Based on the Predator film series by Jim Thomas and John Thomas, Prey is the story of a young woman in early 18th Century Great Plains North America who encounters a mysterious alien who is killing people in her tribe while also battling French settlers hunting for their buffalo herd. Directed by Dan Trachtenberg and screenplay by Patrick Aison that is based on a story by Aison and Trachtenberg, the film is a prequel of sorts to the Predator film series in which a young Comanche woman’s attempt to prove herself to be a hunter for her tribe has her going to war with an alien that kills humans for sport. Starring Amber Midthunder, Dakota Beavers, Dane DeLiegro, Michelle Thrush, Stormee Kip, Julian Black Antelope, and Bennett Taylor. Prey is a gripping and exhilarating film from Dan Trachtenberg.
Set in 1719 on the Great Plains of North America, the film follows a young Comanche healer who is eager to become a hunter where a mysterious alien has arrived killing animals and humans forcing this young woman to hunt this alien. It is a film with a simple premise as it play into this young woman who is trying to prove herself to be a hunter for her tribe despite already being a gifted healer. Patrick Aison’s screenplay does have a unique narrative that has a unique usage of English and Comanche-based language as the latter is used sparingly but it is effective in playing to this world that Naru (Amber Midthunder) is a part of that includes her mother Aruka (Michelle Thrush) and her older brother Taabe (Dakota Beavers) who is already a skilled hunter and revered by many in the tribe. Yet, Taabe is aware of Naru’s determination as he also knows she’s a better tracker than him despite the fact that many in the tribe don’t think Naru has what it takes to be a great hunter.
For all of Taabe’s skills and the army he commands as they go hunt what they believe is a bear or a mountain lion, Naru believes it is something else as she goes on her hunt with her dog Sarii (Coco). Eventually, she and a few others would discover what has been killing some animals and such while Naru also discovers that French voyageurs have been killing some buffalo. During her journey as she also would encounter other creatures including this mysterious alien she called Mupitsl (Dane DeLiegro) after a legendary Comanche demon. In these encounters including being captured by the French voyageurs, she would learn about this alien creature as it would add to stake of what Naru must do to survive and earn the respect of her tribe.
Dan Trachtenberg’s direction is wondrous for not just its setting but also mixing elements of sci-fi in a film set in the early 18th Century where an alien is trying to hunt anything on Earth. Shot on various locations near Calgary, Alberta in Canada with much of it on Stoney Nakoda First Nation land as well as areas in the mountains and rivers in Alberta. The locations do add to the air of suspense and action as Trachtenberg’s usage of wide and medium shots play into this world that is vast but also thriving where Naru can find herbs and such to help heal wounded warriors and such. Even as Trachtenberg also uses the locations and its physicality as a place where Naru could use that environment to her advantage including when it comes to hiding from the alien who would sometimes appear invisible. Trachtenberg’s usage of close-ups also add to the suspense where Naru would also get a look into how this alien is tracking everyone through thermal lighting as it serves a homage of sorts to the 1988 film.
Trachtenberg’s approach to the violence is gory in one of the early scenes in the way the alien skins a snake alive as well as some of the Comanche’s attempts to target the alien as there’s an intensity to the way Trachtenberg approaches the alien’s demeanor. One notable sequence involve the French voyageurs as they would try and go after the alien by using Naru as bait but it only shows what Naru knows and what these voyageurs don’t know. Even as the film’s climax is more about the idea of hunting as it’s not about killing something. It’s about killing as a means to survive and live as it is something Naru would learn throughout the film as it would also allow her to use her wits. Overall, Trachtenberg crafts a riveting and enthralling film about a young Comanche woman who discovers a mysterious being that is not from Earth and is preying upon those that are considered threats.
Cinematographer Jeff Cutter does incredible work with the film’s cinematography with its usage of natural lighting for some of the scenes set at night including the usage of fire as available lighting along with stylish lighting for the foggy battle between the French and the alien. Editors Angela M. Catanzaro and Claudia Castello do excellent work as its usage of fast-cuts help play into the action along with some moments where they allow shots to linger to play into the intensity of the action. Production designers Amelia Brooke and Kara Lindstrom, with supervising art director Kendelle Elliott plus set decorators Peter Lando and Ellen Reede, do brilliant work with the teepees that Comanches live in as well as the tents that the voyageurs live in. Costume designer Stephanie Portnoy Porter does fantastic work with the look of the clothes that the Comanche wears that include bits of fur as well as the look of the voyageurs with the fur that they wear and kill.
