Blade Runner 2049

Based on the characters from the novel Do Androids Dream of Electric Sleep? by Philip K. Dick, Blade Runner 2049 is the sequel to the 1982 film Blade Runner by Ridley Scott as it involves a police officer who makes a chilling discovery that would lead to the end of humanity as he turns to a man who had disappeared thirty years ago who had his own experience with replicants. Directed by Denis Villeneuve and screenplay by Hampton Fancher and Michael Green from a story by Fancher, the film is a futuristic sci-fi film set in Los Angeles where a cop tries to save humanity as he also cope with what is at stake as the role of Officer K is played by Ryan Gosling with Harrison Ford reprising his role as Rick Deckard. Also starring Jared Leto, Ana de Armas, Sylvia Hoeks, Mackenzie Davis, Lennie James, Dave Bautista, Barkhad Abdi, Wood Harris, Carla Juri, and Robin Wright. Blade Runner 2049 is a sprawling yet intoxicating film from Denis Villeneuve.

Following a blackout just a few years after the events in 2019, an LAPD cop who hunts older replicants in order to rid of them for society where he makes a discovery that would change humanity. It’s a film that follows up what Rick Deckard had discovered years ago that eventually lead to his disappearance and what cop in Officer K is trying to find upon this discovery he made when he was trying to arrest an older replicant in Sapper Morton (Dave Bautista). In this discovery, K is dealing with what he’s found as he wonders if there is more to him than just being a cop who lives alone with a hologram AI named Joi (Ana de Armas) as his companion. The film’s screenplay by Hampton Fancher and Michael Green isn’t just about this sense of identity that K is dealing with but also in this discovery that everyone wants to know including a replicant manufacturer in Niander Wallace (Jared Leto) who sees it as the next big step into his creation.

The first act revolves around what K has discovered as he would meet with Wallace’s enforcer Luv (Sylvia Hoeks) who gives him some information about his discovery as it involves Deckard. Yet, K’s journey would lead him to try and find something as he would report to Lt. Joshi (Robin Wright) who believes that something is off as she wants K to find out what is going on but in secrecy as he’s later pursued by Luv. The second act isn’t just about what K is discovering but also more about his identity as he turns to Joi for help with that identity as it relates to a toy horse he believed he had when he was a child. Upon finding this toy horse and numbers on that horse that he also found on a tree when he was arresting Morton, it would eventually lead him to Deckard who has been in hiding. Upon meeting Deckard, K would realize what is at stake but also why Deckard had to leave as it relates to something bigger than himself as well as his own personal involvement.

Denis Villeneuve’s direction is definitely grand in terms of the scale of what he is creating as it is set in 2049 Los Angeles with futuristic versions of the state of California and Las Vegas as this mixture of farm country, cities, and wastelands. Shot mainly in Budapest, Hungary with some of it shot in Iceland, Spain, and other locations, the film definitely has a unique approach to the visual presentation as it begins in this kind of desolate yet beautiful land that is a place for synthetic farming as Villeneuve’s usage of the wide shots would showcase the scope of these locations. The scenes set in Los Angeles is cramped yet vast in terms of the holographic ads and other things that play into something that is futuristic as Villeneuve would create different look and feel for certain places and locations throughout the film.

The direction also utilizes some close-ups and medium shots for some unique compositions in the way characters interact with each other as well as some of the moments in the action. Villeneuve would include bits of humor in the film but much of the film is dramatic with some suspense and action as the drama relates to K’s loneliness and the revelations about what he discovered as it add to him questioning his own identity. By the time Deckard arrives in the film, it does recall elements of the past that includes this very eerie meeting between Deckard and Wallace into what the latter could do and why he needs this discovery that K made. All of which would have K play a big part into giving Deckard something he had lost and find peace over this loss as well as give K some meaning in his life. Overall, Villeneuve creates an exhilarating and rapturous film about a blade runner trying to save humanity by uncovering a discovery that could help those as well as stop a creator from playing God.

Cinematographer Roger Deakins does phenomenal work with the film’s cinematography as it is a major highlight of the film for the way he would give various locations a different look and feel from the grey exteriors of the farming land and garbage wasteland to the usage of sepia-drenched lighting for the exteriors of Las Vegas and the array of lighting and shades for many of the film’s interior scenes. Editor Joe Walker does excellent work with the editing as it has some jump-cuts for some of the action as well as some straightforward cutting for the drama and suspense. Production designer Dennis Gassner, with set decorator Alessandra Querzola and supervising art director Paul Inglis, does brilliant work with the look of K’s apartment as well as the LAPD building and the place where the Wallace Corporation is and other aspects to make Los Angeles look really futuristic. Costume designer Renee April does fantastic work with the costumes as it does provide the characters some personalities into some of the clothing that Joi wears as well as the clothing of other characters to play into the futuristic world.

