(Played in Competition for the Palme d’Or at the 2017 Cannes Film Festival)
The film revolves around an environmentalist who becomes the new CEO of a beef manufacturing company as she announces the breeding of a new super-pig where 26 specimens are sent to various places all over the world and to see what would be the outcome of those pigs in 10 years in the hope to end world hunger. Yet, the film is more about the bond between a young girl and a pig living in the mountains in South Korea as the pig Okja is discovered by this corporation hoping to use it for a special presentation and then kill it for profit. It is a film that explores not just animal rights but also a corporate CEO wanting to do something right despite the fact that she’s doing the wrong thing in covering up lies with the aid of a zoologist/TV show host who has become emotionally and mentally unstable. Add a group of animal activists and other corporate interests as this young girl is pulled in different directions over her beloved Okja.
The film’s screenplay by Bong Joon-ho and Jon Ronson explore the many complexities of the cattle industry and its war with animal rights activists with this pig in the middle and a young girl in Mija (Ahn Seo-hyun) just trying to save it and bring it back home. Still, the characters that Joon-Ho and Ronson create aren’t typical of what is expected as the CEO of the Mirando corporation in Lucy Mirando (Tilda Swinton) is trying to clean up the company’s image and to make it do good despite the fact that she’s covering up lies and remove the troubled legacy that her father and twin sister Nancy have created. The corporate face of the company in zoologist/TV host in Dr. Johnny Wilcox (Jake Gyllenhaal) is a wacky eccentric who has become troubled as well as guilt-ridden for the role he’s playing when Mirando makes some drastic decisions. The animal rights activist group known as ALF lead by Jay (Paul Dano) is trying to maintain some dignity in helping Mija but also doesn’t want to lie to her even though one of his fellow activist in K (Steven Yeun) lies in order to get the mission to save Okja when the pig is sent to New York City for this presentation with Mija also being an unwilling participant from the Mirando corporation.
Joon-ho’s direction is quite grand in the way he presents this world of corporate interests and their need to exploit an animal for profit as it is set in New York City and nearby areas as well as Seoul, South Korea and mountains near the city though much of the film is shot in parts of Seoul and Vancouver. The film opens with a scene in a factory where Lucy Mirando is trying to get people to see that her family’s past is going to be removed for a new future as it is presented in grand fashion with wide and medium shots. Still, Joon-ho maintains a simplicity in the scenes set in the mountains with its small ponds, waterfalls, and forests that Mija and Okja like to play in as it is this world of peace while they live with Mija’s grandfather in this simple home though they have access to TV and internet. When Okja is given to the corporation with Mija’s grandfather given a big payout for raising the super-pig, Joon-ho showcases Mija’s determination to retrieve Okja in Seoul as it has these unique tracking shots in some elaborate chase scenes inside a building, an underground mall next to a subway, and in a highway are among these moments where Joon-ho infuses action, suspense, and humor.
With the character of Okja being a major sense of importance to the film thanks in part to work of one of the film’s visual effects supervisors in Erik de Boer, who did the character design, where the actors not only get to interact with this creature but also play into the stakes of the film. Notably where Joon-ho brings the character to New York City as there’s a chilling scene with Okja and Dr. Wilcox at a lab that is disturbing with ALF watching in another location as it play into Dr. Wilcox’s guilt in the corporate role he plays but also in how disturbed he is in doing his job. There is also this sense of disconnect that Joon-ho showcases as it relates to Lucy Mirando about how she approaches business and how her sister Nancy did thinks as the latter is all about money and getting shit done while the former is about image. The sense of humanity also comes into play into its third act with Okja and Mija in the middle as it play into Lucy’s own desire for hope despite the lies she’s hidden yet is followed by a much darker reality that is closer to Nancy’s vision. Yet, there is something hopeful through Mija’s own simple actions but also her own understand about how the world works. Overall, Joon-ho crafts a witty yet heartfelt film about a farm girl trying to save her super-pig from a corporation that wants to kill it for profit.
Cinematographer Darius Khondji does brilliant work with the film’s cinematography with its usage of naturalistic lighting and lush colors for the scenes in the mountain with low-key lights for the scenes at night while aiming for something a little bit more stylish for the scenes set in New York City in terms of its lighting including the scenes at the factory at night. Editor Yang Jin-mo does excellent work with the editing as it does have some unique fast-cuts for some of the chase and action scenes while also being straightforward in its approach to drama and suspense. Production designers Ha-jun Lee and Kevin Thompson, with art directors Jung-yoon Bae, Deborah Jensen, and Gwendolyn Margetson plus set decorators Susan Bode, Won-Woo Cho, Louise Roper, Yeonghee Seo, and Suk-ki Song, do amazing work with the look of the places in New York City including the Mirando logo and the factory where the super-pigs are forced to stay in the third act as well as the little home Mija and her grandfather live in. Costume designers Se-yeon Choi and Catherine George do fantastic work with the stylish clothes that Lucy Mirando wears as well as the wacky clothing of Dr. Wilcox, the guerilla-inspired gear of ALF, and the simplistic look of Mija.