Creature effects designers Alec Gillis and Tom Woodruff Jr., along with hair designer Jo-Dee Thomson, do amazing work with the look of the Predator character as well as some of the tribal makeup the Comanche would wear. The special effects work of Chris Hernandez and Mark R. Byers, along with visual effects supervisor Jingyi Zhang, is phenomenal with its emphasis on some practical effects as well as the usage of computer-based effects for some of tech that the alien uses as well as in some of the creatures. Sound designer James Miller, along with sound editors Wil Files and Chris Terhune, does superb work with the sound as it play into the natural sounds in the locations as well as the way the alien would roar along with animals from afar. The film’s music by Sarah Schachner is wonderful for its usage of orchestral textures to play into the suspense and action along with woodwinds and percussions that help intensify things including the usage of Native American percussions as it is a highlight of the film.
The casting by Rene Haynes is marvelous as it feature some notable small roles from the duo of Troy Mundle and Nelson Leis as a couple of voyageurs, Mike Paterson as the lead voyageur, Julian Black Antelope as the Comanche chief Kehetu, Stormee Kipp as a Comanche hunter in Wasape who always treats Naru as less than, Bennett Taylor as an Italian translator for the voyageurs who is one of the few to not mistreat Naru, Michelle Thrush as Naru and Taabe’s mother Aruka who sees the value in both of her children but also tells Naru about what it really means to be a hunter, and the dog Coco as Sarii who . Dane DeLiegro does brilliant work as the Predator as this alien being who hunts anything that is considered a threat while creating a mask out of a wolf skull that would be a primitive version of a targeting mask.
Dakota Beavers is excellent as Naru’s older brother Taabe as a skilled hunter who becomes the tribe’s war chief as he would lead a hunt on this mysterious creature believing that it might be an animal only to discover what it really is. Finally, there’s Amber Midthunder in a phenomenal performance as Naru as a young Comanche woman who is eager to become a hunter as she is already a skilled healer and tracker while her encounters with this alien would prove to test her. Midthunder’s performance as this young woman who would realize that this alien creature isn’t like anything on Earth would also have elements of restraint but also this physicality in the way she moves around her environment as it is an absolute breakout performance from Midthunder.
Prey is a tremendous film from Dan Trachtenberg that features an outstanding breakout performance from Amber Midthunder. Along with its gorgeous visuals, intense action scenes, wondrous settings, a chilling music score, and a story of survival. The film isn’t just this gripping film that blends action, sci-fi, and suspense but it is also a film that manages to keep things simple as it is the easily the best film of the Predator franchise since the original film from 1987 by John McTiernan. In the end, Prey is a spectacular film from Dan Trachtenberg.
Written, produced, edited, scored, designed, and directed by Anna Biller, The Love Witch is the story of a modern-day witch who uses spells and magic to get men to fall in love with her only for things to go incredibly wrong. The film is a tribute to the Technicolor films of the 1960s as it plays into a woman in a modern world as she uses old magic and such to try and find love only for things to get complicated. Starring Samantha Robinson, Gian Keys, Laura Waddell, Jeffrey Vincent Parise, Jared Sanford, Robert Seeley, and Jennifer Ingrum. The Love Witch is a whimsical yet eerie film from Anna Biller.
The film follows a young witch who moves to a small town in California following the death of her ex-husband as she hopes to find a new lover through a love spell she created only for things to not go her way. It is a film with a unique premise as it plays into this young woman who has moved away from San Francisco to the small town of Arcata unaware that the town has a little tolerance for witchcraft. Anna Biller’s screenplay play into the world that Elaine Parker (Samantha Robinson) lives in as she lives at an apartment at a Victorian home owned by her mentor Barbara (Jennifer Ingrum) who is out of town as the home is also overseen by an interior decorator in Trish (Laura Waddell) whom Elaine befriends. Yet, Elaine’s ideas about pleasing your husband in an act of love is something Trish doesn’t agree with as it relates to her own idea of feminism. Elaine would attempt to woo a local college professor in Wayne Peters (Jeffrey Vincent Parise) and Trish’s husband Richard (Robert Seeley) through her spells only for things to go wrong and later get the attention of a detective in Griff Meadows (Gian Keys) who would have his own encounter with Elaine as it would cause trouble.
