Movies

Subterms

    More stories

    • 50 Shares129 Views

      in Movies

      ‘Face’ Review: Close Encounters

      by

      Commissioned by the Louvre, the film brings together two of cinema’s unforgettable faces, Lee Kang-sheng and Jean-Pierre Léaud.There are some filmmakers whose cinema can be distilled into a single face. François Truffaut is one of them: Jean-Pierre Léaud’s roguish mien became, through Truffaut’s films, synonymous with the spirit of the French New Wave. The Malaysian Taiwanese director Tsai Ming-liang, a devotee of Truffaut, is another. His films double as a record of the face of his muse, Lee Kang-sheng, captured closely in all its gradations over time.Commissioned by the Louvre Museum, Tsai’s 2009 film, “Face,” brings Lee and Léaud’s great visages together. Lee plays a director, Kang, who is in Paris to film a movie in the Louvre about the biblical story of Salome. Léaud plays an aging actor named Antoine — like his character in Truffaut’s films — while Fanny Ardant (Truffaut’s partner until his death in 1984) appears as a vexed producer.Time is the narrative principle in “Face.” Scenes of extended duration invite us to explore details within the frame, as one might with a painting, while the impending death of Kang’s ailing mother (Lu Yi-ching) casts a shadow of mortality over the film — particularly over Léaud and Lee, who appear at times like past and future reflections of one another.The film unfolds as a series of tableaux whose preciousness is tempered by hints of perversity: lust, incest, slapstick and, above all, the strange labor of filmmaking. At one point, we see Laetitia Casta, who plays Salome, in extreme close-up as Kang’s crew debates how to make her look colder. His assistants wipe her cheeks and rub ice on them while she remains uncomfortably silent. Her face is both a decorative mask and a fragile container of roiling emotion, encapsulating the wry duality of Tsai’s cinema.FaceNot rated. In French, Mandarin and English, with subtitles. Running time: 2 hours 18 minutes. In theaters. More

    • 75 Shares169 Views

      in Movies

      ‘Voodoo Macbeth’ Review: A Tiresome Curse

      by

      A historical look back at Orson Welles’s production of “Macbeth” with an all-Black cast in Harlem in the 1930s.When the theatrical production featuring the first all-Black cast of “Macbeth” opened in Harlem on April 14, 1936, it was quite the event. According to an article on the Library of Congress website, “At 6:30 p.m., 10,000 people stood as close as they could come to the Lafayette Theater on Seventh Avenue near 131st Street, jamming the avenue for 10 blocks and halting northbound traffic for more than an hour.”The film “Voodoo Macbeth” tells the story of how this groundbreaking production came to be, from the perspective of a then 20-year old “genius” Orson Welles (Jewell Wilson Bridges), who adapted and directed the play, switching out Shakespeare’s Scotland for Haiti.From its opening scene, a P.O.V. shot of the theater producer John Houseman watching the Broadway actress Rose McClendon rehearse — to its final scene, Welles taking a victory walk into the night in a cloud of cigarette smoke, “Voodoo Macbeth” proves itself to be a textbook white savior film and not much else. Welles and Houseman (Daniel Kuhlman) are the heroic subjects and McClendon (Inger Tudor) and the other Black cast members are stilted objects forever in need of their saving.Interestingly, the film’s writing and directing credits belong to 18 people, eight screenwriters and 10 directors, all of whom are either current graduate students or recent alumni of the University of Southern California. And with this many cooks in the kitchen, the film’s flatness is hardly surprising. But the movie’s repetition of mirror shots are an appealing, if not derivative, visual through-line in the film.With such a gross misinterpretation of the source material (why invent Welles onstage in blackface?) it’s fitting that the most engaging part of “Voodoo Macbeth” turns out to be the archival footage of the real-life production that plays alongside the credits.Voodoo MacbethNot rated. Running time: 1 hour 48 minutes. In theaters. More

