Saying It Must Be Heaven is a Palestinian film can give a lot of people the wrong impression at first. It’s a film that is enjoyable and worth seeing.
The film begins with a Christian religious ceremony in Nazareth, Palestine. They’re to enter the church, but it’s locked. It’s locked by the custodians who want to be alone drinking up. The priest and those part of the mass are angry. They barge in and get violent with him.
Life in Nazareth is not a pleasant experience for filmmaker Elia Suleiman. Elia has been experienced some downtime since a close friend of his died. Elia still has their wheelchair, walker and other personal items. Wherever he goes, it appears people have a surly attitude. He goes to a restaurant and there’s an argument over the wine. He lives on the opposite end of an apartment where a father and son live in opposite suites and exchange insults. The few times when the Palestinians are nice to each other are when they know they’re being observed. Once outsiders leave, they go back to being their grumbling selves. The one Palestinian in Nazareth who looks to have a pleasant attitude is a young gardener who tends to Suleiman’s lemon tree, against Suleiman’s will. Suleiman tells him he doesn’t want him to trim it, but he comes back.
Elia seeks inspiration for his script. However he has to seek financial support from outside of Palestine. He goes on a flight to Paris and the flight gets turbulent as is goes over the Dinaric Alps. When he arrives in Paris, the Paris of people’s fantasies is alive. He sees it as a city of romance, a city of nice fashionably dressed women at a cafe having a good time together.
Then the realities of Paris start. His hotel suite is right next to a fashion house and their LED ad shines out a lot of lights that make it hard for Elia to sleep. He sits outside his window and looks out onto the street. He’s on the subway and sees a tattooed punk try to look menacing to him. He sees someone put a plastic bag underneath a car parked just outside. A bomb? The police come on Segways to check, but notice nothing and move away. He sees a homeless man lying around nearby and the police arriving to give him food. Suleiman is there during Bastille Day. He finds himself lost in a crowd during a military parade.
Elia knows he has business to deal with in Paris. He meets with a film producer, but the producer tells him that his film isn’t Palestinian enough. Elia tries to work more on his script. He notices that a bird has flown into his hotel suite. He welcomes the bird at first. However problems arise when Elia is typing on his script and the birds wants Elia’s attention. The bird hops onto his laptop and Elia gently pushes him aside. The bird repeats, but Elia’s had enough. He decides the bird need to fly back out in the open.
Elia then sets his sights on New York. Before he does, he has a day where he just wants to relax. He goes over to a park area, but notices a woman dressed in an angel costume with the Palestinian flag on her torso. A group of police try to pursue her, but she makes it a case of ‘catch me if you can.’ When they do catch her, she mysteriously disappears. Returning to his hotel that evening, he sees the car that had the bag placed underneath it is towed away. The bag is still visible.
When Elia arrives in New York, he is taken to a hotel by a cab driver who tries to develop conversation. The cab driver asks where he’s from, and Elia responds “Palestine.” The cab driver slams on his brakes and talks about how surprised he is to see a Palestinian. He’s never seen one before! He meets with a pretentious film professor. The professor wants his story to embody the Palestinian cause in the best way it can. He goes to a meeting held by a Palestinian-American group. The crowd is too enthusiastic for the leader to handle so she demands they all give one clap for each speaker she announces.
Then the meeting with the producer happens. Before he does, he is met in the waiting room with Gael Garcia Bernal who is his friend. Bernal has read over his script and he is very happy with what Suleiman has written. The exec however is uninterested in funding a ‘Palestinian story.’ Before Suleiman is about to return back home, he walks around New York and notices how Americans everywhere, even in the supermarkets, carry guns over their shoulders. He arrives back in Nazareth and notices that the gardener is back pruning his trees. The film ends with Suleiman in a discotheque with young people dancing to a song celebrating Palestine.