Hair supervisor Lizzie Lawson and makeup supervisor Csilla Blake-Horvath do terrific work with the look of some of the characters including a few prostitutes as well as Joi in the different personalities she takes to please K. Visual effects supervisors Pierre Buffin, Richard Clegg, Paul Lambert, Petr Marek, Viktor Muller, and John Nelson do incredible work with the visual effects from the look of the city in some parts as well as the holograms and some of the action sequences as it is top-notch work. Sound editor Mark A. Mangini and sound designer Theo Green do amazing work with the sound in creating some sound effects as well as in the way guns and the flying cars sound. The film’s music by Hans Zimmer and Benjamin Wallfisch is great for its mixture of electronic bombast and ambient textures to create a score that is always engaging and help to play into the action and suspense while music supervisor Deva Anderson brings in some music that K listens to like Frank Sinatra as well as a couple of songs by Elvis Presley and variations of Tears in the Rain by Vangelis.

The casting by Zsolt Csutak, Francine Maisler, and Lucinda Syson is marvelous as it feature a couple of cameo appearances from two characters from the original film in Edward James Olmos as Deckard’s old colleague Gaff and Sean Young as the replicant Rachael with help from Loren Peta as Young’s double. Other notable small roles include Wood Harris as a cop named Harris, David Dastmalchian as a police scientist named Coco, Barkhad Abdi as a black markets analyzer in Doc Badger, Lennie James as a wasteland businessman in Mister Cotton, Hiam Abbass as a mysterious underground leader in Freysa, and Dave Bautista in a superb small role as the replicant Sapper Morton. Mackenzie Davis is terrific as a replicant prostitute named Mariette who is asked by Luv to follow K while being very discreet about her true motive while Carla Juri is wonderful in a small role as a mysterious memory designer in Dr. Ana Stelline who creates memories for replicants.

Jared Leto is fantastic as the replicants creator Niander Wallace as a man who is trying to create a new form of replicants as a way to get rid of humanity’s flaws as he believes this new discovery would be the key to what he wants. Robin Wright is excellent as Lt. Joshi as a LAPD official who orders K to find out about this discovery as well as question his own offbeat behavior as she is aware of what is at stake. Sylvia Hoeks is brilliant as Luv as Wallace’s replicant enforcer who is tasked with finding more about this discovery as she is this dangerous and powerful individual who is eager to get what she wants by any means necessary. Ana de Armas is amazing as Joi as an artificial-intelligence hologram who serves as K’s companion that tries to help him understand as well as wanting to feel alive to prove that there is more to her than just some program.

Harrison Ford’s performance as Rick Deckard is incredible as he provides this sense of a man who had seen and experienced so much in his life as he tries to cover his tracks while dealing with this newfound revelation over this discovery that he was involved in that also includes Rachael whom he mourns for. Finally, there’s Ryan Gosling in a sensational performance as K as a cop who copes with his identity upon this discovery he’s made as well as wanting to get answers as he is quite tough but also flawed as it is a very grounded and restraint performance from Gosling who brings a lot to a role of someone dealing with loneliness and himself.

Blade Runner 2049 is a magnificent film from Denis Villeneuve that features top-notch performances from Ryan Gosling and Harrison Ford. Along with its great ensemble cast, gorgeous visuals courtesy of cinematographer Roger Deakins, a hypnotic score, and a compelling premise that explores the idea of identity and humanity. It’s a film that manages to be not just some sprawling sci-fi adventure film with elements of film noir, suspense, and action but also a film that says a lot about people and who they are as well as what can happen when one wants to use that power for his own reasons. In the end, Blade Runner 2049 is an outstanding film from Denis Villeneuve.

Related: Blade Runner - The Auteurs #68: Denis Villeneuve

Denis Villeneuve Films: August 32nd on Earth – Maelstrom – Polytechnique – Incendies - Prisoners (2013 film) - Enemy (2013 film) – Sicario - Arrival (2016 film)

© thevoid99 2017

Miral

Directed by Julian Schnabel and written by Rula Jebreal that is based on her own novel, Miral is the story of a young girl who is raised at an orphanage as she later grows into a woman as she tries to find understanding amidst the conflict between Israel and Palestine. The film is a dramatic account into a young who was raised and taught by Hussein Hind as her attempts to teach Palestinian refugees has her wondering about the realities of the world as the titular character is played by Freida Pinto. Also starring Hiam Abbass, Yasmine Al Masri, Ruba Jebreal, Alexander Siddig, Willem Dafoe, Stella Schnabel, Omar Metwally, and Vanessa Redgrave. Miral is a compelling yet flawed film from Julian Schnabel.