    • 125 Shares99 Views

      in Movies

      ‘Descendant’ Review: The Fates of a Ship and its Captives

      by

      This documentary recounts the salvaging of the Clotilda, the last known ship to bring enslaved Africans to America, and tracks down their progeny.If you’ve ever wondered what “holding space” looks like in practice, the director Margaret Brown’s deeply attentive documentary “Descendant” provides moving examples. The film tells the entwined stories of the search for and salvaging of the Clotilda, the last known ship to bring enslaved Africans to the United States, and the experiences of those people’s descendants, many of whom live in Africatown, Ala., an enclave north of Mobile.And so, holding space looks like: the way Kamau Sadiki, a scuba diver with the Smithsonian National Museum of African American History and Culture’s Slave Wrecks Project, holds a small shell as part of his ritual of listening to “ancestral voices.” Or the way the folklorist Dr. Kern Jackson gazes with affection at a videotaped interview with the descendant Martha West-Davis, as she recounts how Africatown got its name. Or the sight of Emmett Lewis walking with his young children to the tombstone marker of Cudjoe Kazoola Lewis, who had been the last living captive and Emmett’s direct relative. Or the way the film threads the stirring motif of residents reading “Barracoon: The Story of the Last ‘Black Cargo’” by Zora Neale Hurston who interviewed Lewis in 1927 and recounted his story in his own loamy parlance. An anthropologist, folklorist and filmmaker, Hurston wrote the book in 1931; it was published in 2018.According to the descendants, the Clotilda came to lie at the bottom of the Mobile River because the human trafficker Timothy Meaher had made a bet that he could bring enslaved people into the country after transports had been outlawed. He did in 1860 and then tried to destroy the evidence.Indeed, a river of exploitation and mendacity runs through “Descendant,” which draws connections between slavery, post-Reconstruction land grabs and Africatown’s pollution from nearby industries. And the film is rife with sympathetic and insightful subjects: Ramsey Sprague, a Native environmental organizer, sits in front of a computer screen pointing to parcels of land surrounding Africatown that were zoned for heavy industry and are owned by the Meahers. (Family members did not respond to the director’s requests but did issue a statement in 2021.) Veda Tunstall, a descendant and one-time real estate agent, wonders what new version of exploitation will arise out of the ship’s discovery. Joycelyn Davis, a cancer survivor, and another of Lewis’s descendants, initially admits to her disinterest in the search for the wreck; she’s focused on the local polluters.Brown’s critically acclaimed 2008 documentary “The Order of Myths” told the stories of Mobile’s segregated Mardi Gras celebrations. Here, Brown, who was born and raised in Mobile and is white, prioritizes the stories not only of the Black people who live in Africatown but also other stewards of a fuller American history that is still being brought to light, like the Smithsonian’s Sadiki and the curator Mary Elliott. She gently reminds a couple of descendants that even with the physical evidence of the schooner, the community must keep passing along their stories, must keep making an oral history.DescendantRated PG. Running time: 1 hour 49 minutes. Watch on Netflix. More