The film has a message to say, but instead of it speaking its message, it allows the message to be told in the images it shows. The film says its messages in what Suleiman sees. We see the world through his eyes. Nazareth looks to be this unhappy place in the middle of nowhere. Suleiman thinks that he will have a better time in the cities he will visit: Paris and New York. He can escape the unpleasant attitudes, the violent actions of others and fear of terrorism. He’s in for a surprise. In Paris, he notices what could be a car bomb placed underneath a car. The bomb never goes off, but it does remind you it has its own threats. Even in New York where there are still memories of 9/11, the threat of terrorism is there too. Bad manners? Suleiman witnesses as a stranger on a Paris subway tries to look menacing to him. Over in the part, an elderly lady tries to get a seat, but a young man on a bike beats her to it with no regrets. He’s reminded there’s rudeness there too. He’s also reminded of military preparedness and vigilance too as the Bastille Day parade has a military march and Americans in New York show their weapons openly. what he thought he’d leave behind in Palestine is still there in Paris and New York.
The film also feels about the difficulty of being a Palestinian in the outside world. Elia may be Christian but he defines himself as a Palestinian. He finds it hard enough living in Palestine, but finds it challenging to define himself to others. The meeting with the producer in Paris shows the French are interested in showing an image of Palestine, but one common or friendly with French audiences. The meeting with the taxi driver also adds to the feelings of confusion with his identity. He goes to a Palestinian-American rally that supports the cause, but doesn’t get too much out of it. How can a Palestinian relate to a Palestinian-American? Even if they share the same cause, they don’t have too much in common.
The film is less about the words spoken that it is about what one sees happening. This is pretty much a film of what Elia Suleiman sees through his eyes and he lets the images and moments do the talking instead of him. There are very few instances when you see Elia talking. It’s very rare in a film where the protagonist doesn’t even utter ten words. Almost all moments of the film, including moments when he appears to be in a conversation, show him being a silent observer or a silent responder. That adds to the humor of the film, and Elia wants the film to blend humor with the theme and message of his story. Yep, even moments where you see Elia being dead silent get us laughing. It’s part of the film’s ironic dry humor. Some could say Elia’s wit is a lot like Woody Allen’s. You be the judge.
This is the first film in seven years for Elia Suleiman. His last one was 7 Days In Havana. This is a film he directs, writes, and plays lead. He does a good job in letting the images tell the story. Even during his mute moments, he adds to the humor of the story. It’s a silent humor that you have to get and understand while you watch this film. The inclusion of music in the various scenes adds to the story and fits it well.
It Must Be Heaven is Palestine’s official entry in the Academy Awards category of Best International Feature Film; a retitling of the Best Foreign Language Film category. The film has won a lot of acclaim. Acclaim includes a win for Special Mention at this year’s Cannes Film Fest as well as a nomination for the Palme d’Or, a nomination for Best Film at the Seville Film Festival, and a nomination for Best Canadian Feature Film at the Toronto Film Festival (film had production in Canada).
It Must Be Heaven is a film with a lot of wit and dry humor. Its silence of much of the story and of its main protagonist actually speaks volumes and is the film’s best quality.
Racism has been a common theme in a lot of films up for contention for this year’s Oscars. One of those is Green Book. It has caught a lot of attention since it was released this year.
It’s 1962. Frank ‘Tony Lip’ Vallelonga is the best bouncer in all of New York City. However the night club he works at is going through two months or renovations. He needs to find work to pay for his one-room apartment he shares with his wife and two sons. At first the only way he could make money was in an eating contest. He’s offered an interview to be a driver for Dr. Don Shirley on an eight-week tour of the Southern US. He goes to the interview, in Don’s apartment above Carnegie Hall, and is unhappy to see Don Shirley is black. Tony rejects at first, Don is insistent due to the strength of his references. Tony consults with his wife Dolores first. She agrees. Tony promises to white her and the boys. One thing he notices is that his accompanying musicians, Oleg and George, will be going in a different car.
They begin the tour in the Midwest before going to the south. The two start clashing at the beginning; Tony being asked to act with more refinement and Don disgusted with Tony’s habits. Tony is especially surprised how Don is so well-educated, not into rock ‘n roll and blues and fried chicken, which Don takes into offence. However it’s during the tour that he notices just how good of a classical piano player Don is. He also notices the racist treatment Don gets when he’s off-stage, including one time having a shabby piano with junk on it on one stage. Then one night, a group of white men threaten to kill Don in a bar. Tony rescues him and instructs Don not to go out with him during the rest of the tour.