Hair/makeup designers Hyunkyu Hwang and Sharon Martin do nice work with the look of Lucy Mirando in her quirky presentation from the braces on her teeth in the first scene to her hairstyle that is different from the look of her sister. Special effects supervisor Kyung-soo Park, along with visual effects supervisors Erik de Boer, Angela Ji, Jun Hyoung Kim, and Jeon Hyoung Lee, do terrific work with not just the design of Okja but also some set-dressing for some scenes in the film as well as the presentation of the chase sequence. Sound editor Tae-young Choi and sound designer Dave Whitehead do superb work with the sound in the way Okja sounds, with voice work from Lee Jeong-eun, as well as how certain objects sound including the cattle prod. The film’s music by Jaeil Jung is incredible for its unique mixture of flamenco, classical, and electronic pieces as it adds to the suspense and drama while music supervisor Jemma Burns cultivates a fun soundtrack that features music from the Isley Brothers, John Denver, Johann Sebastian Bach, and Osvaldo Pugliese.
The casting by Jenny Jue is phenomenal as it feature some notable small roles and appearances from Lee Jeong-eun as the voice of Okja and a woman in a wheelchair, Lee Bong-ryun as a Mirando receptionist at the Seoul office building, Choi Woo-shik as an indifferent Mirando driver in Seoul, Yoon Je-moon as a Mirando representative who checks on Okja’s health, Byun Hee-bong as Mija’s well-meaning grandfather who is reluctant to give Okja away, Devon Bostick and Daniel Henshall as two activists for ALF in their respective names in Silver and Blond, and Shirley Henderson in a funny performance as Lucy’s assistant Jennifer who oversees some of the publicity detail involving Mija and Lucy for the big event. Giancarlo Esposito is superb as a Mirando executive in Frank Dawson who keeps an eye on Lucy for Nancy while trying to understand what she’s trying to do as well as see if she can succeed. Steven Yeun and Lily Collins are fantastic in their respective roles as ALF activists K and Red with the former being a tech genius who is also Korean as he helps translate for Mija while the latter is a weapon experts of sorts though she has no intentions in harming anyone while also having some funny things to say.
Jake Gyllenhaal is excellent as the wacky Dr. Johnny Wilcox as a zoologist/TV host who is the face of Mirando as someone who speaks in a somewhat high-pitched voice as he is also disturbed in his love for animals to the point that he becomes consumed with guilt and troubling behavior. Paul Dano is brilliant as Jay as a leader of ALF who is trying to do things the right way and help Mija while not wanting to make her uncomfortable as he’s a well-meaning activist that is aware of the compromises that he has to make. Tilda Swinton is amazing in a dual role as twin sisters Lucy and Nancy Mirando as she provides a lot of quirks and upbeat energy into the former as someone trying to reinvent the company’s image while the latter is only seen briefly as someone that is more of a pessimist and a better understanding of business. Finally, there’s Ahn Seo-hyun in an incredible performance as Mija as a young farm girl who cares for this massive super-pig as she deals with Mirando’s intentions for the pig as she does what she can to save him as it is this understated and somber performance from Seo-hyun who provides a lot of the heart in the film.
Okja is a phenomenal film from Bong Joon-ho. Featuring an incredible ensemble cast, themes of activism and animal rights, dazzling visuals, a sumptuous music score, and mixture of genres. The film is definitely a witty and compelling film that explores a young girl trying to retrieve her pet and her understanding about a world that is just trying to clean itself up despite their dirty methods. In the end, Okja is a sensational film from Bong Joon-ho.
Bong Joon-ho Films: Barking Dogs Never Bite - Memories of Murder - The Host (2006 film) - Tokyo!-Shaking Tokyo - Mother (2009 film) - Snowpiercer - Parasite - Mickey 17 - The Auteurs #44: Bong Joon-ho
© thevoid99 2021
For the 27th week of 2021 as part of Wandering Through the Shelves' Thursday Movie Picks. We go into the subject of female athletes as professional women’s sports in basketball and futbol (soccer for you stupid Americans) has been getting more popular in recent years. Even as it proves that not only could girls play sports are also better than some of the guys. Here are my three picks:
1. Love & Basketball
2. Whip It
3. I, Tonya
© thevoid99 2021
(Winner of the Best Actor Prize to Antonio Banderas and Best Soundtrack Award to Alberto Iglesias at the 2019 Cannes Film Festival)
The film revolves around a filmmaker at the twilight of his film career as he is coping with severe back pain as he learned that one of his older films has been restored where he reunites with an actor from that film while reflecting on his childhood. It’s a film that is a look into a man that is dealing with a lot as well as the fact that he is going through writer’s block, regrets, loss, and severe physical pain. Pedro Almodovar’s screenplay explores the life of filmmaker Salvador Mallo (Antonio Banderas) as he receives word that one of his old films had been remastered and restored for a special screening where he bumps into an old friend who gives him the number and address of an actor from that film whom he hadn’t spoken to in more than 30 years. Upon his reunion with Alberto Crespo (Asier Etxeandia), the two discuss the past while Salvador tries heroin for the first time as it forces him to think about his time as a child (Asier Flores) where he and his mother Jacinta (Penelope Cruz) move into a cave house that his father bought.
It is where the young Salvador teaches a young laborer/draughtsman in Eduardo (Cesar Vicente) to read and write while he would later be sent to a school where he would learn a lot about art and cinema. Still, Salvador feels like he hasn’t done enough as it relates to his mother while he is also dealing with the severe physical pain that has him choking often at times where he uses heroin to cope with the pain. Another unlikely reunion in a former lover in Federico (Leonardo Sbaraglia) would also force him to realize what is going on as he reflects on the last days with his mother (Julieta Serrano) before her passing while turning to his longtime assistant Mercedes (Nora Navas) for help as she believes something else isn’t right.