The film is based on Rula Jerbreal’s own accounts as she was raised in the famed Dar Al-Tifel institute that brought in Palestinian girls who didn’t have a home. The film isn’t just about the founding of the institute by Hussein Hind (Hiam Abbass) but also the young girl who would come to this institute as she would be raised and taught by Hind until she encounters the realities of the Israeli-Palestinian conflict during the First Intifada. It’s a film where the girl named Miral would come of age during that period as she wants to help any Palestinian resistance group in fighting the Israelis but is also torn with the need to continue Hind’s ideas of education and negotiation for a peaceful resolution. The film’s screenplay does have this odd structure where it starts off with how Hind founded the Dar Al-Tifel institute in the aftermath of the 1948 Arab-Israeli War as well as who Miral’s mother was.

The first act begins with Hind’s funeral as it would cut into events preceding the moment she began this institute where it was by accident as she wanted to help out. Even as she gets the help of an American friend named Eddie (Willem Dafoe) who would help her gain some political connections to ensure the safety of her institute. The story then moves into the Six Day War period where it revolves around a woman named Nadia (Yasmine Al Masri) who would spend six months in prison for slapping a woman on the bus as she would marry a man named Jamal (Alexander Siddig) and have a daughter named Miral. Yet, the sense of shame in Nadia’s life would lead to her death as Jamal sends Miral to the institute as he is unable to take care of her though he’s a good father. The film’s second half is about Miral as she copes with not just the realities of what is happening outside of the institute but also the need to fight back against the Israelis in what is a very complicated situation.

While it’s a film that showcases what the Palestinians were going through as Miral would become prejudiced towards Israelis. It’s not an anti-Israeli film but rather a portrait of what a young woman is dealing with as she would involve herself into actions that can be defined as terrorism. The film’s second half has Miral fall for a Palestinian rebel leader named Hani (Omar Metwally) who wants to fight against the Israelis but also wants a peaceful solution as he would steer Miral into ideas that has her hating the Israelis. Yet, her own encounters with the violence as well as other events that complicate things force her to find a way to deal with what she’s learned. Though the script does get clunky in Miral’s development, it does play into the growth that Miral would go into as she tries to maintain the guidance of her mentor.

Julian Schnabel’s direction is quite stylish but only in its look and presentation as he aims for something that is close to a cinema verite style. Especially as he was able to shoot on location in Israel in its many cities like Jerusalem, Tel Aviv, Haifa, and other locations near Palestinian states. Much of it would have Schnabel utilize a lot of hand-held cameras and strange camera angles to play into the drama though the film starts and ends with Hussein’s funeral as it indicates how important she was to Miral. Schnabel would go for a lot of simplistic compositions as well as lots of medium shots and close-ups plus a few wide shots. Even as it plays to the sense of chaos that is emerging that Miral would encounter during a scene where she and her schoolmates go to a refugee camp to teach children as they’re forced to watch a house be destroyed.

It’s among these key moments in the film that is quite powerful as it plays into Miral’s development though some of the film’s violent moments are quite minimal as Schnabel would use stock footage and newspaper clippings to help tell the story. Even as he would use these moments to play into certain moments in time as well as the various wars between Israel and Arab nations. All of which would have Miral encounter these events as well as moments that those she is connected with would endure. Even as she would gain some understanding about how peace works and why it’s so hard to achieve. Overall, Schnabel creates a very captivating yet uneven film about a woman coming of age as a Palestinian in Israel.

Cinematographer Eric Gautier does excellent work with the film‘s very colorful cinematography as it features a very vibrant and colorful look to some of the film‘s daytime scenes while going for low-key and naturalistic lights for the scenes set at night. Editor Juliette Welfling does amazing work with the editing as it is very stylized with its approach to jump-cuts, montages, and in the way it uses stock footage to help tell the story. Production designer Yoel Herzberg and art director Nir Alba do brilliant work with the look of the homes that Miral and her father lived in as well as some of the parts of the institute. Costume designer Walid Mawed does nice work with the costumes as it’s mostly straightforward to play in the look of the 1980s for its second half along with stylish clothes for its first half.

Visual effects supervisor Stephane Dittoo does terrific work for some of the film‘s minimal visual effects as it relates to the small violent moments that occur in the film. Sound editor Adam Wolny does superb work with the sound to convey some of the sounds of chaos as well as sparse elements in the film‘s quieter moments. The film’s music by Olivier Daviaud is exquisite for its use of somber strings to play into the sense of tragedy and drama while music supervisors Julian Schnabel, Rebecca Delannet, and Astrid Gomez-Montoya create a soundtrack filled with classical pieces as well as cuts by Pete Townshend, Laurie Anderson, Lou Reed, Ennio Morricone and Gillo Pontecorvo, A.R. Rahman, and Tom Waits.