During the journey, Tony stays at his own hotel while Don stays at the hotels in the Green Book, which is a hotel guide for African American travelers. At times, Tony can see Don drinking. Don admits to Tony that he is a divorced man and has isolated himself from his brother and his professional achievements. Don also help Tony to write his letters to the family. One night, Tony finds Don arrested at the YMCA for a gay encounter with a white man. Tony is able to bribe the officer for Don’s freedom, which Don sees it as ‘rewarding’ the officer. Another night at a sundown town, a white officer arrest Don and then arrest Tony after being punched by him. Don goes to call ‘his lawyer,’ but the officers get a phone call from Bobby Kennedy to have them both released.
The tour is winding down, but not with one last dispute between Tony and Don. Tony tells Don he thinks he’s ‘blacker’ than him. That causes Don to lose it and lament that his affluence gives him the feeling he’s an outsider to other African Americans while white people treat him like an outsider. His homosexuality only adds to him feeling alone in this world.
The final performance is in Birmingham, Alabama. Before the performance, Don is refused a seat for dinner and being the guest musician changes nothing. Tony attempts to fight the manager, but Don refuses to play. The two find themselves at a predominantly black blues club. When Don performs, the crowd loves him. The two return back to NYC. Tony invites Don up for dinner, but Don shies away. It isn’t until sometime later that Don musters the heart to visit Tony’s apartment. Here he’s made a welcome guest.
The film has been generating a lot of attention, both good and bad. The film’s script was co-written by Nick Vallelonga, Tony’s son. This was mostly told through the point of view of Nick. However the family of Don Shirley was not happy with what they saw. Many claim that Don did not consider Tony his friend, but his associate. Peter Farrelly admitted his fault in not consulting with Don’s family before the film. Actually Peter didn’t know of how many members of Don’s family Don was still in contact with. In fact even that scene of Don arrested at the YMCA with another man raises a lot of eyebrows too since Nick admitted Don never ‘came out’ to them in his lifetime.
I can’t say much for a film that claims to be ‘based on a true story’ or ‘inspired by true events.’ No such film is 100% true. There are always some plot twists and movie cliches added in. In fact one could simply call The Sound Of Music ‘a musical based on a true story.’ The accuracy may be in question, but the film does have a lot of relevance. We think we have racial tension now or a big racial divide now, it was bigger back then. This was a year before Martin Luther King delivered his ‘I Have A Dream’ speech. This was a year or two before schools in the southern US were desegregated. That ‘Green Book’ for African American travelers was very needed in the South because they could be attacked by hostile whites. Discrimination was that bad back then. There were still public lynchings happening.
One thing the film does is that it gives us something to think about. We’re living in hostile times right now, especially on the subject of race. There are still a lot of misunderstandings between races. The film sent a message that maybe if we stopped, calmed down, and talked things out, we can learn we have more in common that we have differences. Another thing the film succeeds in is testing our expectations of what people of certain races are like. There were many scenes where Tony asked Don about rock ‘n roll musicians and fried chicken. Don was the complete opposite where he played classical piano, was very well-educated, and couldn’t stand the thought of fried chicken. A lot of traits most white people, and not only Tony, would be surprised to see in an African American. Also Tony and his life and lack of education may surprise a lot of African Americans of what whites are like. Like I say, if we took the time to talk, we’d be surprised.
The film may present Don Shirley to be a very wealthy, very successful African American, but the film does show that despite the wealth and high education, Don still feels like an outsider. That’s another theme of the film: personal insecurities. History can easily explain why Don would feel uncomfortable around white people. However his identity, wealth and background has made him feel like an outsider to other blacks also eats at him. That scene where the two stop in the south in a cotton field with a group of African Americans working on and they all stop to look at Don is a symbol of his insecurities. That’s a reminder to us of how there are some that feel they don’t fit into their own race. However that scene where Don plays rock ‘n roll at the jazz bar showed that he had a lot to overcome and that he actually does fit in. Also the scene at the end where Tony welcomes Don into the house at Christmas, though demanding his family not refer to black people by that certain slur, sends a message that a major way to overcome racism is simply befriending people of another race.
