Directed by Nicholas Stoller and written by Andrew J. Cohen and Brendan O’Brien, Neighbors is the story of a couple with a newborn baby who learns that their new neighbors is a college fraternity who creates trouble for the couple as a war breaks in. The film is a comedy that explores the generation gap of sorts as a couple tries to deal with their new family life as well as the horde of frat boys living next door. Starring Seth Rogen, Rose Byrne, Zac Efron, Dave Franco, Christopher Mintz-Plasse, and Lisa Kudrow. Neighbors is a raucous yet hilarious film from Nicholas Stoller.
Being parents and being responsible isn’t easy as the film is about a couple with a newborn baby who learn that their new neighbors is a college fraternity that creates a lot of chaos and such forcing the parents to fight back in order to protect their family. Yet, it’s a film that is much more as it explores not just the fear of growing up but also in being adults and not having the kind of fun they once had as young adults. Particularly as Mac and Kelly Radner (Seth Rogen and Rose Byrne, respectively) want to have fun but they have their daughter Stella to worry about. While they try to be cool with the Delta Psi fraternity led by its president Teddy (Zac Efron) and its vice-president Pete (Dave Franco) where they would party with them. It would only cause trouble when Mac and Kelly break a promise from Teddy about not calling the cops as a war between the Radners and the Delta Psi fraternity emerges where things do get out of control.
The film’s screenplay doesn’t just explore the themes about growing up, being responsible, and the desire to have fun but the characters themselves as Mac and Kelly do want to be good parents to Stella yet they struggle with missing out on the things some of their friends do. While Mac may be the more jovial of the two, he tries to balance that with being responsible as he has a job while Kelly stays at home as she struggles with wanting to be more outgoing. Upon their encounters with the Delta Psi fraternity, Mac and Kelly don’t want to be the un-cool adults but the antics of the fraternity gets out of control as Teddy wants to do something that would ensure his place among the legends of the Delta Psi fraternity. While Pete has that same goal, he would eventually realize that things have come to far as it would play to not just Teddy’s fear of becoming an adult but also in the fact that he doesn’t want to grow up.
Nicholas Stoller’s direction is very lively throughout as he definitely knows how to keep the laughs going without being too repetitive. While much of the compositions in the close-ups and medium shots are pretty simple, there are elements in the film that manages to be visually-entrancing such as some of the party scenes as it is an ode to Gaspar Noe’s 2009 film Enter the Void. There’s also moments where the antics and the war that goes on do become very physical as well as play to a sense of chaos while Stoller knows when to slow things down. Particularly as the stakes get higher where Teddy and Delta Psi are one step away from being shut down while Mac and Kelly struggle with their own actions as it would affect their relationship. All of which would play into this extravagant climax as it is about not just one great party but how the characters would grow from everything they had done as it mixes humor and action. Overall, Stoller creates a very exciting and very funny film about growing up and wanting to have fun.
Cinematographer Brandon Trost does fantastic work with the cinematography for some of the film‘s nighttime interior scenes filled with dazzling colors and grainy cell-phone camera footage while keeping much of its exterior and daytime interior scenes in a straightforward manner. Editor Zene Baker does excellent work with the editing with its emphasis on jump-cuts and other array of rhythmic cuts and montages to play into the humor and chaotic vibe of the party scenes. Production designer Julie Berghoff, with set decorator Sophie Neudorfer and art director Gary Warshaw, does superb work with the look of the Radner home as well as Delta Psi fraternity house.
Costume designer Leesa Evans does nice work with the costumes as it‘s mostly straightforward along with the design of some of the costumes the fraternity wears in their Robert de Niro party. Sound editor Michael Babcock does terrific work with the sound from the way some of the party sounded from the Radner home to the sense of chaos that goes on in the pranks that Delta Psi create. The film’s music by Michael Andrews is a wonderful mix of light-hearted folk music with some electronic music while music supervisors Manish Raval and Tom Wolfe create this chaotic soundtrack filled with electronic music, hip-hop, and rock to play into vibe of the fraternity parties.
The casting by Melissa Kostenbauder and Francine Maisler is incredible as the ensemble features some notable small performances from Halston Sage as Teddy’s girlfriend Brooke, Ali Corbin as Brooke’s friend Whitney, Craig Roberts as a fraternity pledge named Assjuice, Hannibal Burress as the campus officer Watkins, Elise and Zoey Vargas as Mac and Kelly’s baby daughter Stella, and Lisa Kudrow in a small yet terrific performance as the college dean who is concerned about making good headlines while warning Teddy and his fraternity about their actions. Other notable small roles include Jerrod Carmichael and Christopher Mintz-Plasse in very funny performances in their respective roles as fraternity members Garf and Scoonie. Carla Gallo is wonderful as Mac and Kelly’s friend Paula who likes to party while Ike Barinholtz is superb as Paula’s ex-husband Jimmy who also likes to party as he helps Mac and Kelly in their plans.
Dave Franco is excellent as the Delta Psi vice president Pete who is Teddy’s right-hand man as he later becomes a conscience of sorts in the film when Teddy’s pranks start to get more out of control. Zac Efron is great as Teddy as the fraternity leader who wants to create the ultimate fraternity party and have a good time while dealing with the fear of life after college as Efron proves to be very funny as he has some great moments with his co-stars. Rose Byrne is amazing as Kelly Radner as this housewife that is trying to balance her in being wife/mother and the cool woman as Byrne shows her comedic chops in very wild ways as she also radiates some chemistry with her co-star Seth Rogen. Rogen is fantastic as Mac Radner as a man who wants to be cool and fun but deals with the responsibility in being a parent as he tries to protect his family but also not be a total villain to Teddy as it’s a role that his Rogen being an adult but also one is quite fun to watch.
Neighbors is a hilarious and wild comedy from Nicholas Stoller that features superb performances from Seth Rogen, Zac Efron, and Rose Byrne. It’s a comedy that keeps on bringing the laughs through and through while also having an engaging story that audiences can relate to. Especially in the way it explores about the fear of adulthood and losing the joy in having fun while having a family. In the end, Neighbors is an excellent film from Nicholas Stoller.
Nicholas Stoller Films: Forgetting Sarah Marshall - (Get Him to the Greek) - (The Five-Year Engagement) - Neighbors 2: Sorority Rising - (Storks (2016 film))
© thevoid99 2014
Originally Written and Posted at Epinions.com on 4/20/08 w/ Additional Edits & Revisions
Directed by Nicholas Stoller and written and starring Jason Segel, Forgetting Sarah Marshall is the story of a TV music composer whose TV-star girlfriend breaks up with him as he drowns his sorrow by taking a trip to Hawaii only to learn that his ex-girlfriend is there with her new rock-star boyfriend as he gains the pity of a hotel receptionist. The film is an exploration into the world of break-ups and how a man tries to deal with a four-year relationship coming to an end as it's told in a largely comedic manner. Also starring Kristen Bell, Mila Kunis, Russell Brand, Bill Bader, Jonah Hill, and Paul Rudd. Forgetting Sarah Marshall is a witty yet touching romantic-comedy from Nicholas Stoller.
