Written and directed by Denis Villeneuve, Maelstrom is the story of a troubled woman who embarks on an affair with a young man whose father she accidentally killed in a hit-and-run. The film is a mixture of fantasy, comedy, and tragedy as it plays into a woman’s descent as he story is told by a fish that is voiced by Pierre Lebeau. Starring Marie-Josee Croze, Jean-Nicolas Verrault, and Stephanie Morgenstern. Maelstrom is an eerie yet ravishing film from Denis Villeneuve.
The film follows a troubled woman whose encounter with an old man she accidentally hit with his car that eventually lead to his death has her dealing with guilt where she would meet the man’s son whom she falls for. That is pretty much the entire premise of the film as it’s told by this mysterious fish that is being gutted and cut into pieces as it relates to this woman’s encounters with fishes throughout the course of the film including the man she would accidentally hit with her car. Denis Villeneuve’s screenplay does take a back-and-forth narrative in terms of the story that this fish is telling yet it is still straightforward in the way it follows the life of Bibiane Champagne (Marie-Josee Croze) who is the daughter of a famous figure as she runs three boutique shops.
Yet, Bibiane is dealing with an abortion she had as well as her own personal issues with substance abuse where a night-out would lead to this tragic encounter with a fishmonger who would die hours later in his home. The man’s son Evian (Jean-Nicolas Verrault) would arrive in the film’s third act to hear the news as his part in the narrative play into Bibiane’s chance to make amends but also deal with emotional tailspin she’s in.
Villeneuve’s direction is definitely odd in the way it opens as it would often include recurring images of wavy waters as well as fish. Shot largely on location in Montreal, Villeneuve plays into a world where this young woman is definitely lost as she spends much of her time going to clubs, drinking, and coping with the abortion she had as it play into her lack of direction. While Villeneuve would use some wide shots for some of the film’s location setting as well as in some key dramatic moments in the film. Much of his direction emphasizes on close-ups and medium shots as it play into Bibiane’s own despair along with her encounter with death and disappointment. Villeneuve’s usage of fish in the film also play into Bibiane’s world as there’s a scene where she and her friend Claire (Stephanie Morgenstern) are eating octopus where it doesn’t taste good as it would have some relevance to the film’s plot.
Villeneuve’s direction is also filled with these images that play into the idea of connection and faith where Bibiane and Evian would both have different encounters with a mysterious man (Marc Gelinas) whom they talk to as it play into the idea of fates and directions. Even as the fish that is narrating the film would talk about the decisions the characters would make as it also play into the way they see the world including the life of Bibiane. The scenes that involve the fish and the fishmonger (John Dunn-Hill) are presented in simple compositions yet it is one of these abstract moments in the film as it does play into what is happening in the main narrative. Overall, Villeneuve creates a riveting yet intoxicating film about a woman coping with loss and guilt.
Cinematographer Andre Turpin does brilliant work with the film’s slightly-tinted cinematography with its usage of heightened colors to play into the exteriors and interiors of the film as it help add a unique and grimy look that play into Bibiane’s view of the world. Editor Richard Comeau does excellent work with the editing as it does have some nice usage of jump-cuts and fade-outs as it help play into some of the intense dramatic moments in the film. Production designer Sylvain Gingras and set decorator Ginette Pare do fantastic work with the look of the boutique shops that Bibiane runs as well as her apartment and the place where the fishmonger is cutting up the fish. Costume designer Denis Sperdouklis does nice work with the costumes as it is largely casual to play into the personalities of the characters.
Special effects supervisor Louis Craig does terrific work with the animatronics for the way the fish talks during the scenes of narration as the fish is being gutted and cut-up for those small scenes. Sound editor Guy Pelletier does superb work with the sound as it play into the atmosphere of some of the film’s locations as well as the sounds of water that is prevalent throughout the film. The film’s music by Pierre Desrochers is wonderful for its low-key piano-based orchestral score that play into the drama as it appears in small moments while the soundtrack is offbeat for its usage of music by Charles Aznavour, Tom Waits, and a song from the musical Hair.
The casting by Lucie Robitaille is marvelous as it feature some notable small roles from Bobby Beshro as Bibiane’s older brother Philippe who runs the family business, Marc Gelinas as the stranger that Bibiane meets at a subway, John Dunn-Hill as the fishmonger, Kliment Denchev as Evian’s father Annstein Karlsen, and Pierre Lebeau in a superb role as the voice of the fish who narrates the film. Stephanie Morgenstern is fantastic as Bibiane’s best friend Claire who is trying to help Bibiane as she also tries to keep Bibiane away from drugs and alcohol. Jean-Nicolas Verrault is excellent as Evian as a diver who learns about his father’s death as he copes with not being able to perform his father’s final wishes while starting to be intrigued by Bibiane whom he would fall for. Finally, there’s Marie-Josee Croze in an incredible performance as Bibiane Champagne as a troubled woman who is dealing with the aftermath of an abortion and later killing a man accidentally with her car as it is this haunting and anguished performance that play into loss and guilt as it is a career-defining performance from Croze.