The casting by Yael Aviv is great is it features notable small roles from Makram Khoury as politician who would help Hind with the founding of the institution, Shredi Jabarin as Miral’s cousin Ali, Stella Schnabel as Ali’s Jewish girlfriend Lisa, Ruba Blal as Nadia’s cellmate who is given three life sentences for a bombing in a movie theater, Yolanda El Karam as the young Miral, and Vanessa Redgrave in a small yet wonderful performance as Bertha Spafford as a party host that Hind would meet early in the film. Willem Dafoe is superb as Eddie Spafford as a U.S. military officer who helps Hind with creating the institute and to ensure that she would be safe. Yasmine Al Masri is terrific as Miral’s mother Nadia as a woman who is shamed and humiliated as she copes with the guilt she carries that would lead to her own death.

Omar Metwally is excellent as Hani as a Palestinian resistance leader who is trying to find ways to deal with the Israelis as well as eventually coming to the realization that peace needs to happen. Alexander Siddig is amazing as Miral’s father Jamal as a man who tries to raise her as he later copes with her rebellion as he tries to steer her in the right path with Hind’s help. Hiam Abbass is incredible as Hussein Hind as a Palestinian woman who created an orphanage and institute to protect young children as she would also be a mentor to Miral to teach her the ways to a peaceful resolution. Finally, there’s Freida Pinto in a remarkable performance as the titular character as a young woman who is awakened by the realities of her surroundings as she struggles to wanting to fight as well as instill Hind’s teachings as it’s a very complex and eerie performance from Pinto.

Despite its uneven and messy narrative, Miral is still a worthwhile film from Julian Schnabel. Armed with a great cast as well as a unique perspective from the Palestinian side in the Israeli-Palestine conflict, it’s a film that isn’t afraid to ask questions but also with wanting to create understanding in a very complicated situation. In the end, Miral is a stellar film from Julian Schnabel.

Julian Schnabel Films: Basquiat - Before Night Falls - The Diving Bell and the Butterfly - Berlin: Live at St. Ann's Warehouse - At Eternity's Gate - The Auteur #43: Julian Schnabel

© thevoid99 2015

The Visitor (2008 film)

Originally Written and Posted at Epinions.com on 2/15/09 w/ Additional Edits.

Written and directed by Thomas McCarthy, The Visitor tells the story of a widowed economics professor whose life is taken a dull turn as he deals with the death of his wife and the boredom of being a professor. When an immigrant couple is seen in his apartment believing that they had rented it, he reluctantly takes them in as he befriends them and eventually takes on a new lease on life. The film explores the world of immigration, identity, and cultural understandings in the post 9/11 world of New York City as McCarthy gives Richard Jenkins the role of the widowed professor. Also starring Haaz Sleiman, Danai Jekesai Gurira, Richard Kind, Michael Cumpsty, Marian Seldes, and Hiam Abbass. The Visitor is a powerful, touching drama from Thomas McCarthy.

Walter Vale (Richard Jenkins) is a widowed economics professor living a life that is very routine with not much going on. Trying to do piano lessons with a teacher (Marian Seldes) while finishing a book hasn't given him much excitement as his teaching has also become uninspired. When he's asked to present a paper that he co-authored by his department head Charles (Michael Cumpsty), he reluctantly takes the offer to go to New York City to attend the seminar. Arriving to NYC from Connecticut, Walter arrives at his apartment that he owns and lives on occasional periods to find that two people are living there. The Syrian Tarek (Haaz Sleiman) and his Senegalese girlfriend Zainab (Danai Jekesai Gurira) are immigrants who believed that the apartment was available only to realize they were swindled. Walter decides to take them in since they weren't really being any trouble.

Tarek works as a djembe player for jazz bands in NYC while Zainab sells handmade ethnic jewelry that has given them some money as Walter befriends Tarek. Notably on the djembe drum which Walter takes a liking to as it's given him some excitement in his life. Especially as Walter becomes bored by the seminar work he's doing as he and Tarek take part in a drum circle in a NYC park as it broadens Walter's state of mind. When Walter and Tarek go to the subway as they return from a drum circle, a misunderstanding at a subway turnstile gets Tarek in trouble as Walter tries to tell the cops that Tarek didn't do anything wrong. After telling Zainab about what happened to Tarek, she decides to leave the apartment to live with a cousin in the city. After visiting Tarek at a detention center near Queens, Walter calls in a lawyer (Amir Arison) to take the case.