Breaking up is a moment that is hard for most people to deal with as the film is about this TV music composer named Peter Bretter (Jason Segel) who is dumped by his longtime TV actress girlfriend Sarah Marshall (Kristen Bell) as he becomes depressed and despondent only to take the suggestion of his step-brother Brian (Bill Hader) to travel to Hawaii as he learns that Sarah is staying at the same resort he has checked himself into as she has a new boyfriend in British rock star Aldous Snow (Russell Brand). Taking pity on Peter is the hotel receptionist Rachel (Mila Kunis) who had also been through her own relationship issues as the two become friends while Peter would see Sarah during the vacation where he wonders what went wrong and what did he do as well as other things that made their relationship doomed. Especially as Sarah starts to notice Peter's growing friendship with Rachel as Sarah's relationship with Aldous becomes chaotic.
Jason Segel's screenplay does have a few subplots in the people that Peter meets such as a newlywed couple in Darald and Wyoma (Jack McBrayer and Maria Thayer, respectively), a chef named Kemo (Taylor Willy), a bartender named Dwayne, (Davon McDonald), a waiter named Matthew (Jonah Hill) who has a crush on Aldous, and a stoner surf instructor named Kunu (Paul Rudd). Yet, it does play into the world that Peter encounters as he tries to process the heartbreak he's going through as he would often cry hysterically over the break-up. Some parts of the script allows Peter to reflect on some moments about the relationship as his time with Rachel would prove to be helpful into realizing that there's so much more than Sarah Marshall. Especially as Sarah would face her own issues as well as her reasons into breaking up with Peter where even though Peter did play some role into the disillusion of their relationship. It was Sarah that did a lot to make things worse though her character isn't a total bitch.
Director Nicholas Stoller does a solid job with the film's direction while maintaining an intimate setting for the film's characters and their interaction with each other. The use of the Hawaiian locales are truly inspiring and colorful as it brings a lively look to the entire film in comparison to other Apatow-produced features as the film would also include some full-frontal male nudity to add to the raunchy humor of the film. Stoller's improvisation and also knack of humor is similar to the work of Blake Edwards, notably "10" that had a similar presence of a man dealing with a break-up only to fall for some young woman. The result is a comedy that is funny through and through with big laughs and lots of heart as well as real, lively characters.
Cinematographer Russ T. Alsobrook does a great job with the film's intimate, dark look for Los Angeles that is a huge contrast to the colorful, bright look of Hawaii in all of its exterior and interior locales. Editor William Kerr is excellent for giving the film a leisurely-paced feel without any kind of fast cuts to maintain a straightforward look and feel. Production designer Jackson De Govia and set decorator K.C. Fox do a great job in creating the look of the Hawaiian resorts and locales that feels like Hawaii itself. Costume designer Leesa Evans creates a wonderful look in the costumes from the dresses that Kristen Bell and Mila Kunis wears to the shirts that the men wear. Sound editor George H. Anderson does a superb job with the film's sound to convey the atmosphere that is Hawaii. Music composer Lyle Workman brings a wonderful score to convey its tropic look while the soundtrack featuring the Smiths, Jason Segal, Russell Brand, and covers of many pop songs in a Hawaiian style are wonderful. Notably Segal's own songs in the Dracula musical that are top-notch funny.
The casting by Jeanne McCarthy is wonderfully assembled with cameo appearances from such character actors as Gedde Watanabe as the hotel's manager and Branscombe Richard as a luau bartender named Keoki to other notable cameos by surfer Kala Alexander, Apatow regular Carla Gallo as one of Peter's bad dates, and appearances by Access Hollywood reporter Billy Bush, William Baldwin, and Jason Bateman. Taylor Willy and Davon McDonald are funny as two hotel employees Peter befriends as they tell him to stop crying and get his act together while Steve Landesberg is great as a pediatrician who tells him to sleep other women. Liz Cackowski is good as Brian's wife Liz who tries to help but at one becomes part of a sick, raunchy joke by Peter. Apatow cohorts Paul Rudd and Jonah Hill are hilarious in their respective roles as the stoner surf instructor Chuck/Kunu and the hotel's waiter Matthew. Rudd's stoned-out performance is filled with huge laughs including a hilarious scene where he makes fun of Aldous' British accent while Hill is great for his crush on Aldous which suggests that he's a closet homosexual.
30 Rock star Jack McBrayer and Hill's Accepted co-star Maria Thayer are great as an overly-excited newlywed couple where McBrayer's character has a fear of sex as he tries to deal with it with some unlikely help from Aldous. Bill Hader is funny as Peter's stepbrother Brian who tells Peter to get over Sarah while saying bad things about her and such as Hader is funny in his role. One of the film's funniest performances comes from British actor/musician/TV personality Russell Brand as Aldous Snow, a cocky yet whimsical man who likes to do strange sex moves in bed or on the stage. Yet, sporting many tattoos, the man despite some of his actions and off-kilter personality is just... cool. Brand's performance is just funny throughout the entire film as he reveals that despite his own nature, the character of Aldous Snow will always remain cool.
Kristen Bell is excellent in the role of Sarah Marshall who, despite her actions in breaking Peter's heart, is a full character who is trying to move on with Aldous only to realize that she might not have a future and how much she actually loved Peter. Bell brings a nice touch of sexiness, humor, and certainly a bit of bitchiness to her role as a young woman who doesn't really understand love. The film's big revelation and certainly one of the film's best performances is Mila Kunis who some might remember for her role as Jackie in the TV show That 70's Show. Kunis' lively, free-spirited performance is a joy to watch as she helps Peter deal with his heartbreak, curse out her ex-boyfriend, and observe Sarah Marshall. Kunis adds some sexiness to her own but it's the way she portrays Rachel with such heart and warmth as the girl Peter should be with.
Then there's Jason Segel, an Apatow regular, who delivers a great performance as Peter Bretter. Segel's performance is filled with a lot of laughs as he cries about his break-up, cries after sex, and also expose himself during some moments that are supposed to be sad but end up being funny. Segal is truly genius as he doesn't do any kind of raunchy gags but brings sympathy to a guy who is trying to get over Sarah Marshall while wondering what broke them up. He's also funny when he's doing his stuff that involves his Dracula musical that shows his wonderful talents. He's also worthy of doing something dramatic while having wonderful chemistry with both Kristen Bell and Mila Kunis. Segal gives a real star-making performance that will put him in great company among his Apatow cohorts.
Forgetting Sarah Marshall is a hilarious yet heartfelt comedy from Nicholas Stoller that features amazing work from Jason Segel and Mila Kunis. Along with a great supporting cast that includes Kristen Bell and Russell Brand, it's a film that has a lot of raunchy elements that is expected from the Judd Apatow-produced comedies but also a lot of heart that allows the film to be more engaging and accessible to a wider audience. In the end, Forgetting Sarah Marshall is a remarkable film from Nicholas Stoller.
Nicholas Stoller Films: (Get Him to the Greek) - (The Five-Year Engagement) - Neighbors (2014 film) - Neighbors 2: Sorority Rising - (Storks (2016 film))
© thevoid99 2014
Written and directed by Pedro Almodovar, Que he hacho yo para merecer esto? (What Have I Done to Deserve This?) is the story of a middle-class housewife who has a family filled with eccentric people as she tries to maintain a sense of normalcy in her life. The film is a mixture of melodrama and humor as it plays into a woman trying to make sense of the world that she lives in. Starring Carmen Maura, Angel de Andres Lopez, Veronica Forque, and Gonzalo Suarez. Que he hacho you para merecer esto? is an engrossing yet sensational film from Pedro Almodovar.