Maelstrom is a remarkable film from Denis Villeneuve that features a great leading performance from Marie-Josee Croze. Along with its offbeat premise, character study of grief and guilt, eerie visuals, and a strong supporting cast. The film is a strange yet intriguing film that plays into a woman’s guilt over her actions and lack of direction as it is told through ideas of surrealism. In the end, Maelstrom is an incredible film from Denis Villeneuve.
Denis Villeneuve Films: August 32nd on Earth - Polytechnique – Incendies - Prisoners (2013 film) - Enemy - Sicario - Arrival (2016 film) - Blade Runner 2049 - Dune-Part One (2021 film) - Dune-Part Two - (Dune: Messiah) - The Auteurs #68: Denis Villeneuve
© thevoid99 2018
Written and directed by John Michael McDonough, Calvary is the story in the week of a life of a priest who starts to feel doubt following a threat from an anonymous man. The film isn’t just an exploration about faith but also doubt where a priest contends with those in his parish mocking its ideas while he is trying to help his troubled daughter who has recovered from a suicide attempt. Starring Brendan Gleeson, Kelly Reilly, Domhnall Gleeson, Chris O’Dowd, Isaach de Bankole, Dylan Moran, and Aidan Gillen. Calvary is a mesmerizing yet riveting film from John Michael McDonough.
Set in an entire week in a small town in Ireland, the film revolves a priest who receives a threat during confession stating that he will be killed on the next Sunday for sins that other priests had done to him when he was a child. The film is a study into a man’s life on what could be his final week as he receives a visit from his daughter who is recovering from a suicide attempt while he does his duty as a priest. Along the way, he deals with locals whom he suspects is the one making this threat while certain events would happen wouldn’t just test his faith but also raise questions about his own duties as a man.
Even as the character of Father James (Brendan Gleeson) is trying to be a good man and do good for others while being aware that he is very flawed. That is part of the brilliance in the film’s screenplay that John Michael McDonough creates where it’s not just a character study but also a mystery where Father James ponders who wants him dead and if he could really help this person. There are also characters who do see Father James help such as a millionaire named Michael Fitzgerald (Dylan Moran) who is going through a crisis of his own despite the fact that he’s an unpleasant man. At the same time, Father James deals with other things in his small town that makes him question his own faith.
McDonough’s direction is very engaging for the way he opens the film with this static shot of Father James listening to a confession from the person who would ruin him for an entire week. It lasts for a few minutes in an entirely unbroken take as it plays into the sense of dread that would loom throughout the film. While it is largely a suspense-drama, McDonough manages to put in a few quirks as it relates to the world that Father James is in as there are characters he encounters who are either good or just those that are immoral. McDonough’s approach to framing with his usage of wide and medium shots, along with close-ups, play into Father James own sense of detachment from what is happening to him as he struggles to find meaning into his role with the world. Especially as it relates to his own daughter Fiona (Kelly Reilly) who is seeking help as she becomes a reason for Father James to do something good as he is also trying to repair their own relationship in what could be his final days. Overall, McDonough creates an intriguing yet compelling drama about a priest’s encounter with doubt.
Cinematographer Larry Smith does excellent work with the film‘s cinematography in capturing not just the Irish landscapes and mountains but also in some of the scenes set at night for some intricate lighting including the interiors at the pubs where many of the characters go to. Editor Chris Gill does nice work with the editing as it is quite straightforward with a few stylish cuts to play into the air of suspense. Production designer Mark Geraghty and art director Fiona Daly do brilliant work with the look of the church that Father James works at as well as some of the places including the pub where most of the characters frequent. Costume designer Eimer Ni Mhaoldomhnaigh does wonderful work with the costumes as it is mostly casual with the exception of the robes that Father James wears.
Visual effects supervisor Sheila Wickens does terrific work with the film‘s minimal visual effects for a dream sequence Father James would have involving his daughter as it plays into the events of what could be his last day. Sound editor Ian Wilson does superb work with the sound to play into the atmosphere of the locations as well as some sound effects for a few key scenes. The film’s music by Patrick Cassidy is amazing for its traditional-based Irish folk music along with some orchestral pieces to play into the drama while music supervisor Liz Gallacher brings in a soundtrack that doesn’t just feature traditional Irish folk music but also rock and blues music that Father James and some of the other characters listen to.