Almodovar’s direction does have its flair of style that he’s known for in his compositions yet it opens with Salvador in a pool as he’s underwater as it is this metaphorical image of a man that is believing he’s about to encounter his final days. Shot on location in Madrid as well as the province of Valencia with Paterna being a major location of the film as it plays into the life of the young Salvador. Almodovar’s compositions are largely straightforward yet he knows when to create something that is striking and evocative in a simple shot. Whether it’s in some of the wide shots of the Paterna exteriors or certain locations in Madrid to the more intimate shots at a small theater or Salvador’s apartment home with its medium shots and close-ups. Notably in the way he stages a one-man performance Alberto does where Federico watches as it play into this key moment for Salvador even though he doesn’t watch Alberto’s performance.
Almodovar’s direction would include these somber scenes that revolves around Salvador’s childhood that are presented with an intimacy in the cave home which is claustrophobic at times yet there is also a moment that also play into events that would affect Salvador’s sexuality as well his own sense of nostalgia as an adult. Almodovar would also infuse some voice-over narration from Salvador that includes an animation sequence by Juan Gatti that explores Salvador’s journey as a filmmaker and his fascination with science and geography that would inspire much of Salvador’s work. The film’s third act plays into Salvador’s faults as well as the realization that he’s been shielding himself from his past including his childhood along with his own desperation to rid the physical pain he’s enduring. Overall, Almodovar crafts an intoxicating and touching film about a filmmaker dealing with his past, regrets, and the twilight of his life and career.
Cinematographer Jose Luis Alcaine does brilliant work with the film’s lush and colorful cinematography with a naturalistic look for many of the film’s daytime scenes as well as the interior scenes at the cave-house along with some stylish lighting for some of the interior scenes set in Madrid. Editor Teresa Font does excellent work with the editing as it is stylized with its fast-cuts and montages for some parts while also being straightforward for much of the film in playing up the drama. Production designer Antxon Gomez, with set decorator Vicent Diaz and art director Maria Claria Notari, does amazing work with the look of the cave-house as well as Salvador’s apartment with so much attention to detail from his collection of paintings to his bedroom. Costume designer Paola Torres does fantastic work with the colorful clothes that the characters wear including a few stylish suits that Salvador wears to the ragged look of Alberto as well as the dresses the young Jacinta wears.
Makeup designer Ana Lozano does terrific work with the look of the characters from the bearded look of Salvador as well as the look of the older Jacinta. Sound designer Pelayo Gutierrez does superb work with the sound as it play into the atmosphere of some of the locations as well as how music is played on a boom box to maintain that sense of realism. The film’s music by Alberto Iglesias is incredible for its lush and rapturous orchestral score that play into some of the film’s melodrama as well as the air of nostalgia for the past as it is a major highlight of the film with a soundtrack that features folk and pop music of the time period that the characters live in.
The casting by Eva Leira and Yolanda Serrano is wonderful as it feature some notable small roles and appearances from producer Augustin Almodovar as a priest, Luis Calero as the music teacher for young Salvador, the trio of Marisol Muriel, Paqui Horcajo, and the Spanish pop singer Rosalia as women washing clothes with the young Jacinta early in the film, Pedro Casablanc as Dr. Galindo who expresses concerns for Salvador’s health, Julian Lopez as a movie theater presenter wanting to interview Salvador and Alberto, Susi Sanchez as a family friend of Jacinta in Beata, Sara Sierra as a young village woman in Conchita, Raul Arevalo as Salvador’s father Venancio, and Cecilia Roth in a terrific one-scene performance as an old friend of Salvador in Zulema who gives him Alberto’s address.
Cesar Vicente is superb as a young laborer/painter in Eduardo whom the young Salvador teaches to read and writer as he is proven to be a gifted painter that helps the young Salvador and young Jacinta. Asier Flores is fantastic as the young Salvador as a young boy who is fascinated by cinema and books while is unsure about going to this prestigious school fearing he would never see his family again. Nora Navas is excellent as Salvador’s personal assistant Mercedes as a woman who is aware of Salvador’s ailing health and growing depression as she does what she can to help him but also aware of what is the cause of his physical pain. Penelope Cruz and Julieta Serrano are amazing in their respective performances as the younger and older versions of Salvador’s mother Jacinta with Cruz providing this sense of warmth expected in a maternal role but also frustrations over her new living situation and what her son wants. Serrano’s performance as the older version of Jacinta is more restrained as a woman just frustrated that she is on her way out as she also laments over Salvador’s choices in life and in his career while maintaining that maternal warmth.
Leonardo Sbaraglia is brilliant as an old lover of Salvador in Federico as a man from Salvador’s past who makes a brief visit to Madrid from Buenos Aires as he watches Alberto’s one-man show that prompts him to visit Salvador where they reminisce the past. Asier Etxeandia is incredible as Alberto Crespo as an actor who worked with Salvador in their greatest collaboration together as he hadn’t seen Alberto in more than 30 years where they re-establish their friendship and talk about past issues Etxeandia provides a charisma and charm to a man that is an admitted heroin addict but also a man of control. Finally, there’s Antonio Banderas in a tremendous performance as Salvador Mallo as a once-revered filmmaker who is at the twilight of his career as he deals with immense physical and emotional pain as he thinks about his past as well as the idea that he might not have much time left. Banderas also provides this physicality in the way he struggles in getting out of a car or to express the physical pain he’s in as it is this performance full of restraint and dark humor as he showcases a man struggling with himself as well as trying to find some hope in the end as it is a performance for the ages.