    • 138 Shares149 Views

      in Movies

      Animal Lovers, Rejoice: The NY Cat and Dog Film Festivals Return

      by

      The programs feature many surprises, including a cat that plays Wordle and a lone man’s odyssey to feed Turkish strays.Tracie Hotchner still doesn’t offer tissues.During her early years as the director and founder of two animal film festivals, audience members would occasionally confront her and say, “‘Why don’t you give Kleenex?’” Hotchner recalled. While her programs have never included “Old Yeller”-style tear-jerkers, she acknowledges that her first festivals were too long and emotional. Even a steady string of uplifting tales could cause sentimental overload.But when Hotchner’s seventh annual NY Dog Film Festival and fifth annual NY Cat Film Festival arrive on Sunday at the Village East by Angelika Theater in Manhattan — before a monthslong tour of the United States and Canada — they will be as sleek and compact as a prizewinning Abyssinian or a champion greyhound. Featuring international short films, each festival now runs under two hours and intersperses serious works with the purely comic. (The 16-film cat festival screens at 11 a.m., the 17-film dog festival at 2 p.m.)This year, moviegoers can witness the challenging lives of feral cats in Malta and abandoned dogs in Mexico. Yet they can also see a feline parody of “America’s Got Talent,” fancifully animated dog and cat crime capers and a documentary about golden retrievers that served as the legitimately elected mayors of Idyllwild, Calif.With each festival, “I’ve tried to make it more balanced and something that is a magic carpet ride,” said Hotchner, an author and radio host in Bennington, Vt., whose Radio Pet Lady Network features online talk shows. During a telephone interview, she added, “There’s lots of short films, but you don’t have several in a row that slam you emotionally.”The programs have transformed in other ways, too. The 2022 editions are the most global, including films from Chile, France, Ireland, China, India, Israel and Sweden. Hotchner is also extending the projects’ reach: A film distributor is booking both festivals in other cities well into 2023. And for the first time, she is hosting a 20-minute question-and-answer session with a few filmmakers after each festival’s Manhattan screening.“I’ve never had a theater that would let me do that before,” Hotchner said. “It costs them money.” She explained that the Village East was donating the time, a gesture that is very much in the spirit of her feel-good, do-good mission: Ten percent of the $20 ticket price for each festival goes to a local animal charity in every city hosting the programs. On Sunday, the beneficiary is NYC Second Chance Rescue, whose co-founder, Lisa Blanco, will help greet audiences.But what may distinguish this year’s festivals most is the element of surprise. “Many of the films were not like anything I’d seen before,” Hotchner said.Consider “Kopecki” (“The Dog God”), Hayrettin Alan’s 11-minute documentary about a lone man feeding homeless dogs near Van, Turkey. Lacking narration or dialogue, the film simply follows this self-appointed savior, as packs of startlingly beautiful dogs greet him with unanticipated affection.Clockwise from top left: Scenes from “Jade & Trubs,” “Kopecki,” “Duet” and “Please Rescue Me.”Clockwise from top left: Mutual Rescue; Hayrettin Alan; Yadid Hirschtritt Licht; Kim BestHotchner also found a live-action fictional work among her entries — these are rare, as they tend to have high budgets. This selection, “Adam,” by Hope Elizabeth Martinez, focuses on a teenage girl whose sole companion is an ailing 14-year-old dog.Among the animated submissions, Hotchner discovered an unusual variety of styles and unexpectedly serious themes. In Yadid Hirschtritt Licht’s lyrical “Duet,” for example, a cat’s loving legacy continues after its original owner dies.But the humorous films offer surprises, too. Ever see a cat play Wordle? Kim Best, a filmmaker in Durham, N.C., created “Cat of Letters” with her own pet, Nube. (Pronounced NOO-bay, the word is Spanish for “cloud.”) Although a cat lover, Best admits that her stars don’t take direction.“They’re very insubordinate and churlish,” she said in a phone interview.Nube was churlish enough to reject the fingerlike extensions Best tried to attach to his claws, so she used a stuffed animal’s paw affixed to a stylus to portray the cat tapping letters on an iPad. (It’s convincing.) But she also gave herself a challenge: Nube, whose thoughts are conveyed via subtitles, chooses only cat- or dog-related words for his opening Wordle efforts, so Best had to use those to solve the puzzles in real time. There was “no cheating,” she said.A director who has contributed to every NY Cat Film Festival so far, Best also has a documentary spotlighting a more typical feline talent: getting stuck in trees. “Please Rescue Me” follows Patrick Brandt, a kindly North Carolina biochemist and arborist who has volunteered his skills and equipment to extract some 250 trapped cats — and one pet coatimundi.As he says in the film, “I’m not so much rescuing the cat as I’m rescuing the person.”Animals, of course, frequently save the people who save them. Mutual Rescue, a global nonprofit initiative that creates documentaries about these relationships to encourage pet adoption, delivered “Kimo & Jazz.” This film concerns a young gay man from a conservative religious background who finally felt able to come out to his parents after adopting a shelter dog. The pet, Jazz, then helped sustain him as his father was dying.Another Mutual Rescue documentary, “Jade & Trubs,” chronicles how Double Trouble — a toothless, sickly and thoroughly unsociable feline shelter resident — uncharacteristically responded to Jade, a little girl with autism visiting the organization. Jade had sensitivities that turned every bedtime into long bouts of tears and screams. But once the family adopted the animal, nicknamed Trubs, both child and cat blossomed in unexpected ways.Perhaps the most surprising interplay of rescuer and rescued, however, takes place in “Underdogs,” an independent project by Alex Astrella. His documentary unfolds at the California Men’s Colony, a prison in San Luis Obispo where the inmates train service dogs for veterans and emergency workers with post-traumatic stress disorder. The prisoners’ dark histories — several on camera are convicted murderers — contrast starkly with their tender devotion to the dogs and their purpose.“I took a life,” one says. “Now I want to save a life.”Astrella said in a phone interview that he intended to illustrate the program’s effects on the men and “the change it’ll hopefully enact on their lives going forward.” The film, he added, is a testament to the “spiritual power that dogs have on humans.”Such connections are the thread that runs through the festivals. As Hotchner said, their mission is “to celebrate that human-animal bond, however and wherever it occurs.”So prepare to celebrate. And maybe pack a few tissues.NY Cat Film Festival and NY Dog Film FestivalOct. 23; the Village East by Angelika Theater, Manhattan; catfilmfestival.com, dogfilmfestival.com. More