The casting by Jina Jay is fantastic as it features notable small performances from Domhnall Gleeson as a former pupil of Father James who is serving time for murder, Owen Sharp as a young boy named Leo, David McSavage as a bishop whom Father Jay turns to for guidance, Marie-Josee Croze as a Frenchwoman whose husband is critically injured from a car accident who turns to Father James for comfort, Killian Scott as a young man named Milo who is unsure of what to do with his life, Pat Shortt as a gay hustler who is having a thing with Father Leary, David Wilmot as Father James’ fellow priest Father Leary, Gary Lydon as a police inspector, and M. Emmet Walsh in a terrific performance as an American writer who is a friend of Father James. Other noteworthy small roles include Orla O’Rourke as the promiscuous Veronica who sleeps around with the men in the small town and Isaach de Bankole in a superb performance as the mechanic Simon.
Dylan Moran is brilliant as the self-loathing millionaire Michael Fitzgerald who tries to seek help from Father James only to display more of his own sense of hatred towards everything including the ideas of what money couldn’t buy. Aidan Gillen is excellent as an atheist doctor who likes to antagonize Father James with his views on the world in order to disprove the idea that God exists. Chris O’Dowd is amazing as the local butcher Jack who copes with his cheating wife Veronica while dealing with other things in the hopes he can find some answers with his own troubles. Kelly Reilly is remarkable as Father James’ daughter Fiona as a woman who is recovering from a suicide attempt as she seeks to try and repair her relationship with her father while watching him deal with his own sense of doubt. Finally, there’s Brendan Gleeson in a phenomenal performance as Father James as this priest who is dealing with a threat that would haunt him for the course of a week as he deals with doubt and other things that would shake his faith as it’s a very eerie yet powerful performance for Gleeson who is at the top of his game with this role.
Calvary is a sensational film from John Michael McDonough that features an incredible performance from Brendan Gleeson. Not only is it a captivating film about faith and doubt but also an eerie character study where a man whose job is to do good and help those is being shaken by dark forces around him. In the end, Calvary is a marvelous film from John Michael McDonough.
Related: The Guard
© thevoid99 2015
Based on the memoir of Jean-Dominique Bauby, Le scaphandre et le papillon (The Diving Bell and the Butterfly) is the story about the famed editor of Elle magazine who suffered a stroke at the age of 43 where he would become paralyzed as the only part of his body that moves is his left eye as he would tell his own story from that eye. Directed by Julian Schnabel and screenplay by Ronald Harwood, the film is an unconventional bio-pic as Mathieu Almaric plays the role of Bauby from the man who had a charmed life as he later succumbs to paralysis as he copes with the remaining days of his life. Also starring Emmanuelle Seigner, Marie-Josee Croze, Anne Consigny, Isaach de Bankole, and Max von Sydow. Le scaphandre et le papillon is a majestic yet rapturous film from Julian Schnabel.
In 1995 at the age of 43 while driving with his son, Jean-Dominique Bauby suffers a stroke as he wakes up three weeks later realizing he is paralyzed as the only thing he can see and feel is from his left eye. Throughout the course of the film, Bauby would use his eye to communicate with the help of a kind nurse in Henrietta (Marie-Josee Croze) through a series of letters that are used frequently where Bauby would write his memoir with the help of an editor in Claude (Anne Consigny) as he would reflect on his own life as well as his own life with his ex-girlfriend Celine Desmoulins (Emmanuelle Seigner) and their three children. Bauby also talks about the day of his stroke and his meeting with his father (Max von Sydow) as he begins to contemplate about the days he has left in his own life.
Ronald Harwood’s screenplay definitely plays with a back-and-forth narrative structure of sorts since it is told largely from Bauby’s perspective about the life he had as well as the life he is having as a paralyzed man. Much of it would involve aspects of what Bauby did as well as his frustrations of having to live where his left eye is the only thing that is working as he thinks about sex and football. The film’s title serves as a metaphor for the life that Bauby is in as it would appear in a series of surrealistic things that are playing in his head including things that aren’t from his time as Harwood uses a lot of voice-over narration to play into Bauby and his struggles. Even as he reveals flaws into who he is as a person as he is someone that is very selfish and sleeps around with various woman as he even fantasizes about the women who are helping him. Upon knowing that he’s got a limited amount of time, the self-reflective approach to the narrative not only helps Bauby but display someone who is trying to find some kind of redemption as the script allows him to do that.