Dolor y gloria is a magnificent film from Pedro Almodovar featuring a phenomenal leading performance from Antonio Banderas. Along with its ensemble supporting cast, ravishing visuals, somber themes of nostalgia and uncertainty, and a luscious music score by Alberto Iglesias. The film isn’t just this fascinating story of an artist dealing with the possible end of his life and career but also reflecting on his roots and the events that shaped his life. In the end, Dolor y gloria is an outstanding film from Pedro Almodovar.
Pedro Almodovar Films: Pepi, Luci, Bom - Labyrinth of Passion - Dark Habits - What Have I Done to Deserve This? - Matador - Law of Desire - Women on the Verge of a Nervous Breakdown - Tie Me Up! Tie Me Down! - High Heels - Kika - The Flower of My Secret - Live Flesh - All About My Mother - Talk to Her - Bad Education - Volver - Broken Embraces - The Skin I Live In - I'm So Excited! - Julieta - (The Human Voice (2020 short film)) – (Parallel Mothers)
The Auteurs #37: Pedro Almodovar: Pt. 1 Pt. 2
© thevoid99 2021
(25th Anniversary Prize Winner at the 1971 Cannes Film Festival)
Set in turn of the century Venice, the film revolves around an avant-garde composer whose ailing health forces him to go to the Italian city where he stays at a hotel where he is stunned by the beauty of a young boy. It is a film that explores a man coping with loss and disappointment as he is also dealing with this search for ideal beauty as he would find it in this young Polish boy while also dealing with what is happening with the city as the hotel staff and some of people in the posh areas of Venice refuse to tell him. The film’s screenplay by Luchino Visconti and Nicolas Badalucco is straightforward as it plays into the world of Gustav von Aschenbach (Dirk Bogarde) who is trying to recover from his illness as he would look back at parts of his life from his family life and his own desire to find beauty and perfection through his music that often lead to arguments with his colleague Alfred (Mark Burns).
While in Venice trying to recover from illness, Gustav sees the young Polish boy Tadzio (Bjorn Andresen) who is with his mother and sisters at the Venetian resort. Tadzio is really more of a presence and idea of what Gustav is trying to find in his idea of beauty while the script also suggests homoeroticism where Gustav often stares at Tadzio and would follow him whenever Tadzio is with his family.
Visconti’s direction is ravishing for the world that he creates where much of the film is shot on location in Venice as well as locations in Germany while much of the interior scenes of the hotel is shot at Cinecetta Studios in Rome. Visconti’s compositions capture so much attention to detail the world that Gustav is living in as there is this air of disconnect with all of the people living in the hotel resort with its open beaches and exquisite meals are unaware of what is happening in the city. Something Gustav would notice as Venice is having this season where the hotel manager (Romolo Valli) is claiming that it’s just rumors as Gustav doesn’t notice anything about what is happening in the newspapers as well. It adds to the atmosphere of the film where Gustav’s flashbacks are often seen as idyllic and dream-like in scenes with his wife (Marisa Berenson) but also filled with unease in scenes with Alfred including a chilling flashback of Gustav at his lowest. They’re presented largely in medium shots and close-ups to play into Gustav’s own sense of longing and despair as he is in Venice in this hotel where nothing feels real except for this young boy who represents this idealism of beauty.
Visconti’s wide shots really capture not just the scope of the beach as well as a room where the guests are waiting to be served in the dining room. It also has him creating some unique compositions and visuals that add to the atmospheric beauty that surrounds Gustav and Tadzio where the former watches the latter from afar who is playing a piano piece as it would have Gustav go into a flashback. It’s among these images that also include a band playing music to the people at the hotel with Gustav asking the singer about what is going on in the city. There are also some homoeroticism that occurs but it’s only in subtle bits in the way Gustav looks at Tadzio as there is a beautiful shot in the film’s final minutes as it play into Gustav’s own desires despite his ailing health. Especially in a brief moment where Gustav briefly meets Tadzio as he begs his mother to leave Venice because of what is happening as it plays into a man who is trying to hold on to this idea of beauty. Overall, Visconti crafts a somber yet intoxicating film about an ailing composer’s fascination over the beauty of a young boy.
Cinematographer Pasqualino De Santis does amazing work with the film’s cinematography with its sunny look of Venice in the daytime along with lush colors for a few of the flashback scenes as well as some unique lighting for the interior/exterior scenes at night. Editor Ruggero Mastroiannni does excellent work with the editing as it does have a bit of style in a few jump-cuts yet much of it is straightforward to play into the drama of Gustav’s obsession. Art director Ferdinando Scarfioti does brilliant work with the look of the hotel interiors with its spacious dining and waiting rooms as well as the room that Gustav stays in.
Costume designer Piero Tosi does incredible work with the costumes from the sailor-like clothes of Tadzio to the suits of Gustav including a white suit he would wear in the film’s final moments. The sound work of Giuseppe Muratori and Vittorio Trentino is superb for the atmosphere that is created including scenes in the dining hall and the way the city sounds in its quiet yet unsettling moments. The film’s music from Armando Gill as well as pieces from Ludwig Van Beethoven, Gustav Mahler, and Modest Mussorgsky is phenomenal as its usage of classical music with Mahler being the dominant force in the film while Gill provides some of the operatic pieces as it adds to the rapturous tone of the film.