Walter then gets an appearance from Tarek's mother Mouna (Hiam Abbass) who hasn't received a call from Tarek in five days. After telling Mouna what's going on, Mouna wants to see the center that Tarek is in but knows she can't go in. Mouna stays with Walter as she calls Tarek from the center while talking to the lawyer about what could happen as Tarek hadn't done anything wrong at all. After meeting Zainab, Mouna wants to know the things that Tarek and Zainab does giving Walter a chance to take time away from the seminar. Following a brief return to Connecticut, he returns to NYC to check up on Tarek while giving Mouna a chance to have a night in the city. Awaiting word on Tarek, Walter deals with what might happen to Tarek as Mouna reveals something. For Walter, the experience of the people he's met in the few weeks would reawaken the lost soul he had been dealing with.

The film's title is about a man visiting a world that's different to him as he is reawaken from his routine, dull life. In some ways, the film is political given the policy towards illegal immigrants following 9/11 as it deals with racial profiling and ethnicity that was going in G.W. Bush-era America. Yet, it's really a character study that writer-director Thomas McCarthy sets up as explores a man trying to find new meaning in his life through the people he encounters as he explores new worlds and passions that gives him meaning. After meeting the mother of the man he meets, he helps her do things that she wanted to do and attend that also gives his life more meaning where he gets to confess about his own life and lack of purpose.

McCarthy's script is wonderful in its emphasis on character development, issues, and staging allowing its protagonist along with three supporting characters to interact and get to know each other with audiences having the time to get to know them. McCarthy's direction is mostly straightforward yet engaging in its drama and staging. Notably in giving the actors a chance to perform while McCarthy reveals the unique world that is New York City which is essentially, a cultural hotbed where it's mostly a city of different worlds and cultures. Not just some American city. While the film does move slow in some spots, Thomas McCarthy does create a film that is magical and engaging with a universal story about the reawakening of a man and his explorations into new worlds.

Cinematographer Oliver Bokelberg does excellent work with the film's photography which is mostly straightforward in its look of NYC and Connecticut in its daytime exteriors and interiors. The nighttime scenes in the interiors with little light reveals the intimate mood and world that Walter lives in as it works to complement the mood of the film. Editor Tom McArdle does some excellent work in the editing with its smooth transitions, fade-outs and rhythmic cutting though the pacing at times is slow in a few moments. Production designer John Paino, set decorator Kim Chapman, and art director Len Clayton do fine work with the apartment and home of Walter while doing great work in creating the look of Zainab's table of jewelry. Costume designer Melissa Toth does good work with the costumes as it's mostly straightforward from the suits that Richard Jenkins wears to the exotic clothing that Zainab wears.

Sound editor Paul Hsu does great work in capturing the sound of New York City in all of its chaos but also the performance of the drum circle that goes on in the city that adds vibrancy to the film. Music composer Jan A.P. Kaczmerek brings a light score driven by soft piano melodies to complement the mood of the film. Yet, it's mostly the Afro-beat music of drum circles plus a couple of tracks from Fela Kuti that are the highlight of the film's soundtrack.

The casting of the film is truly superb with cameos and small appearances from Richard Kind as a neighbor of Walter's from the apartment, Marian Seldes as Walter's piano teacher, Deborah Rush as a woman buying Zainab's jewelry, Amir Arison as the lawyer Walter hires for Tarek's case, Michael Cumpsty as Walter's colleague Charles, and Maggie Moore as the photo of Walter's late wife. Danai Jekesai Gurira is very good as Zainab, Tarek's Senegalese girlfriend/jewelry maker who tries to deal with Tarek's arrest while finding an unlikely friend in Walter whom at first, isn't receptive. Haaz Sleiman is excellent as Tarek, a djembe player who gives Walter a new lease on life while being in trouble as he finds a true friend in Walter. The film's best supporting performance is veteran Israeli-Arab actress Hiam Abbass as Mouna, Tarek's mother. Abbass' subtle, quiet performance is done with little emotion and charm that it's one that really stands out. Especially in her scenes with Richard Jenkins that's more about emotions and conversations instead of something that could've gone into a romantic angle.

Finally, there's Richard Jenkins in what has to be the performance of his career. With not much emphasis on high drama or trying to look all pathetic. Jenkins' performance is filled with restraint and a mild-mannered approach of a man just unsure what to do and how to get out of his dull life. Jenkins' performance allows the character of Walter Vale to wake up and be alive where Jenkins adds new life to the character without missing a step. It's truly a remarkable and sensational performance from the veteran actor who is often seen in supporting roles or in character-driven parts.

The Visitor is a superb, enthralling film from Thomas McCarthy featuring a brilliant leading performance from Richard Jenkins. While the film might not have the humor or richness of McCarthy's previous The Station Agent, The Visitor proves that McCarthy is a unique storyteller that touches on real characters in real-life situations that makes them endearing to watch. Along with a great supporting cast, notably Hiam Abbass, the film truly belongs to actor Richard Jenkins who gets a chance to shine in the spotlight while nabbing a well-deserved Oscar nomination for his performance. In the end, The Visitor is a gem of a film that deserves to be seen by a wide audience.