You can dispute the truthfulness of the story but you will have to acknowledge that the script and story are put together very well. Nick Vallelonga isn’t just Tony’s son. He’s had years of screenwriting experience. Teaming up with Brian Currie and Peter Farrelly on the script, they deliver a great story that’s worth knowing. Farrelly also does a very good job in directing this film. A complete change of pace from the charmingly crude comedies from the Farrelly Brothers. Viggo Mortensen was solid in character in his role as Tony, but Mahershala Ali was also excellent in his role. It will leave you questioning who was the lead actor in the film? The film also had some good supporting performances such as Linda Cardellini as Dolores and various other members of the Vallelonga family in their roles. The mix of previously recorded music and the original music of Kris Bowers helped make the film as well.
Green Book may leave you questioning the accuracy of the story, but it’s also an enlightening story nonetheless. It will leave you thinking as well, which is what we need at a time like this.
We’ve seen many live-action films of Spider-Man in this century. This year, we had an animated twist with the Spider-Man story with Spider-Man: Into The Spider-Verse. The big question is will this story work? Or will it be an insult to Spider-Man fans?
Miles Morales is having the difficulty of going to a special private school, which includes a dorm. He doesn’t want to go to that school, but his police-officer father insists because of his intelligence. After school, Miles visits his uncle Aaron Davis to watch him spray paint graffiti, but is bitten by a radioactive spider. Miles son learns he has superpowers of his own.
Miles goes searching in the same area for the spider, but comes across a particle accelerator built by Wilson Fisk who desires to find the universe where his deceased wife and son are. Soon Peter Parker as Spider-man appears to destroy it, but is confronted by Fisk’s enforcers Green Goblin and Prowler. It’s a losing battle for Spider-Man as he lays dying, but hands Miles the USB drive to disable the accelerator before he dies. While still trying to learn his abilities, Miles damages the USB.
The whole of New York is in mourning over the death of Peter Parker. While at the grave, Miles meets up with Peter B. Parker: a down-and-out Spider-man who’s divorced from his wife. Peter B. had just been dropped out of the accelerator. To get back in, he agrees to train Miles. They soon learn after breaking into Kingpin’s laboratory and confronted by Fisk’s female associate in crime, Peter will die if he doesn’t get back into the accelerator to his universe.
Soon they’re rescued by Gwen Stacy: Miles’ classmate and also part of the universe. Gwen brings them to Peter’s Aunt May, whom Peter thought was dead. May is sheltering other displaced and deteriorating heroes of the Spider-Verse like Spider-Man Noir, Peni Parker and Spider-Ham, the spider bit by a radioactive pig. Miles attempts to help them, but his lack of experience with his new-found powers gives the Spider-Verse members a lack of confidence.
Things get worse for Miles as he learns his uncle Aaron is Prowler. He returns to May’s house, where Peni has the drive prepared, but he is followed by the team of villains of Wilson Fisk. Miles is able to free but is captured by Prowler. When Miles unmasks himself, Aaron is willing to be killed by Fisk rather than kill Miles. Miles’ father makes the conclusion Spider-Man killed Aaron.
The Spider-people retreat to Miles’ dorm and Peter B. webs him up and his mouth, feeling he doesn’t have what it takes to battle Fisk. Miles’ father, thinking that Miles isn’t talking, confesses his feelings for him and tries to make peace. However Miles soon learns he can master his powers.
Miles then goes to Aunt May where he’s able to help the other Spider-people work the accelerator and get back to their universe. However they leave Miles to defeat Fisk, insuring him they believe in him. Miles does face the courage to defeat Fisk, help the Spider-people return to their dimensions, and his team and make peace with his father.
Now one thing few people except die-hard Marvel comics fans knew about was that the Spider-Verse was not a new thing. The Spider-Verse came to be back in 2014. So those who think that this is something new and original, they’re wrong. In fact the Spider-Verse includes a Gwen Stacey. However one will be entertained by the Spider-Verse. This is rare in a movie that we get to see six ‘Spider-beings’ get together and be heroes. However the story does put the focus on one individual: Miles Morales, the new person into the Spider-Verse. It is a shame because we were just starting to get into this Spider-Verse. Nevertheless the movie allows it mostly to be Miles’ story and the other members of the Spider-Verse give Miles his chance to prove himself.