Biller’s direction definitely evokes a visual style similar to 1960s Technicolor films as well as the films from Europe in that period including the films of Jacques Demy in terms of its visual style. With many of its exteriors shot in Eureka, California with a lot of it shot on soundstages and the tea room shot in the Herald Examiner Building in Los Angeles. Biller creates a film that does have a look and feel of a 1960s film from the apartment that Elaine lives in as well as her clothes. Even though the film is set in the 21st Century, it does still feel like it is a film from the 1960s as Biller’s compositions are unique in her framing in the wide and medium shots to play into a location or in a room. Notably in scenes involving rituals that Elaine takes part in with Barbara and her creepy husband Gahan (Jared Sanford) as there’s a lot of attention to detail in the way Biller would put the actors into a shot and for these rituals. Biller would also use close-ups as a way for Elaine to seduce whoever she pursues as it adds to the visual intrigue of the film.
Also serving as the film’s production/costume designer, editor, and music composer, Biller does a lot to play into the visuals as her approach to the film’s art direction is meticulous as it includes paintings that Elaine has created which would add to the film’s offbeat tone as the town itself also feels like it is set in the 1960s even though there’s cellphones used. The costumes also add to the film’s visual look including a Renaissance fair event where Elaine and Griff would go to as the costumes are lavish with a lot of medieval-folk based music that is arranged by Biller who would also create a music soundtrack filled with orchestral cues that sort of plays up to the world of horror as well as including music that features some score pieces by Ennio Morricone. Biller’s editing also adds to the sense of intrigue with its approach to rhythmic cuts and reaction shots as it also plays into the suspense. Notably in a key scene late in the third act as it relates to some of Elaine’s actions and Griff’s own revelations about his feelings for Elaine. Overall, Biller crafts a riveting and stylish film about a witch trying to create spells to woo men with some bad results.
Cinematographer M. David Mullen does brilliant work with the Technicolor-inspired photography with its vibrant usage of colors, soft-lighting, and textures that play into the look of the film as it is a major highlight of the film. Hair/makeup work by Emma Willis does nice work with the wigs that Elaine would wear as extension of her hair as well as the look of her friends including some of the makeup Elaine wears to seduce her suitors. Sound mixers Chris David and Karl W. Lohninger do fantastic work with the sound as it play into the natural locations as well as sound effects that help add to the film’s suspense.
The film’s wonderful ensemble cast feature some notable small roles from Fair Micaela Griffin and Elle Evans as a couple of Barbara’s students/dancers in their respective roles as Moon and Star, Stephen Wozniak as Elaine’s ex-husband Jerry, Randy Evans as a detective in Steve who made discoveries about Elaine’s past as he tries to warn Griff, Lily Holleman as a student of Wayne who goes to the police over his disappearance, and Clive Ashborn as a college professor who knows a lot about witchcraft as he gives Griff advice about what to expect. Jared Sanford and Jennifer Ingrum are fantastic in their respective roles as Elaine’s mentors in the creepy Richard and the lively Barbara as they would help Elaine with her plans as well as give her advice on how to woo men. Robert Seeley and Jeffrey Vincent Parise are excellent in their respective roles as Trish’s husband Richard and the college professor Wayne Peters as two men that Elaine would seduce on different occasions with the former being someone who was in love with Trish but also has his own ideas of fantasy until his time with Elaine has made him despondent while the latter becomes an emotional wreck after his encounter with Elaine.