    • 100 Shares99 Views

      in Movies

      ‘My Policeman’ Review: Two Love Affairs, Equally Tragic

      by

      A schoolteacher, her police officer husband and his lover deny each other romantic satisfaction in this dismal melodrama.The melodrama “My Policeman” tells a decades-long story of a schoolteacher, a museum curator and the man they both love. The film is based on a novel of the same name, which took narrative inspiration from the relationship between the novelist E.M. Forster, his lover, who was a police officer, and his lover’s wife. Unfortunately, the historical record is more imaginative than the fictional story represented onscreen.The film tells the story of a schoolteacher, Marion, her law enforcement husband, Tom, and his great love, Patrick. The trio start the movie in 1999 as retirees. Patrick (Rupert Everett) has suffered a stroke, and Marion (Gina McKee) welcomes him to convalesce in her home with Tom (Linus Roache). This reunion sparks Marion’s memory, and when she finds Patrick’s journals, she falls into reminiscence.In flashbacks to their youth in 1957, Marion (played as a young woman by Emma Corrin) recalls Tom’s timid attempts at courtship. Tom (Harry Styles) introduced her to Patrick (David Dawson) under the pretext of impressing her with a trip to the museum. Patrick became a third wheel in their life as a couple, joining them for dates and trips out of town. Patrick’s diaries fill in the gaps of Marion’s memory, recounting a passionate affair with Tom that continued even after Tom and Marion married.The director Michael Grandage smartly uses sets and costumes to emphasize the class differences between the characters. But Grandage struggles with animating such a dismal treatment of gay history. These are characters who are frustrated in love, prevented by law and by their own emotional repression from asking for what they want in their relationships. The stately treatment of their plight leads to a film that buckles under the weight of purgatorial disappointment.My PolicemanRated R for sexual content and nudity. Running time: 1 hour 53 minutes. In theaters. More

    • 125 Shares199 Views

      in Movies

      ‘All That Breathes’ Review: Hope Is the Thing With Feathers

      by

      Shaunak Sen’s poetic documentary chronicles the efforts of three New Delhi men to help the city’s birds of prey.The first shot of “All That Breathes” explores a vacant lot at night, tracking rats and feral dogs through puddles and piles of refuse. Your instinct might be to recoil from a tableau of urban squalor, but there is a quiet, rapt attention in the images that suggests a different response. Even in the clogged thoroughfares and crowded neighborhoods of big cities like New Delhi, where this remarkable documentary unfolds, we are closer to the wildness of the natural world than we might suppose.The three principal human characters in Shaunak Sen’s film have devoted their lives to caring for black kites, birds of prey almost as unloved in Delhi as scavenging rodents and canines. Wounded kites and other raptors, excluded from a local avian hospital because of their nonvegetarian ways, find their way to Wildlife Rescue, a small clinic that doubles as a workshop for the assembly of soap dispensers. There, Nadeem Shehzad and Mohammad Saud, the brothers who founded Wildlife Rescue, work with their associate Salik Rehman to rehabilitate the birds until they can return to the skies.Their efforts on behalf of the kites were the subject of an article in The New York Times in 2020. The methods of “All That Breathes,” which mentions that piece, are more impressionistic than reportorial. There is something inherently mysterious about birds and their interactions with people, and also something unmistakably spiritual about Wildlife Rescue’s devotion to their well-being.Not that there is anything gauzy or mawkish about the film. Sen finds intimations of deeper meaning by focusing on the day-to-day practicalities of rescuing kites. In one riveting scene, the men save a wounded kite from a riverbank, swearing and complaining as they navigate a tricky, absurd and potentially dangerous situation. Mostly, the birds arrive in cardboard boxes hauled across the city by Salik or one of the brothers. As the kites recover, they move to cages on the rooftop.Wildlife Rescue has applied for a grant to expand and modernize its operation, and “All That Breathes” in part tells a hopeful story of patience and persistence in the face of obstacles that include bureaucratic red tape, family tensions and city traffic. But then a wave of murderous sectarian violence sweeps through New Delhi. The causes of the upheaval and its aftermath — and the conflict between India’s Hindu nationalist government and the country’s large Muslim population — become part of the film’s atmosphere, like the smog and the noise.Neither a nature documentary nor a political lecture, “All That Breathes” is a subtle, haunting reflection on the meaning of humanity — on the breathtaking kindness and heartbreaking cruelty that define our wounded, intrepid, predatory species.All That BreathesNot rated. Running time: 1 hour 37 minutes. In theaters. More