The film explores the life of a housewife who lives in a cramped apartment with her husband, her mother-in-law, and two teenage sons as she works cleaning houses for a living as money is tight and things are becoming chaotic. While it’s a film that has some humor, it’s mostly a melodrama in the vein of a lot of different styles as Pedro Almodovar creates a story that has a woman dealing with the world that she’s in. For the character of Gloria (Carmen Maura), she fantasizes about having a life outside of her eccentric family that consists of her unhappy mother-in-law (Chus Lampreave), a homosexual son in Miguel (Miguel Angel Herraz), her older son in drug dealer Toni (Juan Martinez), and her husband Antonio (Angel de Andres Lopez) who used to work as a chauffer for a revered German singer as he’s also a talented forger. The activities of Antonio, her sons, and her mother-in-law have Gloria feel unappreciated and overworked as the only friend she has is her neighbor in the prostitute Cristal (Veronica Forque).
The film’s screenplay features a lot of subplots involving Toni’s deals and his relationship with his grandmother as he helps her wanting to go back to her home village as he will join her. Other subplots involve Miguel’s sexual exploits as he often gets the attraction of older men, Antonio’s schemes with a writer in Lucas Villalba (Gonzalo Suarez) involving the memoirs of Adolf Hitler as he’s also a client of Cristal, and a neighbor (Kiti Manver) who abuses her telekinetic daughter Vanessa (Sonia Hohmann). All of which plays into Gloria’s desire for something better as well as questioning herself into why is she living this very chaotic life where her husband always spend their money on bullshit. Though the script doesn’t have much of a plot, it is more of a character study into Gloria’s life as she is eager for something normal as it would take some drastic steps for her to find that normalcy.
Almodovar’s direction is pretty simple in terms of the compositions he creates as it mostly focuses on medium shots and close-ups with a few wide shots of the city of Madrid and its locations. Much of it is set in this apartment complex where Gloria, her family, and her neighbors live in as it’s quite cramped in some parts as it would represent the sense of repression in Gloria’s life. Some of it would be humorous as well as filled with some eccentricities where Gloria would watch Cristal having sex with a client while they’re having a conversation. Some of the compositions that Almodovar creates does play into melodrama in the way he places Gloria into a frame as it plays to not just her growing frustrations with the world but with herself. Much of it has Almodovar paying homage to American melodramas while infusing it with some visual motifs inspired by the French New Wave and the films of Rainer Werner Fassbinder. Particularly as its climax would involve Gloria not only getting some resolution about her life but also the sense of hope that her family will be able to appreciate her and help her. Overall, Almodovar crafts a very intelligent and compelling film about the chaotic life of a housewife in Madrid.
Cinematographer Angel L. Fernandez does excellent work with the film‘s colorful cinematography from the lighting schemes in Cristal‘s apartment as well as the more low-key look for the interiors in Gloria‘s apartment. Editor Jose Salcedo does nice work with the editing as it‘s mostly straightforward while it has some flairs of style with its jump-cuts for some of its melodramatic scenes. Set decorators Roman Arango and Pin Morales do amazing work with the look of Gloria‘s apartment as it features posters of the band Kiss in her son‘s room as well as the more lavish look in Cristal‘s apartment.
Costume designer Cecilia Roth does terrific work with the costumes from the wild clothes of Cristal to the more plain clothes that Gloria wears. Sound recording engineer Enrique Molinero does superb work with the sound to create some effects and such to play into some of the drama. The film’s music by Bernardo Bonezzi is fantastic for its mixture of orchestral themes to play into the melodrama with some electronic-based music for its humor and suspense.
The film’s cast includes some cameo appearances from Pedro Almodovar as an actor singing on a film set and Cecilia Roth as a woman in a coffee commercial. Other notable small roles include Kiti Manver as Gloria and Cristal’s cruel neighbor Juani, Sonia Hohmann as Juani’s telekinetic daughter Vanessa, Amparo Soler Leal as Lucas’ wife Patricia, and Katia Lortiz as a once-famous German singer whom Antonio used to be a chauffer for. Miguel Angel Herraz and Juan Martinez are terrific in their respective roles as Gloria’s teenage sons in the openly-gay Miguel and the more adventurous drug dealer Toni. Gonzalo Suarez is excellent as the writer Lucas Villalba who conspires with Antonio to forge some handwritten pieces from Adolf Hitler for a memoir while Chus Lampreave is hilarious as Gloria’s mother-in-law who always talks about her village and hiding things like her mineral water and Magdalena cakes.
Angel de Andres Lopez is amazing as Gloria’s very selfish husband Antonio who always spend whatever he and Gloria earns while often singing German opera as he seems indifferent to what his sons do or how hard his wife work. Veronica Forque is fantastic as Cristal as an aspiring actress who works as a prostitute as she often helps out Gloria while is very close with Toni as it’s a performance that has more substance than the usual hooker-with-a-heart-of-gold caricature. Finally, there’s Carmen Maura in tremendous performance as Gloria as a woman who wants to escape from her chaotic family life while questioning her worth as it’s a very chilling yet mesmerizing performance from the actress as it’s definitely one of her best.
Que he hacho you para merecer esto? is an excellent film from Pedro Almodovar that features a phenomenal performance from Carmen Maura. Not only is it one of Almodovar’s most enduring homages to cinema but also a unique portrait of a woman trying to make sense of her life. In the end, Que he hacho you para merecer esto? is a marvelous film from Pedro Almodovar.
Pedro Almodovar Films: Pepi, Luci, Bom - Labyrinth of Passion - Dark Habits - 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 - Pain & Glory - (The Human Voice (2020 short film)) - (Parallel Mothers)
The Auteurs #37: Pedro Almodovar Pt. 1 - Pt. 2
© thevoid99 2014
Based on the diaries of Adele Hugo, L’Histoire d’Adele H. (The Story of Adele H.) recounts the life of the daughter of writer Victor Hugo and her love for a military officer that would lead to her downfall. Directed by Francois Truffaut with a script by Truffaut, Suzanne Schiffman, Jean Grualt, and Frances Vernor Guille, the film is an exploration of a young woman’s encounter with an officer in the mid-19th Century as she is played by Isabelle Adjani. Also starring Bruce Robinson and Sylvia Marriott. L’Histoire d’Adele H. is an intense yet haunting film from Francois Truffaut.
The film is set during the early 1860s in Halifax, Nova Scotia where Adele Hugo travels to the island to find the British officer she lives in Lt. Pinson (Bruce Robinson) as she hopes to marry him despite the fact that he keeps pushing her away. It’s a film that explores a period in Adele Hugo’s life as she goes under different alias so that people wouldn’t know who her father is as she stays at a boarding house run by the kind Mrs. Saunders (Sylvia Marriott). Upon her pursuit for Lt. Pinson, Adele would start to unravel emotionally and mentally as images of her older sister’s death would appear in her nightmares. The film’s script takes place in the span of an entire year from Adele’s arrival to Halifax where Lt. Pinson is stationed in to her growing descent into madness as she would do whatever to claim him.