Laura Waddell is brilliant as Trish as an interior decorator who is among the first to welcome Elaine to town while has feminist views that Elaine doesn’t agree with until she begins to suspect that something has happened to her husband. Gian Keys is amazing as Griff as a detective who leads the investigation into strange events as he falls for Elaine but becomes conflicted over his infatuation with her but also the fact that she’s a suspect into these strange events. Finally, there’s Samantha Robinson in an incredible performance as Elaine Parker as a young witch eager to find love through magic and sex spells as Robinson brings a lot of charm and wit into her character despite the fact that her ideas of love are outdated as well as elements of delusion yet Robinson exudes a lot of the beauty but also embracing the campy elements of her character.
The Love Witch is a sensational film from Anna Biller that features a great leading performance from Samantha Robinson. Along with its ensemble cast, wondrous visuals, homages to 1960s Technicolor films, and an offbeat yet darkly comical premise. It is a film that isn’t just this odd film that looks like it’s from the 1960s but it also has modern elements of horror mixed in with ideas of feminism that doesn’t take itself too seriously. In the end, The Love Witch is a phenomenal film from Anna Biller.
The fall season has arrived which usually means (hopefully) cooler weather as well as a lot of other things such as American football season including college football. Yet, I’m more concerned with what is happening in baseball as the Atlanta Braves just won another division title while remaining the best team in Major League Baseball as the playoffs are about to happen yet I’m trying not to jinx anything. Even as the Braves have been breaking records and dominating all year though I’m also aware that the Oakland A’s have completely fallen apart as they’ve lost more than 100 games this year as they’re set to finish dead last. A sad way to end a year that has seen a lot of drama for a team that is about to move to Las Vegas despite the protest of their fans.
The WAG-SAG strike is coming to an end for the Writer’s Guild though the Screen Actors Guild is still on strike though it looks like it might end soon as a deal is being made. Yet, the strike has sadly caused several shows to be cancelled while there are those like Bill Maher who tried to re-start his own show without writers as an act of defiance though it only proves that he’s a fucking asshole with outdated views and guests who have nothing interesting to say about anything. While Drew Barrymore tried to do the same in order to pay her staff, she at least apologized for trying to get her show back on the air though I think her intentions were honorable though she should’ve not have done anything in order to support her writers and her fellow actors.
While there’s a lot happening in the world, professional wrestling is often a place where I can escape from the realities of the world although sometimes things get too real. Last August should’ve been a historical and triumphant moment for All Elite Wrestling as they were able to put their first show in London at Wembley Stadium for AEW All In where they did break a paid attendance record though only 72,265 people attended the event due to the turnstile numbers recorded. Still, it was a success for the company but not without controversy due to the backstage fight between CM Punk and Jack Perry as more was revealed where it is clear that Punk had absolutely lost it. The incident happened after Perry’s match with Hook for the pre-show and just before Punk was to face Samoa Joe to open the main show. Perry never threw a punch as it was Punk who was getting physical to the point that he was putting others in danger including his boss Tony Khan as TV monitors were falling around him. Punk also went after Khan as Joe was the one mediating everything and after their match (which Joe should’ve won) is when things just unraveled. Perry is currently suspended for his comments at the show while there was no word about to what to do with Punk.
Then on September 2, 2023 before AEW Collision was to air and Punk was supposed to face Ricky Starks at All Out the next day. Tony Khan made the decision to fire Punk just one year after the incident following the media scrum at the previous All Out event as Khan made the right decision. As a now former fan of CM Punk, I’m glad Khan made the decision as I should’ve known that things weren’t going to work out the day Punk made his return this past June at the first episode of Collision where he mentioned David Zaslav’s name. That should’ve been a red flag as Zaslav is already disliked by many people in the entertainment industry. Plus, the fact that Punk was the one sort of running things in Collision only made things worse as he banned the company’s head of talent relations in Christopher Daniels all because he is close to the Elite whom Punk had gotten into a fight with the year before after the 2022 All Out media scrum. Then there was Ryan Nemeth, who is also friends with the Elite, as he made a tweet about Punk being the softest person in the room and Punk got confrontational with him and banned him from Collision.
