DISCLAIMER: I know we’re well into December and the VIFF ended almost three months ago, but I have been too busy with work and my part-time courses. They all left me with no time for me to finish my blogging. Now I have the time and I aim to finish my last five VIFF blogs over this next week.
Violation is another Canadian-made feature I took an interest in. Especially since it’s part of the Altered States slate of the VIFF. That film is definitely something else!
The film begins with a woman and a man alone in a cabin. They appear to be ready to engage in something sexual. Even something kinky and involving bondage. The woman ties the man’s hands up and he is excited for what he thinks he’s going to get. He’s waiting for it, but instead she hits him hard across the head and he’s unconscious.
The film then flashes back to the beginning. Miriam is a woman on the edge of a divorce and with a new boyfriend, Caleb. She goes on a getaway with her younger sister, Greta, whom she hasn’t seen in years. The getaway is in a cabin by the lake just outside the woods and joining Greta is her fiance Dylan. The getaway looks to be a good time to relax and reunite with family members.
However all that changes one day. Miriam decides to sleep for awhile during the daytime, but Dylan enters in for more than just a visit. You can tell that Dylan violates her by the mere image of her eye and her look of horrific shock.
Returning back to after Miriam hit Dylan, Miriam has a lot of cleaning detergents and tarps. It’s clear she wants todo more than just kill Dylan. She assumes Dylan is already dead after she first hit him across the head, but even with Dylan’s face covered, Dylan regains consciousness. She has to kill him, and she strikes his head again and continues until he’s sure he’s dead.
It doesn’t end there. Miriam now has to dispose of Dylan’s body. Trying to do that is very hard as she will have to decapitate him and saw off his body… and clean everything up so it’s all unnoticeable. She even has to have his body drain of blood above the bathtub. She does that with immense difficulty. She then saws off his head and legs and wraps his whole body in a tarp. After all that, she takes his bagged body and burns it to the point it’s nothing but ashes blowing in the wind by the lake. It may be over but Miriam is not the same. You can tell as a Russian couple are arguing nearby a shore and she interferes to tell the man to leave his wife alone. The look on her face at the end says it all.
The film then flashes back to before the whole murder and disposal happened. Miriam and Greta are out for a carefree swim on the beach. They get into good conversation about memories, but Miriam has to tell Greta the truth about Dylan. Miriam tell her but Greta does not believe her. In fact, Greta gives her a reaction of betrayal. The film ends with the look on Miriam’s face just before she’s about to commit the murder.
Right before the film was about to begin, one of the VIFF emcees said that the directors are known for making films of uncomfortable viewing. This film has a lot of uncomfortable things about it. First off being a rape, then a murder during a sex act, then a dismemberment. It does give you the impression that these filmmakers want to do some unwatchable elements Lars von Trier may have not tapped into. The rape wasn’t graphic, but we get a sense of what’s happening by the sex sounds of Dylan and the wide-eye of Miriam. The dismemberment was very graphic. I wondered how on earth they were able to get a realistic-looking fake body to do the scene. The first attempt at murder was graphic as well as the successful second attempt.
Actually the scene where Dylan thinks he’s about to have sex with Miriam was quite graphic. When I saw the erection, I wondered if it was real or not? I’m no prude, but I’ve always considered an erection on film to be the stuff of porn. So when I saw that scene, I was thinking “I hope that’s a dildo!”
The film attempts to tell a story of a woman who’s a victim of misogyny and plots her revenge. The film shows how the whole incident changed her. You can tell as she reacts when she comes across a Russian couple arguing after she finished with the murder. I’m sure misogyny and men who act as sex predators is a major message of the film. However I think the film mixes things up in the storytelling. You’ll notice it’s not chronological from start to finish. It’s a lot like Pulp Fiction where it goes from one time period of a story to the next and mixes it up in various scene. This film does the same thing too. However the arrangement of the story seems like it didn’t make sense to have one scene one place and another scene one place and to have the image of Miriam before she commits the murder at the very end. I don’t think the placements were well-placed. I get the ending, where they show the look on Miriam’s face and it showed a person irreversibly changed, but I think placement of sequences could have been better.
Despite its flaws, one of the film’s best storytelling qualities are the various filmshots. The rape scene is only scene through the eye of Miriam. That image and the sounds accompanying are all you need to know to get the message. The overhead shots of the lake area aren’t just picturesque scene shots. They’re also shots sending the message that anything can happen in the remote outdoors. The scene of Dylan’s ashes all in the air and around the lake area send the message that Miriam is leaving it all behind. And by leaving it all behind, it’s everything: Dylan, sister Greta, Caleb, and especially the life Miriam once led.