While Lt. Pinson does care for her, he couldn’t deal with her desperation and antics as she would eventually cause troubled for him in his own life. The first half is about Adele’s pursuit while its second half is about her slow descent to madness and her attempts to ruin the new life that Lt. Pinson is trying to create. Many of which would have Adele claiming to be Lt. Pinson’s wife and claimed to have married him as she would constantly write letters to her family as they would give her money. Yet, Adele’s antics would cause disappointment among her family as they beg her to come home to be with her ailing mother as Adele’s behavior would eventually become more and more erratic towards the end of the film.
Francois Truffaut’s direction is pretty simple yet effective in the way he portrays a year in the life of Adele Hugo. Though the film is shot in the island of Guernsey, where Victor Hugo lived in exile during that time, due to the fact that Halifax didn’t look like what it was during the mid-19th Century. It does play into the world that Adele is in as she tries to go to the various places where Lt. Pinson is at as he is prepared to take part in the American Civil War if it would reach Halifax. The direction has Truffaut use a lot of close-ups and medium shots to maintain an intimacy in the story as well as play into Adele’s growing descent into madness. Early on, she looks like a proper woman but slowly would look ragged and lost as she would follow Lt. Pinson wherever he is as she would become more desperate and erratic. There is also a sense of melancholia that lingers in the film as Truffaut would incorporate that into the story as well as the fate that Adele would eventually succumb to. Overall, Truffaut crafts a very eerie yet evocative film about Adele Hugo’s descent into madness.
Cinematographer Nestor Almendros does amazing work with the film‘s lush and intoxicating cinematography with its use of low-key and natural lights for some of its nighttime exterior and interiors as well as vibrant colors for some of the daytime exterior scenes. Editors Yann Dedet, Martine Barraque, Jean Gargonne, Michele Neny, and Muriel Zeleny do excellent work with the film‘s stylized editing with the use of dissolve for the nightmare sequences as well as jump-cuts and transition wipes to play with its structure. Production designer Jean-Pierre Kohut-Svelko does fantastic work with the set pieces such as the home that Adele stays at to the taverns and bookstore that she goes to.
Costume designer Jacqueline Guyot is brilliant for the dresses that Adele wears to play into her personality as well as the uniform that Lt. Pinson wears. The sound work of Michel Laurent and Jean-Pierre Rush is terrific for the atmosphere that is presented on many of the film‘s locations including a party that Adele crashes. The film’s music by Maurice Jaubert is superb for its somber orchestral score that plays into Adele‘s growing descent as well as some more chilling pieces in the nightmare sequences.
The film’s wonderful cast includes some notable small roles from Francois Truffaut as a soldier Adele encounters, Cecil de Sausmarez as a notary in a bank Adele goes to, Roger Martin as a doctor who discovers Adele’s true identity yet keeps it a secret, Ruben Dorey as Mr. Saunders, Sir Raymond Falla as a judge whose daughter was to marry Lt. Pinson, and Ivry Gitlis as a hypnotist Adele tries to hire during a show she attends. Joseph Blatchley is terrific as a kind book store owner who tries to help Adele while Sylvia Marriott is excellent as the very warm Mrs. Saunders who makes sure that Adele lives comfortably while keeping her identity a secret.
Bruce Robinson is superb as Lt. Pinson as a man who is being pursued by Adele as he knows that he can’t love her like he used to as he devotes himself to duty and seeking a new life for himself. Finally, there’s Isabelle Adjani in a tremendous performance as Adele Hugo as she brings in this fierce intensity to her character that is filled with anguish and a determination to be loved. Most notably in the way she presents Adele’s descent into madness with a physically and raggedness that is just eerie to watch as it is one of Adjani’s finest performances.
L’Histoire d’Adele H. is a remarkable film from Francois Truffaut that features a magnificent performance from Isabelle Adjani. The film isn’t just an eerie portrait into a woman trying to claim the love of a man who doesn’t love her but an exploration into mental illness and a woman’s desperation that would lead to madness. In the end, L’Histoire d’Adele H. is a phenomenal film from Francois Truffaut.
Francois Truffaut Films: The 400 Blows - Shoot the Piano Player -Jules & Jim - Antoine & Colette - The Soft Skin - Fahrenheit 451 - The Bride Wore Black - Stolen Kisses - Mississippi Mermaid - The Wild Child - Bed and Board - Two English Girls - Such a Gorgeous Kid Like Me - Day for Night - Small Change - The Man Who Loved Women - The Green Room - Love on the Run - The Last Metro - The Woman Next Door - Confidentially Yours
The Auteur #40: Francois Truffaut (Pt. 1) - (Pt. 2)
© thevoid99 2014
One of the key filmmakers to emerge in the Nuevo Cine Mexicano movement of the 1990s and early 2000s, Carlos Reygadas is among the number of filmmakers who brought a new light to the world of Mexico. Unlike his peers in Alfonso Cuaron, Guillermo del Toro, and Alejandro Gonzalez Inarritu whose films have garnered a wider audience critically and commercially. Reygadas’ films tend to veer towards more abstract and cerebral themes of alienation and spirituality as he also focuses on individuals and character who are outsiders in his native Mexico. Especially as he infuses a more European influence in his stories that makes him standout from his fellow Mexican filmmakers. Particularly as his films would have polarizing opinions from audiences and critics as he has no interest in making films for commercial reasons but rather for personal reasons.
Born on October 10, 1971 in Mexico City, Mexico, Reygadas came from a different background that was more upper-class as it would later allow him to attend the prestigious Mount St. Mary’s College in Derbyshire in Britain. During his time as a student at the university where he was studying law, Reygadas discovered the world of European cinema through such diverse filmmakers as Andrei Tarkovsky, Robert Bresson, and Michelangelo Antonioni. These three filmmakers would influence the ideas that Reygadas would have in the world of film though he would still have time to study law. While working as a lawyer in London as part of the United Nations for armed conflicts, Reygadas also sought out his interest in the world of cinema as it began with a 1999 short called Prisioneros that was partially funded by his work in Belgium as it would be one of a few shorts he would submit to the Rotterdam Film Festival.
More can be read here at Cinema Axis.
© thevoid99 2014
Based on the poem by Lewis Carroll, Jabberwocky is the story of a young cooper’s apprentice who founds himself dealing with a mysterious creature through some very accidental situations. Directed by Terry Gilliam and written by Gilliam and Charles Alverson, the film is a humorous take on Carroll’s poem as it plays Gilliam’s absurd approach to humor as the film stars his fellow Monty Python cohort Michael Palin in the lead role of Dennis Cooper. Also starring Harry H. Corbett, John Le Mesurier, and Warren Mitchell. Jabberwocky is a strange yet witty film from Terry Gilliam.
The film is an offbeat tale about a young cooper’s apprentice who leaves his village to make a new life for himself where he enters the city kingdom through accidental means as he reluctantly becomes a squire and the object of affection for a princess. Yet, the kingdom is still being haunted by the mysterious creature known as the Jabberwocky as merchants and bishops continue to profit from the fear of the creature while its king (Max Wall) is trying to figure out how to defuse the crisis as he holds a tournament so a champion can fight the creature. It’s a film that is about a lot of things such as a young man’s desire to make a good life for a woman who doesn’t really love him as he does have ideas to improve commerce despite dealing with the indifference of merchants and other people.