It is things like this that makes you wonder what Khan is doing as his greatest flaw as a boss is that he likes to be friends with everyone and you can’t do that to run a business. The Elite were considering about meeting Punk to sort things out because of these little things that were happening before All In made them not wanting to do business with him and I don’t blame them. Especially what would happen later as nearly everyone behind the scenes wanted Punk gone as Khan made the decision to not only fire Punk but also his longtime friend Ace Steel who had been a producer for Punk via zoom due to the fact that he had gotten physical with the Elite including biting Kenny Omega’s arm at the post-All Out media scrum. Now that Punk is gone, AEW still has a lot to figure out in terms of their booking as they’ve gotten some criticism for playing it safe though they should be grateful for at least having Bryan Danielson around as he would take Punk’s place for the strap match with Ricky Starks as many see him as a leader. Even as Danielson has made the announcement that he might retire as a full-time wrestler sometime next year to spend more time with his family.
With WWE having just finalized their merger with Endeavor as part of this new thing in TKO and releasing several people due to budget cuts including wrestlers such as Mustafa Ali and Dolph Ziggler (real name Nick Nemeth). It is a shame that many people are out of the job but thankfully there’s opportunities that these performers could take. Even in the independent wrestling scene where former WWE star Matt Cardona (previously known as Zack Ryder) has become this mega star in the indies winning many titles including the New York City-based House of Glory promotion as its top champion. Cardona expressed some words of wisdom for those who have been released about what to do with this next stage of their careers though many of them have to wait in 90 days due to a no-compete clause in their contracts. There’s AEW, Ring of Honor, Impact, GCW, and many other promotions in North America they can go to. Ziggler and Ali could find a home in AEW due to the fact that they have friends and family who work there while others could find a new home somewhere else.
In the month of September 2023, I saw a total of 28 films in 13 first-timers and 15 re-watches with 8 of those first-timers being films directed/co-directed by women as part of the 52 Films by Women pledge which I have surpassed with 54 films so far as I think it’s been a pretty good month. A highlight of the month has been my Blind Spot film in India Song. Here is the top 10 first-timers that I saw for September 2023:
The newest entry in Miu Miu short film anthology series known as Women’s Tales is from Antoneta Alamat Kusijanovic as it follows a Croatian-American woman who is about to become the head of a Croatian church that is to be built near New York City as she deals with a lot of personal chaos in her life as well as the men trying to maintain some control into her own fate. Starring Danica Curcic, the short is a strong one as it plays into this woman who is also protective of her son due to the fact that her husband has been cheating on her while her father is also trying to maintain control as she just couldn’t take it anymore.
I Thought the World of You
The second of four shorts I watched on MUBI as this experimental short by Kurt Walker revolves around a young man who rediscovers this album from the 1980s that was lost in obscurity as it was created by someone who would put a lot of work into this record. It is largely a silent film yet it is filled with wondrous imagery as it is worth seeking out.
Outer Space
Peter Tscherkassky has been a filmmaker that I discovered through MUBI as he has made these strange yet incredible short films that definitely break the rules of what films could be. This short he made in 1999 where he takes footage from Sidney J. Furie’s The Entity starring Barbara Hershey and completely butchers it to the point that it becomes this weird sci-fi film with collages and distorted imagery as it’s just a phenomenal watch.
Radical Hardcore
This short that I saw on MUBI by Thomas Hardiman that stars Natalie Gavin and Shahid Ahmed revolves around a woman who goes to a carpet store where she falls for a clerk while trying to the perfect carpet. The plot is simple yet it is largely dominated by this electronic music that is all over the place as it makes the film offbeat as it’s worth watching.
I Am Groot (season 2)
The second season of the MCU short film series has definitely been a joy to watch as my nephew Mateo got to watch a few of them and really liked them. The first episode revolved around Groot finding a bird and taking care of it while the second episode has Groot gaining a nose where he discovers the concept of smelling as it is a funny one though the weakest one of the season. The episode of Groot in the snow is hilarious as it’s just Groot creating a snow man and things go wrong but the best episode of the season is the fourth one involving Groot seeing an ice cream spaceship and trying to find money to get the ice cream as this was the episode that Mateo loved. He laughed so much over it. The fifth and final episode features a guest voice appearance from Jeffrey Wright as the Watcher who narrates the episode as it plays into a prophecy that Groot ruined. This is something that both kids and adults can watch and just have a laugh.