This film is a very good work for directors Dusty Mancinelli and Madeleine Sims-Fewer. They have written and directed many short films before and some shorts together. This is the first feature length film for both as writers and as directors. It’s flaws are noticeable, but it definitely succeeds as an ambitious work. I strongly believe I will see better from both of them in the near future. Madeleine also does an excellent job in embodying the character with both the emotional and psychological transitions throughout the story. This is a story she co-wrote so it makes sense that she knows the character inside out. Outside of the role of Miriam, there weren’t too many other roles that were well-developed. Anna Maguire’s role as Greta was the only supporting role that showed any depth. Jesse LaVercombe’s role as Dylan was too two-dimensional as the predator who appears charming at first. The additions of the music of Andrea Boccadoro and the cinematography of Adam Crosby add to the film.
Violation has won awards and earned nominations at many Canadian film festivals. Directors Sims-Fewer and Mancinelli have received the most acclaim with the Emerging Canadian Artists award at the Calgary Film Festival, a Rising Stars award at the Toronto Film Festival, a Best Canadian Film nomination at Toronto, a Best Canadian Feature Nomination at the Montreal Film Festival and a Discovery Award nominee at the Directors Guild of Canada Awards.
Violation is a story about being violated by a predator and getting revenge. However it’s a story that’s not put together the best and ends on a confusing note. Hard to make sense what the film was trying to be.
2016 was a stellar year for animated movies from Zootopia to Moana to Kubo And The Two Strings to Finding Dory. 2016’s line-up gave people lots of reason to come to the movie theatres. 2017 was very lackluster in comparison. We’re talking about a year when The Boss Baby was nominated for Best Animated Feature and even the mere existence of The Emoji Movie. 2017 almost made it look like if Sausage Party were released that year instead, it would be a Best Animated Feature nominee! However the best animated movies of 2017 slowly made its way on the screen in the latter months of 2017. I was lucky to see Ferdinand, Coco and Loving Vincent: three of the best of the year.
When I was about to see Ferdinand, I wondered how they would able to take the small story and turn it into a feature-length picture. I myself remember an animated short made by the Walt Disney studios made decades ago that was very humorous. However I wondered how would a feature-length adaptation play out?
The story starts out well with an entertaining look, but a bit of sadness at the beginning. As it progresses to adult Ferdinand, Ferdinand is funny and charming as a husky but flower-loving bull. John Cena adds to the characterization of full-grown Ferdinand. The characters of Lupe, Una and the other bulls add to the story.
There were times I wondered how will they get to where Ferdinand is scouted out by his accidental outburst? How will it be written out? Although it’s not true to the fable, the writers were able to create a way for Ferdinand to be discovered and sent to the bull rings to fight.
Another case that had me wondering was right in the middle of the story. It had me wondering how on earth the story would have a happy ending? Of course the film needed to have a kid-friendly happy ending, but in a situation where the bull either becomes a fighting bull who dies in the ring or to the slaughterhouse as meat? Nevertheless the writers were able to make the story work with good events to the plot and not just simply drag it out over the time. Even creating an ending where Ferdinand wins over the crowd and getting them to want him to live works for the film.
For the most part, Ferdinand is not all about the type of intricate story you’d expect to find in a Disney/Pixar film. Instead Ferdinand is about creating a charming modern adaptation of the short fable with charming and entertaining characters. It succeeds in charming the audience as well as entertaining the children. Despite the story being elongated into a feature-length picture, the film does not waste time. It succeeds in being entertaining. It also adds in some other elements that gets one nervous of what will happen to Ferdinand, even if they know the story. The story works in its feature-length and will not disappoint fans of the fable. It’s also good at winning crowds too as it made a good $282 million at the worldwide box office.
Very often you know the Disney/Pixar collaboration will deliver something fresh and original in its arsenal that’s able to win us over. This year, they deliver Coco. Coco is unique because it’s of a Mexican family situated in Mexico. The question is will they make something original and unique entertaining to the public?