The story is very good as it does have a good beginning, middle and end. It actually had to have more of an extended beginning because it’s not just Miles who is affected by the radioactive spider, but five others too. Also it uses the death of a Peter Parker/Spider-Man set the road up for the story of the Spider-Verse to come. The story is not just about the Spider-Verse or even solely about Miles’ role in it. It’s also about family relations too. Miles has a hard time with his father sending him to a private school he hates. Miles idolizes his uncle Aaron, but would have to soon learn that Miles is The Prowler and keep it a secret from his father. That part of the story adds into the drama. However with this being an animated telling of the Spider-Verse, the story has to have humor in it. There’s no shortage of that here.
As for the animation, the animation is excellent. It’s not just 3D animation, but a mesh of comic-book images that add to the film. The mix of the imagery adds into the story, especially with this being a Marvel comic story.
Kudos to Phil Lord and Rodney Rothman for bringing the Spider-Verse to the big screen and creating a story that’s entertaining but not too confusing with all these Spider-beings. The directing team of Persichetti/Ramsey/Rothman do a great job of making the film work in both the story and its imagery. The vocal talent was very good, but top marks go to Shameik Moore for his performance as Miles Morales. He had the big task of being the voice of the lead and he did an excellent job. Mahershala Ali and Bryan Tyree Henry were both great as the uncle and father, respectively. Hailee Steinfeld was a scene-stealer as Gwen Stacy as was John Mulaney as Peter Porker.
Spider-Man: Into The Spider-Verse was the animated movie we all needed this year in which the only winning animated movies seemed to be sequels. This animated story of a team of ‘Spider-Beings’ all teaming up at once and then doing their own duties did not do any damage to the Spider-Man story at all. Instead it added an entertaining twist. Stan Lee would be proud.
It’s my tradition to end the VIFF by seeing the very last film they show. It’s always on the final day and at the Rio Theatre at 11pm. This year, it’s Housewife: a horror-thriller from Turkey in English. It wasn’t just the last showing at the VIFF, but its only showing at the Festival and a Canadian Premiere too.
The film begins on a snowy day 20 years ago. Seven year-old Holly lives a quiet life with her family until one day, her sister menstruates. Her mother reacts chaotically as if it’s a curse and kills both her sister and her father. Flash forward twenty years later. Holly is married, but the memories still haunt her from that horrific night. Her husband wants to start a family, but she pops birth control pills without him knowing.
One day, a childhood friend meets up with Holly again. They reconnect after all these years. The friend even invites Holly to an event her and her husband will be attending called ‘Umbrella Of Love And Mind.’ Holly comes to the event with her husband. The two couples are having a nice time together. Then the event starts. The event gives an impression it’s like a bizarre cult. The audience is introduced to a charismatic mastermind by the name of Bruce O’Hara. Bruce picks Holly right out of the audience as the first person he ‘demonstrates’ on. He’s able to get her mind to travel to another level and even into her fears. Holly and the crowd are impressed, but her husband is unhappy and mistrusting.
Holly carries on with life after the event, but the memories are now mixed with bizarre visions of murder. Holly goes back to Bruce for help. He continues to put her under his mind control. Meanwhile the husband is getting upset. He feels this is all a hoax. Finally Holly goes back one last time. The dreams are now of Bruce committing murder on Holly, ripping off her face and even wearing it! The movie ends on a bizarre, if not ridiculous, note that makes the film look like it’s incomplete or missing a lot of stuff to make sense.
The thing about the film is that it attempts to create the intrigue of a thriller it should create, but later comes across as confusing and even clumsy at the end. The opening looks promising as the opening scene shows some elements of Carrie in it. Actually even before you go to see the film, you’d get a sense that this would be a horror film, or something close to it. The master-of-the-mind who comes off like a cult leader is where you first start thinking if this will help the story or make it look ridiculous. Especially when he comes dancing onto the stage with ‘I’m Your Boogie Man’ playing in the background. It’s as the story moves into the second half that it starts treading into areas that are either confusing or ridiculous. The film even ends on a bizarrely ridiculous note that gets you wondering what the point of this story is.