Ahsoka (season 1 episodes 4-7)
The one major complaint about the series early on is how short the episodes are as things do pick up in the fourth episode of the season yet it is the fifth one that isn’t just the best episode of the season and series so far but it is up there with some of the great moments Disney and Lucasfilms have created with their TV series. It’s an episode that features Hayden Christensen returning as Anakin Skywalker and man, he delivers as he is able to provide a more restrained approach to the character and it works while having Ariana Greenblatt playing the young Ahsoka in a flashback scene of sorts also worked. It is a show filled with suspense and action while its sixth episode brought in the return of Grand Admiral Thrawn as Lars Mikkelsen completely embodies all of the gravitas of that character while also making Thrawn one of the most cunning and insightful antagonists on this show. There is one episode left as the long-awaited reunion between Sabine and Ezra Bridger finally happened as let’s hope it brings in an awesome ending and hopefully a second season.
Wrestling Match of the Month: Miro vs. Powerhouse Hobbs – AEW All Out – 9/2/23
AEW All Out ended up being an incredible event despite the lack of build as well as major changes being made in the coming days due to CM Punk’s termination from the company. Yet, the show had incredible matches that included Jon Moxley challenging Orange Cassidy for the AEW International Championship as its main event plus Bryan Danielson and Ricky Starks having what many consider to be one of the best strap matches ever as it was violence galore. The show also had Konosuke Takeshita beating Kenny Omega as it would put him on another level yet the match that stole the show was a hoss fight between two big men in Miro and Powerhouse Hobbs. Great wrestling matches often involve telling a story or some kind of technical wizardry but not this match as this was two big guys beating the shit out of each other. What made the match even more special were the fans chanting for “meat”. Stuff like “meat forever” and “holy meat” whenever the two men hit each other. It added the entertainment value of the match with a post-match event in which Miro’s real-life wife in C.J. Parker (formerly known as Lana in WWE) making her debut to help her husband. After all, like what Big E says...
Well, that is all for September. Next month will be devoted largely to horror, suspense, and other weird shit in celebration to Halloween as well as the new shorts from Wes Anderson. As for theatrical releases, I hope to see Priscilla and whatever big is coming out in the month while my Blind Spot for October is definitely going to be Tetsuo: The Iron Man. Before I leave, I want to express my condolences of those that passed away this month in Dianne Feinstein, Sir Michael Gambon, pro wrestler Joyce Grable, the Sycamore Gap Tree, Brooks Robinson of the Baltimore Orioles, David McCallum, Terry Kirkman of the Association, Katherine Anderson of the Marvelettes, Phil Sellers of the Detroit Pistons, actor Byun Hee-bong, pro wrestler/promoter Emelie Dupree, Billy Miller of the Young and the Restless, actor Michael McGrath, pro wrestler Brett Sawyer, actor John Cairney, Atlanta movie theater owner George Lefont, pro wrestler Adnan Al-Kaissie aka General Adnan, American football coach Paul Roach, Gary Wright, and Mr. Jimmy Buffett. We will miss you all. Until then, this is thevoid99 signing off…
Written and directed by Marguerite Duras that is based on her unproduced play and the novel Le Vice-Consul, India Song is the story of a promiscuous wife of a French ambassador in 1930s India as she deals with its lack of emotional fulfillment as well as the appearance of an old lover. The film is an exploration of a woman’s unhappy life as she deals with the presence of a former lover as well as the chaos surrounding around her. Starring Delphine Seyrig, Michael Lonsdale, Matheiu Carriere, Claude Mann, Vernon Dobtcheff, Didier Flamand, and Claude Juan. India Song is a majestic yet unconventional film from Marguerite Duras.
Set in late 1930s Calcutta at the French embassy, the film follows the wife of a French ambassador as she goes through boredom as she surrounded by different lovers at the embassy while also dealing with the arrival of a former lover. It is a film that plays into the life of this woman who feels trapped by her surroundings as well as the voices that loom throughout the house as she juggles her many affairs as well as shielding herself from the outside world including India. Marguerite Duras’ screenplay is largely minimalist as much of the film is told through voice-over monologues and dialogues that would dominate the film as it play into the emotions of the characters that spend a lot of time at the embassy and its grounds. They also deal with the voices from outside of the embassy such as an old beggar woman where much of the time has these people having small parties and such as well as walking in the grounds at the embassy.