The team of writers and animators at Disney/Pixar are known for their innovations and their frequently-successful way of trying new concepts. First there was 1995’s Toy Story: the first-ever 3D animated feature. Then came A Bug’s Life which created an engaging story revolving around insects. Then Finding Nemo not only told a story about fish, but successfully took us to another world. The Incredibles was good at teaching morals in an entertaining way. Ratatouille made an entertaining story involving a rat. Wall-E magically gave us an engaging story about two robots in love with very little dialogue. It was Brave where they not only gave us their first female protagonist, but welcomed a female writer on their ‘dream team.’ And there was Inside Out which made character out of emotions.
Coco is not just a new movie from the Disney/Pixar collaboration, but a new chapter for them. They hired Mexican/American writer Adrian Molina as the scriptwriter along with Matthew Aldrich. Molina had already been part of Pixar as a 2D animator for Ratatouille, a storyboard artists for Toy Story 3 and Monsters University, and even wrote the script for Walt Disney Studios’ The Good Dinosaur. The voice cast is predominantly of Mexicans or Mexican Americans. Disney/Pixar even hired a ‘cultural consultant’ group of three Mexican-Americans including one former CEO of the Mexican Heritage Corp to make sure they were doing a film respectful of Mexican people.
The result is a film that has garnered praise even from both critics and even Mexican-American communities. The film even received excellent reviews from Latin American film critics. The film was also a top box office winner having grossed $730 million so far. Even in Mexico, it spent three weeks at #1 in the Mexican box office and grossed a total of $57.8 million in Mexico.
Now the film itself does what Disney/Pixar films have a reputation for: taking the audience to a new world. Here they give an excellent depiction of the Land Of The Dead that looks very intricate and maybe too big, but succeeds in making sense to the viewer. Once again the animation team does an excellent job in creating this new world and even the smallest detail is done with perfection. Once again Disney/Pixar is tops in animation quality.
However there was one time I was confused by the story. I’ll admit like most, I thought Ernesto was the great-great-grandfather. I was shocked when I learned that Ernesto killed Hector with poison. It left me wondering if Miguel’s great-great-grandfather was in fact a dirty killer. Even seeing Ernesto send Miguel to die in the cenote pit left me shocked. ‘Why would Ernesto do this to his own great-great-grandson?’ It’s in the pit with Hector that we learn that Hector is really the great-great-grandfather. That was a relief. It was there where it became better sense why Miguel needed to redeem the name of the family through the spirit of Hector. The story was very well-written and very entertaining. Also the song ‘Remember Me’ is an excellent song for the movie that makes for the perfect tearjerker moment you don’t feel manipulated by.
One again Disney/Pixar delivers a masterpiece in Coco. It is as top-quality as it is magical to watch.
Now the previous two films in which I just talked about are both the more family-friendly films. Loving Vincent is the polar opposite of both. It’s not cute, it’s less family-friendly, and it’s not even 3D computerized animation. It also didn’t even make $10 million at the box office. Nevertheless it is charming in its own ways.
The film is a plot where Armand Roulin is asked by his father Joseph to deliver a letter from Vincent Van Gogh who died a year earlier to his brother Theo. After learning Theo died, Armand looks to find the right person to give the letter to. Throughout the journey, Armand tries to get the answer to whether Vincent’s death was a suicide or not? He was released from a hospital after found to be in good mental capacity six weeks before.
Armand comes across many people in Vincent’s life. Some have positive things to say. Some negative things. All have something to say about the person of Vincent, the various people he met with or fought against, and his personal feelings before his death. This still leaves Armand confused and his question of Vincent’s death unanswered. It’s right after Dr. Gachet promises to give the letter to Theo’s widow that he learns van Gogh’s suicide wasn’t of mental agony, but to free himself and his brother. Later Armand receives a letter from Theo’s widow thanking him.
This animated film about Vincent Van Gogh couldn’t be a simple animated film. Instead this is a film in which the images were done by 100 painters trained to paint like Van Gogh. The object of the film was to create a story involving characters of people Van Gogh painted and was close to in his life across a backdrop that’s just like the paintings he painted. Basically an animated story about Van Gogh that captures the essence of Van Gogh’s art. The story may be fictional, but it succeeds in playing out like a Van Gogh painting. It even gets one that knows very little about Van Gogh’s works or his life intrigued. It even gets fans of Van Gogh’s art admiring the film for capturing the essence of the artist and his works. I also like how the film ended as “Vincent (Starry Starry Night)” was playing. It would make those who never understood what the song was all about understand it better.
So there’s my look at three of the best animated films of 2017. All three are nominated for an Oscar for Best Animated Feature. All three are enjoyable in their own way.