The film’s screenplay is very strange where even though it has a simple structure and a story about a young man who accidentally finds himself in situations where he would face the Jabberwocky. It’s a story that is often quite messy as the themes of bureaucracy and commerce are explored where in the former, it involves these merchants who are trying to ensure that the creature stays alive so that money can be made. For the character of Dennis Cooper, he has ideas that he believes can help efficiency in the work place only to cause trouble where some of his accidental encounters puts him in places he didn’t want to be as all he wanted a simple life.
Terry Gilliam’s direction is a bit uneven at times where it’s obvious that he’s trying to refine his vision in what he wants to create. While he does create a lot of strange set pieces and visual motifs that are amazing to watch that includes the climatic appearance of the Jabberwocky. He also tries to infuse a lot of humor that is very eccentric and offbeat that is reminiscent of his work in Monty Python. These elements don’t really mesh together though Gilliam creates some unique compositions and moments that has some dark humor as well as recurring gags that play to the absurdity of the Dark Ages. Overall, Gilliam creates a pretty inconsistent yet entertaining film about a man who unwittingly finds himself facing off a monster.
Cinematographer Terry Bedford does excellent work with the grimy photography style for much of the film‘s exteriors with its smoke and fog as well as the lighting schemes in the castle interiors. Editor Michael Bradsell does nice work with the editing as it‘s mostly straightforward with some rhythmic cuts for its humorous moments. Production designer Roy Forge Smith and art director Mily Burns do fantastic work with the set pieces from the castle the king and his people live in as it‘s in ruins to the merchant homes and pubs surrounding the castle. Costume designers Charles Knode and Hazel Pethig do fine work with the period costume as it‘s often ragged at times as well as the look of the king.
The hair/makeup work of Elaine Carew, Scott Rakison, and Maggie Weston do terrific work with the look of some of the characters in their ragged look. Monster creators Clinton Carvers and Valerie Charlton is superb for its imaginative look as it‘s terrifying but also strange. Sound recordist Garth Marshall does amazing work with the sound from the use of sound effects and the way the creatures sound. The film’s music consists of pieces by Modest Mussorgsky, Hector Berlioz, and Jacques Ibert is brilliant as it plays to the humor and horror that occurs in the film.
The film’s cast features cameo appearances from director Terry Gilliam as well as fellow Python cohorts Terry Jones as a poacher and Neil Innes as a herald late in the film. Other notable small roles include David Prowse in a dual role as two knights in the Red Herring and the Black Knight, Bernard Bresslaw as a landlord, Alexandra Dane as the landlord’s wife, John Bird as the first herald who annoys the king and his council, Derek Francis as the bishop, Paul Curran as Dennis’ father, Harry H. Corbett as a mischievous squire, and Deborah Fallender as the princess who mistakes Dennis as a prince.
Annette Badland is funny as Dennis’ dismissive girlfriend Griselda while Warren Mitchell is terrific as her father who agrees with Dennis’ ideas about commerce. Max Wall is excellent as the aloof king who tries to figure out what to do while John Le Mesurier is fantastic as his chamberlain who aids him in how to defuse the situation. Finally there’s Michael Palin in a marvelous performance as Dennis Cooper as a young man just wanting to make something of himself as he deals with a new world as well as accidental situations that has him baffled about his place in the world.
Jabberwocky is a good though meandering film from Terry Gilliam. While it features a funny performance from Michael Palin and some cool visual moments that Gilliam would refine in his later work. It’s a film that wants to be all sorts of things but doesn’t mesh together with the themes that Gilliam wanted to explore with humor. Still, it has moments that are enjoyable and witty. In the end, Jabberwocky is a messy though decent film from Terry Gilliam.
Terry Gilliam Films: Time Bandits - Brazil - The Adventures of Baron Munchausen - The Fisher King - 12 Monkeys - Fear & Loathing in Las Vegas - The Brothers Grimm - Tideland - The Imaginarium of Dr. Parnassus - The Zero Theorem - The Auteurs #38: Terry Gilliam
© thevoid99 2014
Directed by Steven Soderbergh and written by Brian Koppelman and David Levien, Ocean’s Thirteen is the third and final film of the Ocean’s trilogy as Danny Ocean and his team decide to ruin a new casino and its owner in an act of revenge when one of Ocean’s friends gets conned out of his dream and nearly dies of a heart attack. The film is a heist film but also a comedy in which Danny Ocean and his gang return to Las Vegas and make sure a businessman’s premiere night is ruined as they seek the help from an unlikely person. Starring George Clooney, Brad Pitt, Matt Damon, Don Cheadle, Bernie Mac, Eddie Jemison, Casey Affleck, Scott Caan, Shaobo Qin, Carl Reiner, Elliot Gould, Andy Garcia, Eddie Izzard, Vincent Cassell, David Paymer, Ellen Barkin, and Al Pacino as Willy Bank. Ocean’s Thirteen is an exhilarating and fun film from Steven Soderbergh.
The film is a revenge tale of sorts when Willy Bank cheats Reuben Tishkoff (Elliot Gould) out of his partnership of a casino that leads to Reuben suffering a near-fatal heart attack forcing Danny Ocean (George Clooney) and the rest of the gang to seek vengeance on Bank and ruin his new casino. While it is a simple premise of a revenge/heist film, it’s also a film about brotherhood and loyalty where Ocean and the gang help out one of their own while getting help from an ally of theirs from the past as well as a foe in Terry Benedict (Andy Garcia) who also despises Bank and wants the gang to steal some prestigious diamonds that Bank has won. Along the way, the gang that is expanded to thirteen do whatever it takes to ruin the opening night of Bank’s casino and make sure that Reuben gets the chance to be happy again.
The film’s screenplay by Brian Koppelman and David Levien does have a very unique structure where the first half is about Reuben’s heart attack and the gang wanting to get back at Bank for what he did as well as plan the heist and to make sure that Bank loses more than half a billion dollars on opening night. Yet, the stakes are much bigger as the casino known as the Bank gives the gang even bigger challenges as they seek the help of friend Roman Nagel (Eddie Izzard) who learns that his old roommate in Greco Montgomery (Julian Sands) has created an artificial intelligence system that can scope out anyone to see if anything they did in the casino is illegal as the only way to disable it temporarily would be through a natural disaster.
The film’s second half is set on opening night where it’s about the scheme where Linus Caldwell (Matt Damon), who poses as an assistant for Yen (Shaobo Quin) who plays a real estate billionaire, would seduce Bank’s assistant Abigail Sponder (Ellen Barkin). Yet, a lot more chaos happens as Virgil and Turk Malloy (Casey Affleck and Scott Caan, respectively) take part in a protest for Mexican workers that would be successful in the scheme while Benedict’s involvement isn’t just funding the gang when they needed money to create a natural disaster. Benedict has a bigger grudge towards Bank who had always prevented him from winning the prestigious Five Diamonds Award as Saul Bloom (Carl Reiner) would pose as a critic of that award while the real critic (David Paymer) would endure the most humiliating moments of his life.