Thomas McCarthy Films: (The Station Agent) - Win Win - (The Cobbler) - Spotlight

© thevoid99 2012

The Limits of Control

Written and directed by Jim Jarmusch, The Limits of Control is the story of an assassin sent to Spain to find his target. Along the way, he meets various people who help him guide to the place he needed to go to find his target. The film isn’t just an assassin film but an ode to those films among many others as it continues with Jarmusch’s fascination with European cinema. Starring longtime Jarmusch regular Issach de Bankole along with Tilda Swinton, Gael Garcia Bernal, Hiam Abbass, John Hurt, Paz de la Huerta, Alex Descas, Youki Kudoh, Luis Tosar, Jean-Francois Stevenin, and Bill Murray. The Limits of Control is a stylish yet entrancing film from Jim Jarmusch.

The Lone Man (Issach de Bankole) is given specific instructions to go to Madrid where he’s to wait three days for a guide to give him more instructions. During his stay in Madrid, he meets a violinist (Luis Tosar), a nude woman (Paz de la Huerta), and a cowgirl (Tilda Swinton) who each give him instructions and such for his next journey. On a train trip to Seville, he meets a Japanese woman (Youki Kudoh) who gives him more incrustations as he waits for a man with a guitar (John Hurt) who tells him to go to Almeria. At Almeria, he meets a Mexican (Gael Garcia Bernal) and a driver (Hiam Abbass) who take him to his destination to meet his target (Bill Murray).

The film is about an assassin who goes to Spain where he’s to meet his target as he encounters various eccentrics throughout his journey. That’s pretty much it as Jim Jarmusch infuses various references to films, art, and music into some of the dialogue while a lot of it is just repeated. Many of which involves the wonders of the earth and such as each character talk about their own interests. Then there’s the Lone Man character who has a routine where he does Tai Chi, orders two cups of espressos, changes suits between locations, and exchange matchboxes with the people he meets. In the matchbox are pieces of paper with strange codes that he ends up eating.

The lack of a conventional script allows Jim Jarmusch to create a film that is very reminiscent to many of the cinematic style of the European filmmakers he love. Particularly the late Michelangelo Antonioni as there’s a few references to his film. Due to the lack of script, Jarmusch allows scenes to play out with little to no dialogue where the Lone Man often encounters various places and sometimes go to them every day in his journey. In the beginning of the film, he is given specific instructions of what he should do while the things he hears is something that he will eventually say when he meets his target.

Jarmusch’s direction also plays to an element of surrealism since the Lone Wolf is told to use his imagination for his journey. There, he encounters things where things could be real or not. It’s all about getting to the target where Jarmusch has scenes play out for long periods of time so it allows the Lone Man to soak in where he’s at. With a lot of still shots, wandering hand-held, and dolly shots to help complement the sense of style that Jarmusch goes for. It’s something that not everyone will get into as many will feel it’s extremely pretentious and will get people bored. It’s a film that is very minimalist in its presentation though it’s also something that people will feel is very tedious as Jarmusch creates a very engaging and stylish film that is more about the personal journey rather than the action.

Cinematographer Christopher Doyle does a magnificent job with the film‘s colorful cinematography as he adds a vibrant look to many of the locations set in Spain from the lush day and nighttime exteriors to the intimate settings for the interiors for all of the apartment scenes in the film. Editor Jay Rabinowitz, a longtime Jarmusch collaborator, does an excellent job with the editing as he creates a stylish array of cuts from jump-cuts, slow-motion, and half-frame speeds to help give the film some movement for a film that is elliptical in its pacing.

Production designer Eugenio Caballero does a fantastic job with the art direction in creating different set pieces and decorations for the apartment scenes along with village that the Lone Man stayed towards the end of the film. Costume designer Bina Daigeler does a wonderful job with the costumes in creating the different suits that the Lone Man wears along with the strange clothing that the people he meets wear including a transparent rain coat for the nude woman. Visual effects supervisor Eric J. Robertson does a great job with the visual effects in the film to play up the surrealism that the Lone Man encounters during his trip in Spain with psychedelic colors flashing around.

Sound editor Robert Hein does a superb job with the sound to capture the intimacy of the rooms the Lone Man is in along with the locations he encounters outside whether its quiet or chaotic. The film’s score is performed by the Japanese experimental rock band Boris. Boris’ score is largely ambient with elements of drone metal in a piece with the band Sunn O))). Other soundtrack pieces includes tracks from Bad Rabbit, Carmen Linares, Manuel el Sevillano, LCD Soundsystem, Earth with Bill Frisell, and the Black Angels as bits of flamenco is played during a scene in the film that breaks a bit of film’s esoteric tone.