It even gets you wondering what is director Can Evrenol trying to do as far as it being a thriller movie? Is he tapping into common thriller elements? Is he trying to create new thriller elements for the cinema? What is he trying to do? I left thinking he didn’t accomplish too much in the 80 minutes of the film, except add a lot of bizarre gore that makes you wonder what its point is. Maybe if he and co-writer Cem Ozuduru gave the film more time and better script, we’d get a better understanding of it, possibly even a decent understanding of it.
The acting was not the best. This is Can’s first English-language feature and he hires either Turkish or European actors for the roles. You can notice the accents. Lead protagonist Clementine Poidarz did well with her role, despite noticeable imperfections. David Sakurai looks awkward and even wooden in his role as Bruce O’Hara and even looks like he isn’t fully in character at times.
Housewife is Can Evrenol’s first attempt at an English-language feature and his first feature-length horror film. It’s not much of an accomplishment since its imperfections are very noticeable.
And there you have it! This is the fourteenth and last review of all the films I saw at this year’s Vancouver Film Festival. Quite the experience. My wrap-up is coming soon.
I started my trip to the Vancouver International Film Festival seeing an animated film called Tehran Taboo. This film is a very telling film in its subject matter and how it plays out in animation.
The story begins with Pari. She’s recently separated from her drug-addicted husband who’s now in prison. To get anywhere in Iran, including getting better things for her 5 year-old mute son Elias, she needs her husband’s signature on documents. She pleads to a judge with religious connections to no avail, but makes her an offer for her to be a ‘madam’ under his system. She refuses at first, but soon changes her mind. She is introduced to the prostitution business and is even given residency for her and her son.
Sara appears to have a happy marriage with her banker husband Mohsen, but it’s not. She finds the marriage discomforting especially since her in-laws are in the way. She finds a way into the system of prostitution. She even ‘works’ with Pari.
Babak is a traditional musician trying to make a name for himself. One night after a lousy show, he has sex with a woman she dances with. The next day, she comes to him saying she needs an operation in her vagina to make her appear like a virgin. She claims she’s getting married in five days. If her fiance finds out, he’ll have her killed. It’s up to Babak to get the money for the operation or find a serum. He even meets up with a hard man she claims to be her fiance.
All three situations criss-cross in the middle of Tehran. All three meet different endings. In the end, the truth about Sara is revealed to Mohsen. It’s right after she makes a phone call for a prostitution request to a man of high government ranking. The man then orders her number traced by the morality police. Sara eventually loses it all. Babak would also lose it all. Just as he is on the verge of coming across the money needed for the operations, he witnesses public hangings. That could be an omen of his own demise. We also learn that the woman was not to be married, but part of a prostitution business where virgins are paid higher money. Despite the difficulties, things work out for Pari. She’s able to make a good income and be able to send Elias to a good school.
This animated film– animated through rotoscope– is an impressive story about three situations all intersecting with the world of prostitution. They all face their own challenges as all have to deal with the laws in Iran: both law-based and religion-based. The influence of religion is seen throughout the film as there’s cases where the husband is required to authorize along with the wife, religious clerics hold high jobs, and the morality police all around ready to arrest even on public signs of affection. Even the fact that there’s such thing as a Morality Police gives an insight of what type of system Iran has been under since the Islamic Revolution of 1978.
Prostitution is very much a hush-hush business almost universally but you can bet it is especially secretive in Iran. We’re talking about a country where adultery is considered grounds for execution. However it’s seen by these three women as a chance to make a higher income. This is especially beneficial since the income for the average Iranian is very low. Pari has a chance to receive a better life for herself and her son thanks to her work, and the red tape of a judge involved. Sara sees prostitution as a chance to escape the strain of her marriage, especially with pushy in-laws. However this ring of prostitution is a detriment for Babak as he finds himself dealing in this business without him knowing. We learn that ‘fiance’ is actually part of the business too much too late for Babak.
This is a story that takes three situations in Tehran and often has them criss-crossing together through each of the characters. Even the protagonists in one of the sub-plots will find themselves involved in the other two plots too. The three stories intersect with both the photo studio where the photographer would take pictures of those involved and Elias the mute son who says nothing, but is a witness to all that goes on. The story plays itself out both as a story with a lot of intrigue and even some comedic moments, like when they have to deal with a gynecologist with poor personal hygiene or the photographer always changing backgrounds.