Steven Soderbergh’s direction is very stylish as well as lavish for the way he presents the world of casinos including the one that Bank wants to create as it displays his very egotistical personality. Much of it involves some massive wide shots and some second unit work as the look of the casino from the exterior displays how crazy Bank is as a person in making sure that his casino is the best. Soderbergh adds in a lot of humor not just in the schemes that Danny Ocean and the gang creates but also in how the way the react to certain things and such as Danny becomes sentimental when watching Oprah Winfrey. There’s also a sense of nostalgia in Danny and Rusty (Brad Pitt) who look at what Las Vegas has become as they think about how much Reuben was there for them as they think of him as a father and friend.
In his Peter Andrews alias, Soderbergh’s photography has a lushness in many of its interiors for the scenes at Bank’s casino with its red and yellow while Soderbergh infuses it with a lot of stylish shots to play into that look. Even as the exteriors in Las Vegas and Los Angeles maintains that sense of beauty that is the American West Coat. Still, Soderbergh makes sure that the film is about more than just payback and ruining one man’s life as it’s a film about friendship and honor. Overall, Soderbergh crafts a very enjoyable film about a gang rallying for an ailing friend and go after the man who hurt their friend.
Editor Stephen Mirrone does brilliant work with the editing with its use of montages and stylish cuts to play into the sense of craziness and planning that goes on as well as the humor in the film. Production designer Philip Messina, with set decorator Kristen Toscano Messina and supervising art director Doug J. Meerdink, does fantastic work with the look of the casino from its posh interior setting to the home where Reuben lives. Costume designer Louise Frogley does amazing work with the costumes from the dresses that Sponder wears as well as the clothes that the men wear.
Visual effects supervisor Thomas J. Smith does terrific work with some of the film‘s minimal visual effects such as the cologne that Linus uses to woo Sponder. Sound editor Larry Blake does superb work with the sound from the sound effects in the casino to the way some of the machines sound. The film’s music by David Holmes is excellent for its mixture of jazz and upbeat electronic music while he also supervises the soundtrack to include some jazz classics including songs by Frank Sinatra.
The casting by Debra Zane is great as it features appearances from producer Jerry Weintraub as a friend of the gang, Oprah Winfrey as herself, Bob Einstein as a FBI agent, Noureen DeWulf as a casino expo girl, Olga Sosnovska as the casino manager Rusty bribes, Julian Sands as the artificial intelligence game designer Greco Montgomery, and David Paymer as the unfortunate Five Diamonds Award critic who endures the worst conditions in his stay at Bank’s casino. Vincent Cassel is terrific in reprising his role as Francois Toulour from the second film as he seeks revenge on the gang while Ellen Barkin is wonderful as the very sexy and cunning Abigail Sponder who aids Bank in ensuring that things go well only to become seduced by Linus in his character. Al Pacino is excellent as Willy Bank as this very slimy casino owner who cheats Reuben out of his dream and dismisses Danny’s plea as he is a man full of ego and vanity as it’s a role that Pacino is perfect in.
Eddie Izzard is fantastic as the tech genius Roman Nagle who joins the gang as he also has a grudge towards Greco as he wants to get a nice share and help the gang. Andy Garcia is brilliant as longtime foe Terry Benedict who helps the gang in humiliating Bank while having a few tricks in his sleeve as he wants something in return for helping them. Eddie Jemison, Shaobo Qin, Carl Reiner, Casey Affleck, and Scott Caan are amazing in their respective roles as Livingston Dell, Yen, Saul, Virgil, and Turk as they all contribute some humor to the film while Bernie Mac is superb in his role as Frank Catton as it’s one of his final performances.
Elliot Gould is incredible as Reuben Tishkoff as a man who just wants to get his chance to run a casino as he nearly dies while seeing what his friends are doing for him. Matt Damon and Brad Pitt are hilarious in their respective roles as Linus Caldwell and Rusty Ryan where they both put on disguises and do some funny things. Don Cheadle is also hilarious as Basher who would pretend to be a stuntman to distract Bank while George Clooney is marvelous as Danny Ocean who leads the team into targeting Bank and make his night a living hell.
Ocean’s Thirteen is a phenomenal film from Steven Soderbergh. Armed with a great cast and an engaging premise, it’s a film that definitely serves as a fitting finale to the trilogy. Especially as it’s a film that just promises fun and excitement with characters audiences want to root for. In the end, Ocean’s Thirteen is a dazzling film from Steven Soderbergh.
Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - The Underneath - Gray's Anatomy - Schizopolis - Out of Sight - The Limey - Erin Brockovich - Traffic - Ocean's Eleven - Full Frontal - Solaris (2002 film) - Eros: The Equilibrium - Ocean's Twelve - Bubble - The Good German - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)
The Auteurs #39: Steven Soderbergh: Pt. 1 - Pt. 2
Related: Ocean's 8
© thevoid99 2014
Directed by Michael Cimino and screenplay by Deric Washburn from a story by Cimino, Washburn, Louis Garfinkle, and Quinn K. Redeker, The Deer Hunter is the story of three steelworkers from Pennsylvania who fight at the Vietnam War where their ideas of heroism has them encounter with the realness of war as one of them comes home changed and lost. The film into the idealism of men upon what they expected in the war as it is told the early years of the war to the Fall of Saigon in 1975. Starring Robert de Niro, Christopher Walken, John Savage, Meryl Streep, George Dzundza, Chuck Aspergren, Rutanya Alda, and John Cazale. The Deer Hunter is a gripping yet haunting film from Michael Cimino.
The film is about three men who work at the steel mills in Pennsylvania as they come from families of Russian descent as they’re set to leave to serve the Vietnam War. Yet, it’s a film that is a coming-of-age tale of sorts as Michael Vronsky (Robert de Niro), Steven Pushkov (John Savage), and Nick Chevortarevich (Christopher Walken) who all experience three different journeys upon their encounter with war as they don’t just lose their innocence but also themselves. It’s told in three different acts as the film’s screenplay takes it time to establish the characters and what they encounter. The first act is set in Pennsylvania as Steven is marrying his pregnant girlfriend Angela (Rutanya Alda) as Michael, Nick, and friends Stan (John Cazale), Axel (Chuck Aspergren) and John (George Dzundza) embark on a final deer hunt before Michael, Nick, and Steven leave for war.
The characterization of the three men showcase the different ideas of these men as Michael is a man who is no-nonsense as he believes in just one shot in order to kill a deer. Steven is a man who is quite loving and generous with his friends while Nick is the most introspective of the three as he loves hunting and the world of nature. Joined Stan, Axel, and John, they’re men who like to have a good time and such while Nick also has a girlfriend in Linda (Meryl Streep) whom Michael has feelings for. The first act is a look into innocence as well as some foreshadowing of the dark journey Michael, Nick, and Steven would encounter in the form of a drop of wine spilled on Angela’s bridal gown and the encounter with a soldier (Paul D’Amato) whom the three ask about the war as all the soldier says to them is “fuck it”.