The film’s marvelous cast feature some notable small roles and appearances from Dominique Darel as an English tourist, Mascia Predit as the Russian tourist, Marco Tulli as the man who faints at the train station, Leslie French as a travel agent warning Gustav about what is going on in Venice, Nora Ricci as Tadzio’s governess, Franco Fabrizi as a barber in the film’s third act, Sergio Garfagnoli as a boy that Tadzio befriends, Luigi Battaglia as a peasant performer named Scapegrace who gives Gustav a slight clue of what is happening in Venice, Carole Andre as a young prostitute that Gustav meets in a flashback, and Romolo Valli in a superb performance as the hotel manager who tries to shield the truth about what is happening in Venice from Gustav. Marisa Berenson and Silvana Mangano are fantastic in their respective roles as Gustav’s wife and Tadzio’s mother with the former being an object of simplicity and joy in the former via flashbacks while the latter is someone that is unaware of what is going on in Venice.
Mark Burns is excellent as Gustav’s colleague Alfred as a man who is seen via flashbacks as someone questioning Gustav’s ambitions and aims while also vilifying him for his faults. Bjorn Andresen is incredible as Tadzio where despite his lack of dialogue where he is just this object of beauty. Andresen is still this astonishing presence where he provides an innocence but also someone who is aware of his beauty despite not really knowing who Gustav is. Finally, there’s Dirk Bogarde in a phenomenal performance as Gustav von Aschenbach as an avant-garde composer who is coping with ailing health as he is transfixed by Tadzio while dealing with what is happening in Venice as well as coping with his own past, failures, and loss where Bogarde maintains a restraint in the way he gazes at Tadzio as a way to deal with the fact that he is possibly dying and is hoping to connect personally with this young boy.
Death in Venice is a tremendous film from Luchino Visconti that features a sensational performance from Dirk Bogarde as well as an entrancing appearance from Bjorn Andresen. Along with its ensemble cast, gorgeous music soundtrack, its intoxicating look, and it study of obsession and longing. The film is a somber yet exhilarating film about a man’s fascination for a young boy and his search for beauty in a city that is unraveling from afar. In the end, Death in Venice is a spectacular film from Luchino Visconti.
Luchino Visconti Films: (Obsessione) – (Giorni di gloria) – (La Terra Firma) – (Bellissima) – (Appunti su un fatto di cronaca) – (We, the Women) – Senso – White Nights (1957 film) - Rocco and His Brothers - (Boccaccio ’70-Il lavoro) – The Leopard - Sandra – (The Stranger (1967 film)) – The Witches (1967 film)- The Witch Burned Alive – The Damned (1969 film) – (Alla ricerca di Tadzio) – (Ludwig) – (Conversation Piece) – The Innocent (1976 film)
© thevoid99 2021
Heading the jury for the main competition is Spike Lee who was supposed to be the jury president last year but is given another chance for this year as he's joined by Mati Diop, Maggie Gyllenhaal, Mylene Farmer, Tahar Rahim, Song Kang-ho, Jessica Hausner, Melanie Laurent, and Kleber Mendonca Filho while Andrea Arnold is heading the Un Certain Regarde jury and actress Melanie Thierry heading the Camera d'Or jury for the first film prize. This year's marathon following a two-year layoff due to personal reasons and then the pandemic will only feature 11 first-timers this year with a break for Thursday Movie Picks and a viewing of Black Widow. These 11 films will be competing for a fictionized version of the Palme d'Or as here are the following films:
24 Frames (70th Anniversary Event Screening)
All My Good Countrymen (1969 Best Director Winner & Special Technical Prize Mention)
American Honey (2016 Jury Prize Winner)
Cold War (2018 Best Director Winner)
Death in Venice (25th Anniversary Winner)
Mahler (1974 Technical Prize Winner)
The Meyerowitiz Stories (New and Selected) (2017 Palm Dog Winner)
Okja (2017 Palme d'Or Nominee)
Pain and Glory (2019 Best Actor Winner & Best Soundtrack Prize Winner)
Portrait of a Lady on Fire (2019 Best Screenplay Winner & Queer Palm Winner)
You Were Never Really Here (2017 Best Actor Winner & Best Screenplay Co-Winner)
© thevoid99 2021
For the 26th week of 2021 as part of Wandering Through the Shelves Thursday Movie Picks. We return to the subjects of the Oscars in the winners for Best Cinematography and Best Visual Effects as these are two categories that emphasize on the visuals. The former is based on what a camera captures and how it looks while the latter play into special effects that are created for the visuals. Here are my three picks for each respective category:
Best Cinematography
1. Jack Cardiff-Black Narcissus
Winner of the color category at that time, Jack Cardiff’s work for the Michael Powell-Emeric Pressburger film is truly groundbreaking for its time in what can be done with the Technicolor film stock and where it could go. Yet, there’s a lushness to the colors and the attention to detail in the way it looks as its photography is unmatched with the films of the time as well as the films that would follow.