The casting is definitely a highlight of the film as it features an array of wonderful small appearances from Alex Descas and Jean-Francois Stevenin as the men who tell the Lone Man his assignment, Luis Tosar as a man with a violin case, Hiam Abbass as a driver, Gael Garcia Bernal as the Mexican, John Hurt as the man with a guitar, Tilda Swinton as a blonde cowgirl, Youki Kudoh as the Japanese woman talking about molecules, Paz de la Huerta as the nude woman, and Bill Murray as the target. Many of these performances, as small as they are, all stand out in their unique way where they all provide some humor to the events that is happening.

Finally, there’s Issach de Bankole in a brilliant performance as the Lone Man. While it’s a very restrained role that has him just reacting and be still throughout while not saying very much. It’s a very compelling performance as de Bankole provides a sense of professionalism as a man who seems to be the best at what he does. Having two cups of espressos, no sex during the job, no cell phones, and always being focused is part of the film’s theme of control as it’s a truly sensational performance for the actor.

While it may not be at the top of many of the films Jim Jarmusch has done in the past. The Limits of Control is still an intriguing film from the always independent director who continually challenges the idea of minimalism in traditional narrative films. While fans of art films will enjoy it for its style as well as its ensemble cast, it’s a film that the average filmgoer will be annoyed and bored by because not much happens. Despite its arty approach, The Limits of Control is still a superb though challenging film from Jim Jarmusch.

Jim Jarmusch Films: Permanent Vacation - Stranger Than Paradise - Down By Law - Mystery Train - Night on Earth - Dead Man - Year of the Horse - Ghost Dog: The Way of the Samurai - Coffee and Cigarettes - Broken Flowers - Only Lovers Left Alive - Paterson - (Gimmie Danger) - The Auteurs #27: Jim Jarmusch

© thevoid99 2011

Free Zone

One of Israel’s premier directors, Amos Gitai has garnered lots of attention for his European-approach to telling stories about Israel and its people.  Though his films aren’t always popular in his native homeland, it has garnered lots of international attention.  In 2005, Gitai released a film about a young American woman who joins an Israeli cab driver and a Palestinian woman on a road trip to the Jordan-Iraq-Saudi border.  The film is called Free Zone as it’s directed by Gitai with a script co-written with Marie-Jose Sanselme.  Starring Natalie Portman, Hiam Abbass, Hanna Laslo, Aki Avni, Makram Khoury, and Carmen Maura.  Free Zone is a harrowing yet entrancing road film from Amos Gitai.

After breaking up with her boyfriend Julio (Aki Avni), Rebecca (Natalie Portman) is an Israeli-American who is despondent over the break-up.  Some time earlier, she had met Julio’s mother (Carmen Maura) while it would be the first time she met Hanna (Hanna Laslo).  Hanna is taking over for her husband’s cab service after he got wounded by a Palestinian rocket.  With her husband unable to get some money that was owed to him by a man called the American.  Hanna decides to go on a road trip to the Free Zone area near the borders of Jordan-Iraq-Saudi Arabia.  Rebecca joins Hanna on the trip since she has nothing to do.  They travel through the borders of Jordan up to the Free Zone area for eight hours.

Though they had to deal with border guards and other characters, Hanna makes contact with a woman who knows the American.  After meeting the woman named Laila (Hiam Abbass), it is revealed that the American has disappeared somewhere in an oasis near the Free Zone.  Hanna reveals that she is coming to collect the money as Laila reluctantly takes Hanna and Rebecca to the oasis as the village near the oasis is on fire.  Rebecca meets an old man named Samir (Makram Khoury) as Laila is trying to find something through all of this chaos.  After learning that the son of the American has stolen the money and has gone missing, the three women go to the border to find him.

The film is essentially a road movie about three different women going on a trip to collect some money and settle things.  Yet, it’s not a conventional road film since there isn’t a lot of plot nor the story is very linear.  Still, since this is a film that features a young Israeli-American woman, a forty-year old Israeli who is originated from Germany, and a 40-year old Palestinian.  There is definitely going to be some political conflict of sorts but it’s not watered down nor does it try to come across into some kind of message.  Amos Gitai and his co-writer Marie-Jose Sanselme isn’t interested in the politics but rather be more interested in the characters.