The second act is set in Vietnam where Michael, Nick, and Steven not only encounter the horrors of war but also a world that is far more complicated where they’re captured by Vietcong soldiers who force them to play a sick, psychological game of Russian Roulette. The three would survive but the event would have bad repercussions as Nick and Michael would both take separate journeys while Steven becomes severely injured as he is later taken to a veterans hospital in the U.S. Nick would become lost in the dark world of Vietnam while Michael returns to America in its third act as a changed man as he becomes close to Linda while learning about Steven’s whereabouts that led him to learning what Nick’s been doing in Vietnam. It would play into this chilling climax about Nick’s descent as well as Michael trying to come to terms with what he’s lost and what he’s gained from his experience in the war.
Michael Cimino’s direction is definitely sprawling not just for the intimacy that he creates in the scenes at the wedding, its reception, as well as other scenes in the bars in the first act. It’s also these moments set in the mountains and forests where much of Cimino’s direction comes to life as he captures the mountains that were shot in Pennsylvania, West Virginia, Washington, and Ohio to create something that feels like a world that is American at its most pure. Even in the small towns where Cimino’s direction has this sense of realism in the way men act towards each other and such as well as how they behave towards women. Some of which weren’t so good but some of it which includes the scenes between Michael and Linda are presented with great tenderness as they both deal with loss.
The direction has sequences that goes on for very long times such as the wedding and such where it establish some key moments for the characters as well as some small details that would occur. The scenes set in Vietnam was shot in Thailand as well as the infamous Russian Roulette sequence that is shot at the River Kwai. The scenes are very unsettling where there is a sense of unpredictability as it would play into the loss of innocence for the three men as Nick would descend further as he would be drawn by the world of Russian Roulette as it leads to this chilling climax during the Fall of Saigon where Michael tries to find him and take him home. It would be followed by this poignant epilogue that isn’t just about loss but how far the characters in the film have gone from the days of innocence in the late 1960s to the American nightmare at the fall of Saigon. Overall, Cimino crafts a very visceral yet touching film about three men and their chilling experience at the Vietnam War.
Cinematographer Vilmos Zsigmond does brilliant work with the film‘s cinematography from the lush scenery of the mountains in America to the desolate and eerie look of the scenes set in Vietnam as Zsigmond‘s work is a major highlight of the film. Editor Peter Zinner does excellent work with the editing from the news montage of the Fall of Saigon to some methodical cutting in the scenes at the wedding and its reception, the chilling scenes of war, and Michael‘s return to Saigon. Art directors Ron Hobbs and Kim Swados do fantastic work with the set pieces from the look of the river-prisons run by the Vietcong as well as the hall for the wedding reception.
The sound work of Richard Portman, William L. McCaughey, Aaron Rochin, and C. Darin Knight is amazing for its sound mixing in the way it captures the chaos of war as well as the craziness in the lively wedding reception sequence. The film’s music by Stanley Myers is exquisite for its orchestral-driven score to play into the sense of war as well as the calmness of small-town America as it includes the theme Catavina performed by classical guitarist John Williams while the film’s music soundtrack includes some traditional Russian folk and funeral music plus Frankie Valli’s Can’t Take My Eyes Off You and God Bless America.
The casting by Cis Corman is incredible as it features some notable small roles from Paul D’Amato as a war veteran at the wedding reception, Shirley Stoler as Steven’s mother, Pierre Segui as Nick’s French friend at Vietnam Julien, and Rutanya Alda as Steven’s bride Angela who becomes lost following Steven’s disappearance after his injury at the war. Chuck Aspegren is excellent as the very joyful big man Axel as he often says “fuckin’ A” while George Dzundza is superb as the bar owner/friend John who also likes to make sure everyone has fun though he is unable to fight in the war due to his hands. Meryl Streep is amazing as Linda as a woman who shares her sense of loss with Michael over Nick while wondering if he’s still alive as it’s one of Streep’s finest performances.
In his final film performance, John Cazale is great as Stan as this cowardly yet kind man who often gets himself into bad situations while bringing in some humor as it’s a very unforgettable performance from the late actor. John Savage is brilliant as Steven as this young man who gets married in the film’s first act while encountering the horror of war as he would nearly lose his sanity as it’s a mesmerizing one. Christopher Walken is phenomenal as Nick as this introspective man whose encounter with Russian Roulette has him descend into madness as he loses himself as it’s a very chilling performance from Walken. Finally, there’s Robert de Niro in a tremendous performance as Michael as this no-nonsense straight-arrow whose encounter with war has him changed as he tries to deal with what he loses and what he could get back as it’s a very intense and engaging performance from de Niro.
The Deer Hunter is a remarkable film from Michael Cimino. Armed with a great cast led by Robert de Niro along with strong supporting work from Christopher Walken, Meryl Streep, John Savage, and the late John Cazale. It’s definitely one of the finest films about war and the myth of the American Dream as a fantasy. Particularly as it’s a film about the Vietnam War and how it affected those who served in that war. In the end, The Deer Hunter is a sensational film from Michael Cimino.
Michael Cimino Films: Thunderbolt & Lightfoot - Heaven‘s Gate - Year of the Dragon - The Sicilian - Desperate Hours (1990 film) - The Sunchaser - To Each His Own Cinema-No Translation Needed - The Auteurs #35: Michael Cimino
© thevoid99 2014
Written and directed by Carlos Reygadas, Post Tenebras Lux (Light After Darkness) is the story of a posh Mexican family who live in rural surroundings as a man deals with his environment and class status. The film is an exploration into a group of people who are part of a certain world yet have desires and such that would have them removed from the people they‘re surrounded by. Starring Adolfo Jiminez Castro, Nathalia Acevedo, Willebado Torres, Rut Reygadas, and Eleazar Reygadas. Post Tenebras Lux is a haunting and mesmerizing film from Carlos Reygadas.
The film is an impressionistic story revolving around a New Age architect and his family who live in rural Mexico in a posh home where they have poor/working class men working for them. Yet, it’s a film that doesn’t play into any kind of traditional narrative as it’s mostly non-linear where Juan (Aldofo Jiminez Castro) deals with his own status as he reflects on his life as he also thinks about what he wants for his family. Juan is a man troubled by his own desires as well as he seeks help but he would deal with his own issues as it relates to what he wants for his family as well as the people he meets who aren’t rich as some are envious of his status. The film’s script doesn’t play into any kind of traditional narrative in order to make it a film about memories and fantasies as there’s also elements of surrealism that comes into play.
Carlos Reygadas’ direction is entrancing not just for the imagery that he conveys in its 1:37:1 full-frame aspect ratio. It’s also for the dream-like quality that he creates as many of the film’s exterior setting has these very impressionistic yet crystallized blurs around the frame with the middle of it being very clear. It’s among the many aspects of the film that is so unique not just in the way many of these exterior settings are presented but also a world that seems to be removed from reality or fantasy as Reygadas would shoot the film with these long hand-held and steadicam tracking shots for its opening sequence. Much of the film’s interior settings is shot without these impressionistic edges in order to present a blur with reality and fantasy. Two of these sequences involve a Christmas dinner and a strange sequence at a spa play into this idea of fantasy that Juan wants.
The latter of which involve Juan and his wife Nathalia (Nathalia Acevedo) watching people having orgies in spas as it would play into the sexual frustrations that Juan deals with. Particularly in an earlier scene where he talks to one of his workers about that as it adds to that blur between reality and fiction. Much of the film is set in rural Mexico in its forests filled with beautiful trees and such while there’s a few scenes set in Europe to play into Juan’s posh background and the disconnect he has with rural Mexicans. The film’s climax not only involve what Juan has suffered through but also the strange connection he would have with one of his workers as it would play into the idea of faith and redemption. Overall, Reygadas crafts a very exotic yet chilling film about fantasies and its collision with reality.
