this year’s Cannes Film Festival.

Decision To Leave-Another South Korean film with buzz. By director Park Chan-wook, this story is of a homicide director who falls in love with the Chinese widow of a bureaucrat who committed suicide. At this year’s Cannes Festival, Park won Best Director.

Empire Of Light-Directed by Sam Mendes, this is a story of an English woman who works a cinema job in the early 80’s. Soon she is taken aback by her black co-worker. She strikes up a romance, but it does not go well in the Thatcher-dominated UK of the 1980’s.

EO-Polish director Jerzy Skolimowski directs a story of a donkey who first starts life as a circus performer in Poland. Animal rights activists change everything and his life is changed where he goes from being a part of a petting zoo to playing a Polish soccer game to encountering a countess. Shared winner of the Prix du Jury at this year’s Cannes Film Festival.

The Grizzlie Truth-Directed by Kathleen S. Jayme, this is a documentary of the ill-fated Vancouver Grizzlies of the NBA. Despite the Grizzlies’ short life in Vancouver, Jayme remained a true fan and she goes in and connects with former players and fans alike.

One Fine Morning-Directed by Mia Hansen-Love, this is a film situated in Paris. Sandra, played by Lea Seydoux, is going through financial difficulties and it’s made even more complicated as her father is suffering with Benson’s syndrome and needs to be place in a care facility. During that time, she has an affair with a past friend she meets again by chance.

The Son- Directed by Florian Zeller, this film is the story of a 17 year-old boy struggling to find himself. He feels he has to leave his mother to be with his father (played by Hugh Jackman), but the father’s new family and the son’s struggle with depression may prove to be too much.

Stars At Noon- Directed by Claire Denis, this film is a story of a young American journalist who has her passport seized. She tried to do whatever she can to make it out, but when she falls for a British man, what she thought was her way out was a path to worse trouble. Shared winner of the Cannes Grand Prix.

Triangle Of Sadness-Winner of the Cannes Palm d’Or. Directed by Ruben Ostlund, An influencer couple go on a luxury cruise for the mega-rich. During that time, they contemplate their status and their relationship. Along with a captain (Woody Harrelson) that is arrogant and quotes Marx, this cruise is bound to hit stormy weather.

The Whale-Directed by Darren Aronofsky, this film focuses on a morbidly obese teacher, played by Brendan Fraser. Turns out his eating is a suicide attempt in order to be reunited with his dead boyfriend. Will reuniting with his estranged teenage daughter change that?

Women Talking- Sarah Polley directs a story adapted from the novel by Miriam Toews. News has hit a Mennonite community in Canada that a colony in Bolivia has systematically abused over 100 women over a two year period. Eight women in the Canadian community were among the victims and they try to make sense of it all.

And there you go! There’s a sneak peak of what to expect at the 2022 Vancouver Film Festival. For more information and to buy tickets for yourself, just go to: https://viff.org/