Rebecca is a woman who is not just despondent over a break-up but also confused about her own identity.  Even as she reveals that her dad is Jewish and Israeli but her mother is an American while in Israel, she is said not to be Jewish.  Hanna is the wife of a cab drive who takes over so she can collect money that was owed to her wounded husband.  Hanna is revealed to be a tough-as-nails woman whose family came from Auschwitz during World War II and fled to Israel.  When they meet Laila, Laila is similar to Hanna though carries a sense of melancholia about the long-standing conflict between Israel and Palestine as she reveals to Rebecca that everyone should learn the language of their enemies.  Rebecca suggests that if they do that, maybe there wouldn’t be as much conflict.

Gitai’s direction is truly marvelous as he goes for long takes for many of the film’s sequences.  Though the opening shot of Rebecca crying for six-seven minutes gives the audience an idea of what kind of film they want to see.  There is no real explanation to what Gitai wants to say.  Even as he moves on where he takes the audience on a road trip as if they’re invisible passengers.  Gitai goes for a cinema verite style that is based from his own in documentaries as it’s mostly shot with hand-held cameras and steadicams.

One of the key stylization Gitai uses primarily for the first act are layers of superimposed, dissolved images that are on top of another.  During Hanna and Rebecca’s journey to the Free Zone, there’s another image playing at the same time on top of it which involves Rebecca and Hanna’s first meeting with Rebecca’s boyfriend’s mother.  Another is a flashback of Rebecca’s relationship with her boyfriend.  For Hanna’s own flashback, it’s about what happened to her husband when he gets wounded by a Palestinian rocket.

While some might find these superimposed dissolving images to be pretentious, it is a stylistic choice that works because gives the audience a different idea of how to tell a story while moving it forward.  With the film moving on, it does lead to a climatic third act where some questions are revealed but then comes this strange, abrupt ending.  The ending will be very confusing to some viewers as it comes across as very off-putting at first.  Yet, it’s one that leaves lots of interpretation whether its political or personal.  It’s a strange way to end the film.  Despite some of the flaws in stylization and a few pacing issues for a film with little-to-no plot, it is a very compelling film from Amos Gitai.

Cinematographer Laurent Brunet does some excellent work with the film‘s grainy yet verite look of the film.  Even as it‘s shot with very little lighting styles for many of the film‘s nighttime scenes including the famous oasis fire scene.  Editors Yann Dedet and Isabelle Ingold do a superb job with the film’s editing, notably with the superimposed dissolves to create a stylized approach to telling two plotlines into one without split-screens.  Art director/costume designer Miguel Markin, along with costume designer Aline Stern, does a very good job with the look of the SUV that Hanna drives while the costumes are mostly casual clothing that the women wear. 

Sound designers Alex Claude and Michel Kharat do some nice work with the on-location sound including the layers of sound for the film’s superimposed layered images scenes.  The music opens and ends with a traditional track while another song is played during late in the third act as the traditional piece is meant to convey ideas of what the film is sort of about.

The cast is great as it features some small yet memorable appearances from Uri Klauzner as Hanna’s husband, Aki Avni as Rebecca’s former boyfriend, Adnan Tarabshi as gas station owner, and in a cameo role as Rebecca’s boyfriend’s mother, Spanish film legend Carmen Maura who brings a light, comical performance.  Makram Khoury is very good as Samir, a man who runs a Palestinian oasis camp who befriends Rebecca as he reveals the history of the location along with a big secret.  Hiam Abbass is excellent as Laila, a Palestinian black market operator who is trying to help Hanna get her money while dealing with her own issues as well as her own feelings as a Palestinian towards the Israeli Hanna.

Hanna Laslo is superb as Hanna, a cab driver who is hell-bent on getting some money that was owed to her husband.  Though she’s known largely as a comedy actress in Israel, it’s a remarkable yet low-key performance as Laslo is able to play it straight while adding bits of humor to her role as someone who is truly tough-as-nails.  Even as it’s a performance that reveals why she won the Best Actress prize at the 2005 Cannes Film Festival.  Finally, there’s Natalie Portman in what is a very low-key yet surprising performance as Rebecca.  Though it’s not up to par with some of her great performances in other films before and since, it’s Portman at her finest where she maintains an observant approach as an outsider while showing that she can speak perfect Hebrew (since she really is an Israeli-American).  Even as she got to show a natural grace that most young actresses don’t possess for a project as unconventional as a film like this.

Free Zone is a provocative yet haunting road film from Amos Gitai.  Featuring phenomenal performances from Natalie Portman, Hanna Laslo, and Hiam Abbass, it’s a road film that plays to non-conventions while sort of acting as a feminist film of sorts.  Though not everyone will enjoy the unconventional approach of the film as well as some of the idea over the Israeli-Palestinian conflict along with an abstract ending.  It’s a film that gives viewers a chance to see the Middle East as if they’re on a road trip for anyone who hasn’t visited that world.  In the end, despite its flaws, Free Zone is a remarkable yet evocative film from Amos Gitai.

© thevoid99 2010