2. Chris Menges-The Mission
Roland Joffe’s 1986 film about a Jesuit priest’s journey to South America in the 18th Century to spread the ideas of Christianity while helping a troubled mercenary is definitely a film that plays to the idea of epics yet there’s intimacy to the story of men trying to find redemption and salvation. Chris Menges’ work is phenomenal as it has this natural tone to the way it looks in the film’s locations at the Iguazu Falls at the Amazon.
3. Roger Deakins-Blade Runner 2049
Best Visual Effects
1. Stanley Kubrick-2001: A Space Odyssey
2. Brian Johnson, Richard Edlund, Dennis Muren, and Bruce Nicholson-The Empire Strikes Back
3. Dennis Muren, Stan Winston, Gene Warren Jr., and Robert Skotak-Terminator 2: Judgement Day
© thevoid99 2021
Just because we’re going back to sporting events, restaurants, and such doesn’t mean we should deal with the fact that this pandemic could happen again but there’s also this realization that things might have to change. Having seen what just happened near Miami with this apartment collapse that has killed 12 people so far with 149 people still missing. It is a wake-up call that there are still things happening in the real world but also knowing that areas in South Florida including Miami might not exist sooner than we realize as there needs to be some kind of change in Florida to prevent this from happening. Unfortunately, there’s the powers that be who are either ignorant or indifferent to what is coming and they will reap for what they sow.
1. The Sparks Brothers
2. Ford v Ferrari
3. Lean on Pete
4. Chyna
5. Boy Erased
Monthly Mini-Reviews/What Else I’ve Been Watching
Take Me Home Tonight
This comedy set in the late 1980s about an aimless rental video store employee who copes with his lack of prospects while going to a party as it stars Topher Grace in the lead role that features an ensemble cast that includes Anna Faris, Chris Pratt, Teresa Palmer, Michael Biehn, Michelle Trachtenberg, Dan Fogler, and Angie Everhart. It’s a film that has some funny moments but it often tries too hard to be funny and to be compelling as it is just a mess.
Chyna
During the making of the documentary, Chyna’s relapse that would include time with one of the film’s co-directors who would become a heroin addict and later go to prison for a time for supplying drugs showcase how bad things are. There is also an appearance from Dr. Drew Pinsky whose presence really makes things worse as there’s a scene of Chyna and her manager Anthony talking to her about prescription drugs she needed where Dr. Drew is just a fucking enabling quack who exploits people at their lowest. People also wonder why she never got a solo induction into the bullshit world that is the WWE Hall of Fame as her ex-boyfriend Triple H claims that if people who go to Google and find her name that it will showcase her porn career. Yet, there’s people in that fucking piece of shit hall of fame who have done worse. The truth is that a lot of people failed her and she never got the chance to be celebrated for what she’s done and it’s a shame that she’s gone now.
Dark Side of the Ring (season 3)
Episodes on the life and death of the Ultimate Warrior is a bit weak since they didn’t cover Warrior’s time in WCW in 1998 and the years between that and his death in 2014 while the darkest episode is on the wrestler Grizzly Smith and his children in wrestlers Jake “the Snake” Roberts, Sam Houston, and Rockin’ Robin and the abuse they endured as children and adults. The Grizzly Smith episode was intense in not just his exploits in pedophilia but also other things as his children have managed to survive though remain estranged from one another despite their desire to wanting to be together. The last episode of the series so far is on the Dynamite Kid who was known as a major innovator despite his small stature but the abuse on his body and horrific pranks on other wrestlers including Jacques Rougeau who would get revenge on him in the worst way are among the most compelling. The second half coming later in the year is going to be intense as it will profile on the lives of Luna Vachon, Chris Kanyon, and Ion Croitoru as well as promotions such as XPW and FMW, and stories on the 1992 steroid scandal and its 1994 trial and the legendary Plane Ride from Hell in 2002.
Loki (episodes 1-4)
Notably in the third episode that include these quiet moments where Loki and Sylvie are in a train talking as the former talks about Frigga. While Frigga may not have been featured enough in the MCU with Avengers: Endgame at least giving Rene Russo a chance to flesh her out more for a brief scene. It is proof that Frigga isn’t just this great character but also the best mom in the MCU that any hero could have. Credit should to director Kate Herron and showrunner Michael Waldron for creating this show that isn’t afraid to be silly but also showcase their influences in films like Brazil and Metropolis. The fourth episode is the best one so far not just for the twists and turns but also in the development of a few supporting characters and some unexpected twists and turns including a cameo from a supporting character from the MCU.
Top 10 Re-Watches
1. Das Boot
© thevoid99 2021
The film revolves around a 16-year old kid as he helps a horse owner in getting horses for a race where the kid befriends a horse named Lean on Pete as he deals with the horse’s declining health and the idea that he might be slaughtered. It’s a film that explores a young man trying to find some stability in his home life but also something to be attached to as he lives in Portland with his absentee father and doesn’t have much of a future until he helps a horse owner who gives him a job. Andrew Haigh’s screenplay is largely straightforward in its narrative as it’s more of a coming-of-age story for the 16-year old Charley Thompson (Charlie Plummer) who lives with his dad Ray (Travis Fimmel) who is having an affair with a married woman that would later have dire consequences involving her husband. Charley would help the aging horse trainer Del Montgomery (Steve Buscemi) who is dealing with declining funds as well as horses who aren’t delivering including Lean on Pete who could only do quarter-mile races.