SPOILER WARNING: In the end, it’s Pari who’s the one that benefits most from this system of prostitution, if not the only one benefiting at all. Babak finds himself stuck in the middle of what would become what many believe to be his tragic fate in the end. Sara loses it all in the end, and it’s obvious her drug-induced jump at the end is a suicide. It’s evident she feels like she has nothing to live for. Pari, on the other hand, had the unfairness in her favor. She struggled with the unfairness of the Iranian legal system demanding her husband’s signature for many things; that’s the law in Iran. How could she when her ex-husband is in prison? But when the Iranian judge offered her an entry into the prostitution business, it opened doors for her and Elias. It even allowed her to achieve things without her husband’s signature. Despite the struggles, it appears Pari is the only one who won.
This is the first feature-length animated film for Ali Soozandeh. Ali was born in Iran but would emigrate to Germany. It’s easy to see why the film’s countries of production are listed as Germany and Austria. There’s no way Iran would allow for a film like this to be released! The film which he directed and co-wrote with Grit Kienzlen is a very good story of intrigue and will raise a lot of eyebrows about what’s going on ‘underground’ in a country like Iran. All the actors did their parts very well, whether it be doing their voices or acting for their rotoscope images. I feel the rotoscope method of animation fits the film very well in terms of telling its story. Rotoscope also helped well with Waltz With Bashir a few years ago.
Tehran Taboo is an excellent animated film about the secrets of Iran few know about. The stories of those involved, and why they do it, are made very clear.
Most of you have already seen my first summary or even my second summary. This last summary will have a look at the last three Best Picture nominees I saw. They were Lion, Hidden Figures and Hell Or High Water.
Lion is one of those films which came out of nowhere to surprise everyone who has been lucky to see it.
We have seen many against-all-odds stories in the past. This is something because this is a true story of something that really was against all odds. It wasn’t just about making it happen but also of the family relations Saroo has developed over his lifetime. What will happen? Will he leave the family he’s always known? Is the family he’s searching for still alive? The best quality of this story is that it keeps us intrigued and hoping Saroo reunites, but also has us concerned of what will happen after.
Another quality of this story is that it does not forget the cause of the problem. Saroo is seen as the lucky one who was able to reunite with his family after all these years. However throughout the film, especially at the beginning, we see the cause of the problem. Saroo was unsupervised when he boarded the express train. The language barriers caused problems. Even Saroo’s mispronunciation of Bengali words caused problems. The train stations of Calcutta are loaded with stray children ready for abductors to prey on, and station police looking the other way. Even the missing posters advertised before his adoption were no good as his mother is illiterate. India failed Saroo and Saroo succeeded thanks to Google Earth and his fierce will. The film at the end lets people aware of the problem; 80,000 children go missing in India each year. The film’s website informs people of how they are making a difference in aiding to protect children in India.
This film is an accomplishment for the Australian film industry. I don’t know if Australia has ever had a film nominated for Best Picture before. This is director Garth Davis’ first ever feature length film. Bet you wouldn’t believe that. Luke Davies did an excellent job in adapting Saroo’s biography into a winning screenplay that keep the audience intrigued and hoping for the best in the end. Dev Patel’s performance as Saroo was the highlight as he did a great portrayal of a young man who’s angry on the inside and knows what he needs to do. Nicole Kidman was also excellent as the mother who appears grateful on the outside but has some inner hurt waiting to come out. Young Sunny Pawar was also very good playing the young Saroo. He was cute but he didn’t take it overboard. He played his part well. The film also featured top notch cinematography from Greig Fraser and excellent original music from Dustin O’Halloran and Hauschka.
Lion is an excellent film featuring a story you won’t forget. A surprise contender this year and a worthy one.
It’s good that we have a film like Hidden Figures to tell us about a piece of history that we never knew about.
The film comes at the right time as it deals with a lot of situations that are relevant in our world. This may be set in the early 60’s and revolves around a moment in space history but it has a lot of situations relevant to today. One is of workplace racism. It’s not as bad now as it is then but there are still a lot of unsolved problems. The second is of technology being so good, it can replace workers. These three women had iron wills. They knew they had potential, they knew they had what it takes and they wouldn’t let racism or the threat of modern technology stop them from reaching for their achievements.