Duras’ direction is stylish for not just her unconventional approach to voiceovers but also in the fact that much of the film for its first two acts is set inside this house and the grounds outside of the home. Shot on location at the Chateau Rothschild in Boulogne, France with areas outside of the chateau include the Grand Trianon at Versailles and two interior shots at apartments in Paris. Duras does use the location as this world that is ever-changing with an abandoned tennis court, a pond, and other places as if it’s going into ruins as well as not being tended to due to the lack of interest of those living at the embassy. The sense of ennui that looms throughout the film including its main protagonist in Anne-Marie Stretter (Delphine Seyrig) as she wanders around the house either in a lavish dress or in a robe. Even as there’s a shot where she and two of her lovers are lying on the floor sleeping with her right breast exposed from her robe as her former lover in the Vice-Consul of Lahore (Michael Lonsdale) watches from afar.
Duras’ direction also has these unique compositions while there are very little close-ups she uses in favor of these striking compositions in the medium and wide shots of the rooms an exteriors of the embassy. Even as the way Duras would have the actors appear in a shot and at a certain place in the frame as there’s an intricacy and attention to detail she would put into these shots. Even as it plays into this sense of disconnect with what is happening outside of the embassy where they spend much of the time at the embassy with voices playing to what is happening outside of the world as it relates to the idea of colonialism and France’s decline in that world. The film’s third act has a moment where all of the characters take a break from being in the embassy to go to a hotel to eat lunch where everyone is wearing some form of white with the exception of one character who is wearing the same clothes throughout the entirety of the film. It all plays into this sense of reality that everyone is dealing with as well as Stetter who becomes aware that her time in India within the home that she’s been living is running out. Overall, Duras crafts a haunting yet ravishing film about an ambassador’s wife growing sense of ennui at the French embassy in late 1930s Calcutta.
Cinematographer Bruno Nuytten does brilliant work with the photography as it largely emphasizes on low-key lighting and other stylish lighting for many of the scenes in and out of the embassy as it plays into this sense of artificiality these people are living in while the third act would showcase elements of natural lighting for some of its exteriors. Editor Solange Leprince does excellent work with the editing as it is largely straightforward by allowing shots to linger for more than a few minutes while the editing would be more abrupt in a few places for dramatic effect. The sound work of Antoine Bonfanti and Michel Vionnet is incredible for the mixing of the voice overs and the music as well as playing into this haunting atmosphere into the home that these characters are in. The film’s music by Carlos d’Alessio is wonderful for its low-key orchestral score while much of its music soundtrack features a lot of the music that was prevalent during those times.
Michael Lonsdale is brilliant as the Vice-Consul of Lahore as a former lover of Stretter who had been exiled to India following an incident as he is someone eager to resume their old affair while being anguished over their break-up many years ago. Finally, there’s Delphine Seyrig in a phenomenal performance as Anne-Marie Stettler as the wife of India’s French ambassador as a woman who has many lovers but has become bored by her lifestyle while dealing with a world that is becoming chaotic. Even as she becomes unfulfilled by her many affairs while is clinging on to this lifestyle that is disconnected from the world including France’s own decline in their colonial powers as it is one of Seyrig’s finest performances.
India Song is an incredible film from Marguerite Duras that features a radiant leading performance from Delphine Seyrig. Along with its supporting cast, rapturous visuals, eerie sound design, and an exploration of a lifestyle that has gone past its due date during a tumultuous time in India and the rest of the world. It is a film that isn’t easy to watch in terms of its unconventional presentation yet it is rewarding for showcasing a woman and the world she couldn’t break away from. In the end, India Song is a sensational film from Marguerite Duras.