While a jockey in Bonnie (Chloe Sevigny) understands Charley’s growing attachment to Lean on Pete, she warned him to not get too close as the horse’s health is starting to fail forcing Montgomery to sell him and possibly to Mexico where he would be slaughtered. The film’s second act is about what Charley’s actions as it relates to the horse and what he hopes to do in trying to find his estranged aunt Margy (Alison Elliott) whom he hadn’t seen in years. It would be this moment that play into Charley’s own sense of loss and alienation as well as a world that is really complicated as he would encounter various people including a couple of former soldiers and a homeless couple as it would play into is view of the world.
Haigh’s direction is entrancing for not just the scope of the locations as it is shot on various locations around Portland, Oregon but also to capture the look of the American West that does feel disconnected from the rest of the world. The usage of wide and medium shots do play into the events that Charley encounters in the second act with Lean on Pete as it play into the journey these two would take. Haigh still infuses some intimacy that include close-ups as well as what Charley sees during the horse races along with these moments that play into his own sense of despair when he deals with reality. There are also these scenes that do feel loose such as a conversation Montgomery is having with other owners about changing times and how simple things were back in the 80s and 90s for the world of horse racing along with a scene in the bar where everyone is drunk while Charley wants to talk both to Bonnie and Montgomery. Haigh also presents scenes where there aren’t much dialogue or scenes that has Charley talking to the horse as it help play into this young man dealing with reality that is hard to digest. Even in its third act as he copes with the people he encounter and his own actions knowing he has made decisions that would put him in trouble yet is seeking to find some hope in a cruel world. Overall, Haigh crafts an evocative and intoxicating film about a 16-year old boy befriending an ailing race horse.
Cinematographer Magnus Joenck does amazing work with the film’s cinematography with its usage of available and low-key lighting for the scenes set at night as well as natural lighting for the scenes set in the day. Editor Jonathan Alberts does excellent work with the editing as it is largely straightforward with a few jump-cuts for a few dramatic moments as well as a few transitional dissolves. Production designer Ryan Warren Smith, with set decorator Jenelle Giordano and art director Jonny Fenix, does fantastic work with the look of the home that Charley lived in as well as a stable room where Charley stayed with Lean on Pete living next door and a trailer where Charley meets a homeless couple. Costume designer Julie Carnahan does nice work with the costumes as it is mostly casual to play into the look of the American West that include trucker hats, skinny jeans for the women, and other clothes that play into that world.
Visual effects supervisor Fred Ruff does terrific work with some of the film’s minimal visual effects as it play into a key scene in the film along with bits of set-dressing for the horse race scenes. Sound editor Joakim Sundstrom does brilliant work with the sound as it play into the atmosphere of the locations as well as the way some of the sparse moments in the film occur as it’s a highlight of the film. The film’s music by James Edward Barker is wonderful for its understated country-folk based score as it play into the drama while being low-key while music supervisor Connie Farr provides a soundtrack that is mostly diegetic as it’s played on location as it features pieces from Melissa Manchester, Melinda Salcido, Alih Jey, Lluvia Rosa, Jeannie Seely, Roy Drusky and Priscilla Hubbard, Faron Young, Larry Dean and Jonathan Sloan, Donnie Owens, Jeannie C. Riley, Sanford Clark, Brendan McKinney, Eddie M, Brandon Flowers, Selena Gomez, Tegan & Sara, Jessie Ware, Limb, Cut Yourself in Half, Will Oldham, Richmond Fontaine, Vic De Leon, and Donovan.
The casting by Carmen Cuba does superb work as it feature some notable small roles from Tolo Tuitele as Lynn’s husband who attacks Ray, Bob Olin as an old man in Mr. Kendall that Charley eats dinner with, Teyah Hartley as Mr. Kendall’s daughter Laurie whom he verbally abuses at, Justin Rain and Lewis Pullman in their respective as a couple of military veterans in Mike and Dallas who take Charley and Pete in for a bit, Steve Zahn and Rachael Perrell Fosket as a homeless couple that allow Charley to be with them for a bit, Amy Seimetz as Ray’s married girlfriend Lynn, Travis Fimmel as Charley’s absentee yet well-meaning father Ray, and Alison Elliott as Charley’s estranged aunt Margy who appears late in the film. Chloe Sevigny is brilliant as the jockey Bonnie as someone who is kinder to Charley but also warns him about becoming too attached to Lean on Pete as she also tells him about the reality he has to face.
Steve Buscemi is amazing as Del Montgomery as an aging horse trainer who has been through a lot and is a cynical person yet does give Charley a few life lessons but also appreciates the work that Charley puts through. Finally, there’s Charlie Plummer in an incredible performance as Charley Thompson as a 16-year old kid who is dealing with instability in his life where he then works in the stables and befriends this horse as he becomes attached to this horse while dealing with the reality that the horse has to face. Plummer brings this anguish and angst to the role that is understated but also someone who knows he is way over his head in what he’s trying to do while hoping to find a world that he can call home and with the horse he’s grown to love.
Lean on Pete is a phenomenal film from Andrew Haigh that features a great leading performance from Charlie Plummer. Along with its supporting cast, gorgeous visuals and locations, enchanting sound work, and its themes of growing pains and search for stability in a cruel world. The film is definitely a coming-of-age film that plays into a boy’s fascination towards a race horse and his hope to help this horse. In the end, Lean on Pete is a sensational film from Andrew Haigh.