The year of 2016 was a crushing year. It was a year that constantly reminded us that there was still a lot of racism to overcome. Despite the improvement over the decades, it was able to show its ugly head with low employment rates and police beatings. This is a film that reminds us that racism can be overcome. When you look at it, the women were doing this all during a turning point in the history of African Americans. African Americans in Virginia had less rights than they do now and discrimination was perfectly legal. Back then there were still separate washrooms for colored people, separate library books for white and colored people, and police beatings during civil rights marches. The women overcame these barriers and they opened doors for other colored people for generations to come.
This is only the second film Theodore Melfi has directed and written. This is the first feature-length script Alison Schroeder has written. Does come across as like something you’d get from Hollywood, but it’s not a weakness. It does all the right moves. Taraji Henson was great as the protagonist Katherine Goble-Johnson, but the show-stealer was Octavia Spencer. She was not only good at playing a woman who wouldn’t let technology kill her job, and the jobs of 30 other black women, but she was a colorful scene-stealer too. Janelle Monae completes the trio as one who just wouldn’t say die to her ambitions. The male actors were mostly supporting roles but Mahershala Ali was the biggest one as Jim Johnson, Katherine’s new husband. The mix of Motown music mixed in with the original score from Hans Zimmer, Pharrell Williams and Benjamin Wallfisch also added to the spirits of the movie.
Hidden Figures showcases a little-known fact about a big moment in American space history. It’s also the right uplifting movie needed at this time.
HELL OR HIGH WATER
I missed Hell Or High Water when it first came out in the theatres in August. I admit I was caught up in the summer fare and I overlooked it. I finally saw it recently and I’m glad I did.
One thing is I miss seeing is crime comedies. You know, the dark comedies featured in crime stories. This film has a good amount of comedy to it with their failures at robbing first. Even the situation where the brothers rob the Texas Midlands Bank and pay the mortgages they have with the bank off with the robbery money is full of surprising irony. It’s not even the robbery spree that has all the comedy. There’s the comedy when the rangers visit the places they question. There’s even comedy with that hard waitress at a restaurant they eat at: “What don’t you want?” The comedy doesn’t last as the story gets darker later on. However it does end on an ironic note as the now-retired Officer Hamilton does meet up with Toby Howard, perfectly free, and inquires of the robberies he and brother Tanner committed together.
One thing about this crime drama is that it has a lot to say. We have two brothers–Tanner who appears to have no redeeming values and Toby who’s as cool as a cookie– robbing various branches of the same bank. You see signs advertising debt relief. You hear from people– both family and people the brothers run into– talking of their own economic hardships. You see the indigenous people, who are still referred to as ‘Indians’ with their own outlook on things. Mostly negative. Looks like this story has a lot to say. Even hearing Alberto Parker say that he believes the true criminal is the Texas Midlands Bank does get you thinking. Maybe it’s the Bank that are the true robbers around here.
This is actually the first American production from Scottish director David MacKenzie. He has a reputation back in the UK with films like Young Adam, Hallam Foe and Starred Up. His first American production is top notch and really delivers as both a crime story and an offbeat Western. This is also an accomplishment for writer Taylor Sheridan. Already having made a name for himself in Sicario, he delivers again in what is actually his second feature-length script. Of all acting performances, Jeff Bridges is the one that was the best. He delivered a top job in character acting from head to toe. He was completely solid in character. Chris Pine was also good as the brother Toby who’s smart, tries to play it cool and possibly the one person in the world who could see redeeming qualities in brother Tanner. Ben Foster was also a scene-stealer as Tanner who a complete ruthless loose cannon who appears to have a bone to pick with everyone over anything and possesses a false sense of invincibility. Gil Birmingham was also good coming across as the wise partner who plays it cool. The country music in both recorded format and original from Nick Cave and Warren Ellis fit the film perfectly.
Hell Or High Water makes for an intense thrill ride that’s big on thrills but also takes you to the heat of the moments. The story even gets you thinking. Now why did I miss it during the summer?
That does it. My final summary of the Best Picture nominees for 2016. After seeing Hell Or High Water, that makes it 16 straight years of seeing all the Best Picture nominees before Oscar night. My predictions for the wins coming on Saturday.