Granger and O’Donnell is the main reason for why the film works and what makes it essential for me. It’s a love story that I was fully invested in right from the start. Their entire relationship feels very forward thinking in that it’s self-aware, open to awkwardness and to the moments where sexuality in a relationship is not yet understood. Ray’s film allows these two to just “be together” in several scenes that presage the dynamics that would be explored in the French New Wave films like BREATHLESS. Ray also allows for an identification with a certain feeling of disenchantment, as both of these two are outsiders looking for some sort of comfort to hold on to.
PHANTOM THREAD is a movie about a fractured relationship that probably was never meant to be healthy. And yet that’s okay with them. In fact they laugh through the sickness. However, through that realization, comes acceptance. There’s a moment involving the manifestation of a parent who has passed away, and soon thereafter, our protagonist is changed due to that interaction. Nothing is spelled out to the audience, but there is familiarity in the idea of “needing someone.” And well, what if that neediness becomes co-dependence? Paul Thomas Anderson explored more of the fantastical, darkly comedic version that was completely his own when he penned PUNCH-DRUNK LOVE
There are still some reviews to come, but now that it’s come to a close, I wanted to showcase some of the winners and awards presented from another terrific year of the Chicago International Film Festival, an event I’ve been attending for over a decade, and look forward to seeing what’s in store for their 55th in 2019.
What really worked for me was the intense emotional expression whether internal or external, portrayed with unwavering cruelty at times by one of my favorite actresses working today. From the moment I saw Carey Mulligan in An Education, I knew she would continue to go on to accomplish great performances consistently. She exhibited so much talent with another complicated character for her debut and now has worked even more majestically as a distraught, unhinged mother. She seems to have good intentions but also neglects her son’s wants and desires to the point of being oblivious. One has to commend the screenwriters for not letting her off easy or too sympathetic.
Either go to this on Sunday at 1pm or be sure to find a way to make note to see these very special short films within your lifetime if possible. A very nontraditional review of these collection of films at CIFF is here by yours truly as well.
Pawel Pawlikowski’s newest film, Cold War, is a haunting love story set against the backdrop of the Soviet-occupied Poland. As with his last feature, Ida, Pawlikowski uses academy ratio that emphasizes the height of the frame. As a result, characters tend to be framed on the lower part of the screen, while the sky looms above them. Also like Ida, Cold War is shot in black and white. The unusual framing contributes to a dreamy tone that allows the film to make great leaps in time and space and take on the tenor of metaphor.
Non-Fiction finds Olivier Assayas exploring both new and familiar territory. Questions about the nature of art are never absent from his work, but each film takes on a different theme and runs with it, like a never-ending debate between friends. Non-Fiction is bursting with ideas, but they somehow all find a home together, touching on the changes wrought by our increasingly digital communications as well as the nature of fiction itself, and whether any narrative we create can actually be truthful.
Farhadi is a rigorous, prolific filmmaker but never a showy one. He is definitely not the type to simply point-and-shoot, but it’s clear he doesn’t want the camera to be obtrusive, but experiential based on whatever intimacy he’s capturing. His latest finds him out of his native culture and comfort zone which might be a reason for its overall weakness, especially when compared to his previous, more assured work. The story surrounds a mother, Laura (Penélope Cruz, carrying the film), who returns to her provincial village for her sister’s wedding. The night takes a sharp turn when every parent’s worst nightmare becomes her reality: her teenage daughter Irene (Carla Campra) is kidnapped out from under her nose and is being held for ransom by unknown assailants.
Using an expressive visual style, director Alejandra Márquez Abella depicts the lavish lifestyle of a community living out its final days as members of the elite. At the center of the film is Sofia (Ilse Salas), a wealthy housewife, and her network of similarly-situated friends. While their husbands conduct business deals, the women gossip about who should be admitted to the club and compete for who can host the most effortless, opulent gatherings.