Andrew Haigh Films: (Greek Pete) – Weekend (2011 film)
- 45 Years
© thevoid99 2021
The film revolves around a feud over the idea of who is the filthiest person in the world as a drag queen was given that title by a local tabloid which upsets a couple who wants to that title. It’s a film that doesn’t have much of a plot as it plays into the exploits of this drag queen who lives in a trailer under an alias with her mentally ill mother, a delinquent son, and her traveling companion as they do gross things while pushing the boundaries of what is obscene as John Waters’ screenplay isn’t just this study of filth but also what a few people will do to outdo the ideas of filth. Notably as this couple in Connie and Raymond Marbles (Mink Stole and David Lochary, respectively) are appalled by the antics of Divine aka Babs Johnson (Divine) who does disgusting things but not into the realm of something evil that the Marbles do as they kidnap young women for their servant Channing (Channing Wilroy) to rape and impregnate so they can sell babies to lesbian couples. Yet, the Marbles do whatever they can to try and humiliate Divine and her family but are unaware that Divine can do much worse.
Waters’ direction has a crudeness not just in its look and low-budget aesthetics but there’s also something that feels real as well in the way he captures the life of these unique characters. Shot on location largely in Phoenix, Maryland as well as parts of Baltimore, Waters does aim for straightforward compositions while also infusing a few tracking shots such as a scene where Divine walks in the city as a car is filming her in a wide-medium shot. Serving as the film’s cinematographer, Waters doesn’t go for any kind of stylish lighting as much of the film is shot in the day with a few scenes at night where Waters maintains a looseness to the presentation with hand-held cameras as well as this air of improvisation that gives the film an air of realism. Even in scenes that play into the extremity of what is decency and obscenity such as Divine’s son Cracker (Danny Mills) having sex with a woman along with a chicken. Also serving as editor, Waters keeps much of the cutting straightforward while he also provides narration as an off-screen character enjoys the crude antics of Divine.
Waters also does go into these ideas of offbeat behavior as Raymond is someone that likes to flash people while having a kielbasa or a piece of meat attached to his penis. Even as he is willing to break taboos that includes a contortionist who does trick with his asshole that is just disgusting to watch yet it also intriguing to watch. Even as the boundaries of what is obscene gets pushed further into the film’s third act that includes this eventual confrontation between Divine and the Marbles. All of which plays into the idea of who is the filthiest person in the world where Waters would have one more thing for the finale to up the ante of what is repulsion. Overall, Waters crafts a filthy, disgusting, and fucking hilarious film about a drag queen battling a couple of assholes for the title of the filthiest person in the world.
Production designer Vincent Peranio does excellent work with the look of Divine’s trailer as well as the home of the Marbles with their posters and kitsch furniture. Costume designer/makeup artist Van Smith does fantastic work with the look of Divine as well as the dresses that she wears. Sound recordist Bill Porter does terrific work with the sound as it is straightforward in playing up to the locations and the atmosphere in a scene including the party scene. The film’s incredible music soundtrack as it features pieces from Little Richard, Link Wray, the Centurions, LaVern Baker, Bill Haley & His Comets, the Nighthawks, the Tyrones, the Trashmen, Patti Page, the Robins, Frankie Lymon & the Teenagers, and the Tune Weavers as it help play into the film’s offbeat tone.
The film’s casting is superb as it features appearances from David E. Gluck as the contortionist, Elizabeth Coffey as a person Raymond would flash at, Susan Walsh and Linda Olgierson as a couple of women the Marbles kidnap for Channing to rape and impregnate, Pat Moran (in a deleted scene in the 1997 reissue) as a friend of Divine in Patty Hitler, Steve Yeager as a news reporter, Paul Swift as the egg man that Edie loves, Channing Wilroy as the Marbles’ servant who rapes and impregnate kidnapped women, and Cookie Mueller as a woman the Marbles hire to spy on Crackers and have sex with him. Edith Massey is fantastic as Divine’s mentally-ill mother Edie who eats nothing but eggs as well as sit inside a little playpen while Danny Mills is terrific as Divine’s son Cracker who likes to fuck chickens and do perverse things. Mary Vivian Pearce is excellent as Divine’s accomplice/friend Cotton as a woman who not only enjoys perverse content but also do whatever she can to deal with the Marbles.
Mink Stole and David Lochary are amazing in their respective roles in Connie and Raymond Marble as this perverse and evil couple who like to kidnap women for their servant to rape with Stole sporting bright orange hair and Lochary with blue hair as they do whatever to try and outdo Divine. Finally, there’s Divine in a tremendous performance as Divine/Babs Johnson as a drag queen who is known for being outrageously filthy and disgusting where Divine just adds a lot of charisma to a role that demands a lot of that where Divine plays up this larger-than-life character as it is a definitive performance from the late drag queen.
Pink Flamingos is a phenomenally revolting film from John Waters. Featuring a great cast lead by Divine, a fun music soundtrack, a crude yet engaging look, and its willingness to be offensive and disgusting. It is a film that isn’t afraid to be outlandish but also unafraid to be ridiculous in its offbeat and crass humor. In the end, Pink Flamingos is a sensational film from John Waters.
John Waters Films: (Mondo Trash) – Multiple Maniacs - Female Trouble - (Desperate Living) – Polyester – (Hairspray) – (Cry-Baby) – (Serial Mom) – (Pecker) – (Cecil B. Demented) – (A Dirty Shame) - (Liarmouth)
© thevoid99 2021