    • 138 Shares199 Views

      in Movies

      ‘The Fire that Took Her’ Review: An Unflinching Portrait of Pain

      by

      This documentary charts the case of Judy Malinowski, a young mother who suffered debilitating burns after being set on fire by a man she had dated.The experiences of Judy Malinowski, an Ohio woman who testified in her own murder trial, could have been cooked up by the novelist Jodi Picoult in an alarming courtroom melodrama. Instead, this true story’s themes of domestic violence, traumatic injury and addiction are unpacked in the straightforward documentary “The Fire That Took Her.”Anchored by interviews with Judy’s family members, particularly her mother, Bonnie, the film recounts how Judy, a young mother of two daughters, began a volatile relationship with a man named Michael Slager. According to Bonnie, Michael manipulated their family and enabled Judy’s drug addiction, casting himself as her savior while supplying her with heroin. Then, amid an altercation in 2015, Michael doused Judy in gasoline and set her on fire.Miraculously, Judy survived for nearly two years after the attack, and the documentary frequently includes footage from the hospital room where Judy resided and received care. In interviews, the director Patricia E. Gillespie has said that while pitching the film, people often asked whether she could cover or blur Judy’s face to shield audiences from her burns. Gillespie refused, and her resolve to train her camera on Judy gives the film an unflinching quality.Testimonies from the detectives and attorneys on the case beget a host of true-crime clichés. Far more startling and heartbreaking, though, are the scenes of Bonnie at home with Judy’s daughters. Seated around the kitchen table, Bonnie gently debriefs them on their mother’s medical and legislative battles. To watch these girls strive to comprehend the incomprehensible is a singular kind of agony.The Fire that Took HerNot rated. Running time: 1 hour 34 minutes. In theaters. More

    • 88 Shares179 Views

      in Movies

      ‘The Pez Outlaw’ Review: Sweet and Lowdown

      by

      A purveyor of candy contraband becomes a black market hero in this blithe, lighthearted documentary.Steve Glew, the subject of Amy Bandlien Storkel and Bryan Storkel’s documentary “The Pez Outlaw,” is an unapologetic weirdo with long hippie hair and a big, Santa Claus beard — a natural star in this post-“Tiger King” era of quirky nonfiction portraiture. Glew, in the words of his wife, Kathy Glew, “is a creative person whose mind wanders a lot,” a cagey but charismatic oddball obsessed with breakfast cereals, Tom Clancy novels and Pez candy dispensers, which he began collecting and selling in the 1980s. His clandestine efforts to smuggle rare European dispensers into the United States made Glew a kind of black market folk hero among serious Pez collectors — of whom there are apparently many — and also drew the ire of the former president of Pez Candy USA, Scott McWhinnie, known as the Pezident.Glew is an amusing screen presence, and his story, while unquestionably trivial, has some of the absorbing, low-stakes whimsy of a nice magazine feature. The directors approach the material blithely and with humor, staging dramatic re-enactments of the anecdotes Glew and others recount in highly stylized, almost parodic form — the running of candy contraband is depicted like the climax of a breakneck espionage thriller, a toy convention is made to look like a speakeasy in a film noir, and so forth. Glew himself, importantly, is never the target of the joke: the movie has too much affection for its subject to ridicule his eccentricities, even gently, preferring to lionize him instead. An inevitable consequence of this chummy idolatry is that the playful tone begins to feel rather cloying. Like Pez, the film is charming and colorful — and perhaps too sweet.The Pez OutlawNot rated. Running time: 1 hour 25 minutes. Rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More