Julian Schnabel’s direction is truly mesmerizing for the way he shoots nearly half of the film from Bauby’s perspective as if the camera is playing the role of Bauby’s left eye. There’s elements of hand-held cameras with blurry edges to play into that idea that the camera is Bauby where it shows an idea of how he is feeling and how he is coping with being paralyzed. Scenes shot outside of the eye has this sense of style in the way Schnabel he shoots photo shoots as well as scenes on the beach where Bauby is surrounded by his children. The scenes involving Bauby and his father are among the most intimate and powerful to showcase this relationship that is quite unique as they’re both going through some form of illness. Schnabel’s approach to metaphoric images are entrancing as it plays to some of the surreal elements in the film yet they do make sense into what Bauby is dealing with as he is a man coping with death and aspect of his own charmed but troubled life. Even as Schnabel creates compositions and framing devices to play into the man’s final days as it showcases the kind of life that Bauby had and how he refused to die without making some kind of difference. Overall, Schnabel creates a very enthralling yet intoxicating film about a man dealing with death as the only part in his body with any sense of life is his left eye.
Cinematographer Janusz Kaminski does incredible work with the film‘s cinematography from the usage of colors and lights for the scenes shot from the perspective of the eye with some scratchy blurs and images to some of the interior/exterior scenes including the use of gorgeous colors and lights for a sequence at Lourdes where Bauby is intrigued by elements of spirituality. Editor Juliette Welfing does amazing work with the editing with its usage of jump-cuts as well as creating a few montages and other stylistic cuts to play into Bauby‘s dizzying life. Production designers Michel Eric and Laurent Ott do brilliant work with the look of the hospital room and its hallways including some very mesmerizing scenes of shops at the city of Lourdes.
Costume designer Olivier Beriot does nice work with the costumes from the casual clothes of the main characters to some period clothing presented in a few surrealistic scenes in Bauby‘s head. Sound editor Francis Wargnier, with mixer Dominique Gaborieau and recordist Jean-Paul Mugel, does fantastic work with the sound to create textures into Bauby‘s narration as well as what he might be hearing in his head along with some of the atmosphere in the locations. The film’s music by Paul Cantelon is wonderful as it’s mostly low-key with its plaintive piano score to play into the different moods of the film while Schnabel supervises the film’s soundtrack that features music from the Velvet Underground, Tom Waits, U2, Joe Strummer and the Mescaleros, Charles Trenet, Emmanuelle Seigner with Ultra, and the Dirtbombs.
The film’s phenomenal ensemble cast includes some notable appearances from Lenny Kravitz as himself in a photo shoot, photographer Jean-Baptiste Mondino, Michael Wincott, Jean-Pierre Cassel in a dual role as a Lourdes vendor and a friend of Bauby, Elvis Polanski as a young Bauby, Gerard Watkins as a doctor, Marina Hands as Bauby’s Lourdes’ date Josephine, Niels Arestrup and Isaach de Bankole as friends of Bauby who visits him, Agathe de La Fontaine as his mistress Ines, Olata Lopez Garmendia as a therapist, Patrick Chenais as the doctor who would tell Bauby his condition, Emma de Caunes in a fantasy version of Empress Eugenie, and as the trio of Bauby’s children with Desmoulins, there’s Theo Sampaio, Fiorella Campanella, and Talina Boyaci. Max von Sydow is brilliant as Bauby’s father as a man who hopes for his son to go into a better path as he also copes with his own stroke.
Emmanuelle Seigner is excellent as Bauby’s ex-girlfriend Celine Desmoulins who is the mother of his three children as she reconnects with him in the wake of his illness as she provides the reasons for him to be faithful. Anne Consigny is amazing as Claude who would help Bauby write his memoir as he is intrigued by her beauty. Marie-Josee Croze is fantastic as the nurse Henriette Durand who would be the one to communicate with him through an alphabet system that she would perfect as she would help others in communicating with him. Finally, there’s Mathieu Almaric in a magnificent performance as Jean-Dominique Bauby as he brings a sense of cool and charm to the man in his prime as well as a selfishness and confusion. When he’s paralyzed, Almaric maintains a restraint to his role where he uses his own left eye to do the performance as it’s just astonishing to watch.
Le scaphandre et le papillon is an outstanding film from Julian Schnabel as it features a phenomenal performance from Mathieu Almaric as Jean-Dominique Bauby. Along with a great supporting cast, some amazing technical work from Janusz Kaminski and Juliette Welfing, Ronald Harwood’s screenplay, and a mesmerizing soundtrack. The film is definitely very unconventional in terms of its presentation as well as creating something that feels very engaging in a way a man deals with mortality. In the end, Le scaphandre et le papillon is a tremendously powerful film from Julian Schnabel.
Julian Schnabel Films: Basquiat - Before Night Falls - Berlin: Live at St. Ann’s Warehouse - Miral - At Eternity's Gate - The Auteurs #43: Julian Schnabel
© thevoid99 2014