Cinematographer Alexis Zabe does amazing work with the film‘s cinematography from the ethereal colors of the Mexican exteriors in the forest and mountains to the rich look of the interiors with its low-key lighting and lush imagery. Editor Natalia Lopez does excellent work with its editing as it‘s mostly straightforward yet methodical as it doesn‘t play to conventional ideas of editing. Production designer Geraldo Tagle and art director Nohemi Gonzalez do fantastic work with the look of the house that Juan and his family live in as well as the poor home some of his workers live at.
Visual effects supervisors Rodrigo Echevarria and Juan Manuel Nogales do superb work with the film‘s minimal visual effects such as the blurred edges of the camera as well as the mysterious red devil that appears in one major sequence of the film that plays to its surrealism. Sound designer Sergio Diaz does brilliant work with the sound work from the calm atmosphere of the forest to some of the raucous sounds in the parties and such that the characters encounter while much of the music in the film is played on location as it mostly features traditional Mexican music as well as a cover of a Neil Young song performed by one of the characters.
The film’s incredible cast includes some notable small roles from Jose Alberto Sanchez as Juan’s head worker El Jarro, Suemi Valderrama as Siete’s wife Samanta, and Willebado Torres as Juan’s worker Siete who becomes envious of Juan’s richness. Rut and Eleazar Reygadas are wonderful as Juan and Nathalia’s kids as they play into the sense of innocence that is in Juan’s complicated world. Nathalia Avecedo is amazing as Nathalia as a woman who tries to deal with Juan’s sudden detachment as well as the world she encounters that includes the chilling spa sequence. Finally, there’s Adolfo Jiminez Castro in a phenomenal performance as Juan as this rich architect who deals with his own desires and what he wants for his family as well as his disconnect with the people he’s surrounded by as well as his wife which leads to his own sexual frustrations as it’s a very haunting performance.
Post Tenebras Lux is a marvelous film from Carlos Reygadas. While it’s definitely not an easy film to watch due to its unconventional storyline and impressionistic images. It’s still a film that plays into the world of what men want in the world but also the disconnect they would have with their own surroundings. In the end, Post Tenebras Lux is a ravishing yet cerebral film from Carlos Reygadas.
Carlos Reygadas Films: Japon - Battle in Heaven - Silent Light - Our Time (2018 film) - (Heil Jupiter!) - The Auteurs #32: Carlos Reygadas
© thevoid99 2014
Directed by Godfrey Reggio and written by Reggio and Ken Richards, Powaqqatsi is the second film of the Qatsi trilogy as it focuses on the industrial age as third world countries struggle with their traditional ways of life and their conflict with the emergence of modernism. Like its predecessor Koyaanisqatsi, the film is told in a non-narrative style that explores a world that is in great struggle with the demands of modern society. The result is an eerie yet ravishing film from Godfrey Reggio.
The film’s title is translated from the Hopi language as life in transition as the film explores third world countries like Peru, Brazil, Kenya, Nepal, and India adjusting to the world of industry and modernism while wanting to maintain their old way of life. Especially as it creates a sense of disharmony where people who don’t live in cities want to maintain a way of life that is very simple and not complicated as opposed to the city that is often dirty and chaotic. It’s a film that not only conveys that message in a way that is both beautiful and unsettling but also infuse with ideas of spirituality where the world of industry wants to modernize things only to cause pollution and despair. The film does have a unique structure as its first half largely features these gorgeous images of a world that isn’t modernized yet has no need to be.
The images that director Godfrey Reggio and his cinematographers Graham Berry and Leonidas Zourdoumis reveal in that first half are just gorgeous as it’s a world where time slows down as everyone does something where they’re in a place full of nature and beauty. Though not everything is great, at least it doesn’t have to deal with technology and such as they know what they need and what they don’t need. Through their work in farming and such, there is a spiritual element that makes it seem so pure as Reggio shoots most of it in slow-motion and in normal time. Once the film reaches its second act and plays into this transformation of a life of tradition colliding with the emergence of modernism. Much of the direction in both halves are filled with some close-ups, wide shots, and medium shots as well as some aerial shots to play into that world that is transforming.
With the help of editors Iris Cahn and Alton Walpole, the film starts off in this meditative approach filled with slow-motion shots and stylish montages filled with dissolving layers of images as it would later be sped-up a bit in the film‘s second half. Notably as the images that Reggio and his cinematographers showcase will be filled with this strange mix of people trying to maintain their simple way of life amidst the chaos of the city and modern world. Adding to the disparate tone of the film is the music by Philip Glass as his score is this mix of bombastic yet low-key orchestral music with brooding electronic minimalism. Much of it involves sound textures that play into this conflict that is happening in the film as Reggio maintains that sense of intoxicating imagery to play into a world that is transforming.
Powaqqatsi is a phenomenal film from Godfrey Reggio as it’s definitely a worthy follow-up to its predecessor Koyaanisqatsi. The film itself does stand on its own for not just the way it place into a world that is being forced to change into the modern world but the struggle to maintain an old way of life. In the end, Powaqqatsi is a remarkable film from Godfrey Reggio.
Godfrey Reggio Films: Koyaanisqatsi - Naqoyqatsi - (Visitors (2013 film))
© thevoid99 2014
From May 14 to May 25 during the entire duration of the 67th Annual Cannes Film Festival, I will once again hold my Cannes Film Festival marathon. This time however, this marathon will be focused exclusively on films that have won the Palme d'Or. An award that is without question one of the highest honors in the history of the festival and in cinema itself. Over the years ever since I became aware of the festival and have seen many films that had played at the festival. I had seen films that won the Palme d'Or as based on this list, I've seen 41 of them so far. This year's festival will feature new films from Nuri Bilge Ceylan, Jean-Luc Godard, Olivier Assayas, Bennett Miller, Xavier Dolan, Tommy Lee Jones, Atom Egoyan, the Dardenne Brothers, Ken Loach, Mike Leigh, and many others as they will compete for the coveted prize as I'm sure it's going to be one hell of a festival.
For this year's marathon, I will focus solely not just on the Palme d'Or winners that I haven't seen but I will open and close the marathon with two that I have previously seen as I feel they needed to be properly re-watched.
Opening the marathon will be the 2004 winner in Michael Moore's documentary Fahrenheit 9/11 as it was a controversial film that won the award. Closing the marathon will be the 1967 winner in Michelangelo Antonioni's Blow-Up.
Here are the 8 following films that I haven't seen that I will watch in competition for my own fictional version of the Palme d'Or:
The Lost Weekend (co-winner 1946)
The Third Man (winner 1949)
The Cranes are Flying (winner 1958)
A Man and a Woman (co-winner 1966)
If... (1969 winner)
The Tin Drum (co-winner 1979)
The Mission (1986 winner)
& The Son's Room (2001 winner)
These will be the films I will watch from the 14th to the 25 of May. On the last day, I will present my fictional prizes to coincide with the announcement of the winners of this year's festival. Until then, ciao.