Marguerite Duras Films: (La Musica) – (Destroy, She Said) – (Jaune le soleil) – (Nathalie Granger) – (La Femme du Gange) – (Her Venetian Name in Deserted Calcutta) – (Entire Days in the Trees) – (The Lorry) – (Baxter, Vera Baxter) – (Les Mains negatives) – (Cesaree) – (Le Navire Night) – (Aurelia Steiner (Melbourne)) – (Aurelia Steiner (Vancouver)) – (Agatha et les lectures illimitees) – (L’Homme atlanique) – (Il dialogo di Roma) – (Les Enfants (1985 film))
Every September 21st (with the exception of the 2020 pandemic that temporarily destroyed any sense of time) which is Bill Murray’s birthday, I watch what I consider to be the greatest film of all time in Lost in Translation as I have written a lot about the film including an essay and a list of 10 reasons why I think it’s the best film ever made. To celebrate its 20th anniversary, I was hoping to do a massive project devoted to the film that would uncover some of its mysteries and other things about the film. Unfortunately, an essay that I was writing that was meant to be an introduction to this project didn’t meet to my expectations. Plus, I was hoping to do a lot of things on a visual level but I have no clue on any of those things I don’t know how to create backgrounds for a blog or anything to save my life. I also was hoping to present some visual stills from the film but I feel like my DVD copy isn’t good enough even though I did get the Blu-Ray recently but I feel like it’s not enough.
There is still this feeling that I want to do to celebrate the film’s 20th anniversary just as Sofia Coppola has premiered her eighth feature film in Priscilla at this year’s Venice Film Festival to an excellent reception that won its star Cailee Spaeny the Volpi Cup for Best Actress. Of course the film can be seen in various streaming services though there are those who still prefer to have a physical copy of the film despite the fact that its Blu-Ray release from 2010 could do so much more. Even as there’s companies like Arrow and Kino that puts out amazing Blu-Ray releases with lots of extras and such for fans to get. Yet, I feel like Lost in Translation deserves more than that as its original DVD does have extras that are still worth watching. However, there’s more that a solid Blu-Ray release can do for that film and while Kino is set to release a 4K Blu-Ray release for the film sometime this year. It is probably best that a film like this should be given a release from the Criterion Collection.
The Criterion Collection has a library of amazing films (and a few duds) with its dedication to classic foreign films, American cinema of the past, silent films, cult movies, and anything else. While Arrow has done the same though it leans more towards some mainstream titles and notable cult classics. Criterion is the top place for home video releases as they do great work with not just the films they release but also in some of the extras and essays they put into their releases. Some which have been upgraded to 4K ultra-high definition format as one of those films that was released is Coppola’s 1999 feature film debut in The Virgin Suicides which came out in that format last year following a DVD/Blu-Ray release from Criterion four years earlier. Fans of Coppola probably would’ve expected the same for Lost in Translation yet nothing hasn’t been confirmed for this year.
Yet, let’s say there is a future Criterion release for the film that is to come out and what would fans of the film want. Well, here are ten things I want from a Criterion release for Lost in Translation:
1. A Newly Remastered 4K UHD version supervised by Sofia Coppola in Collaboration with cinematographer Lance Acord, film editor Sarah Flack, and sound designer Richard Beggs.
When the film was released in the U.S. on Region 1 DVD on February 3, 2004 at the time when the film was still in theaters after Oscar nominations were announced. It would be a film that was popular in rental and for purchase as the DVD was still sort of new since its emergence in the late 1990s. The DVD release was a popular release as it sold well and helped bring more money to the film as the DVD was a big thing at the time. Then in 2007 came the short-lived HD-DVD and three years on December 7, 2010 is the Blu-Ray release as home video technology would evolve and such with some filmmakers being involved with these releases to ensure that their films are given the best presentation for home video.
In June of this year, Kino announced a release for a new 4K release for an Ultra HD Blu-Ray release for the film set sometime late in 2023 yet there hasn’t been any word if this release has any involvement from Sofia Coppola. If it was to be released from the Criterion Collection, there would be a mention into the involvement on who supervised the new transfer as many films under these new 4K digital transfers often involved the filmmakers or those were associated with that filmmaker. Coppola has had involvement with Criterion for the DVD/Blu-Ray release of The Virgin Suicides when it was released in 2018 under the supervision of the film’s cinematographer Ed Lachman that was approved by Coppola herself as she also took part in some of the special features in its release including the most recent 4K UHD-Blu-Ray last year.
Now there are a lot of technical things that need to be involved in a 4K digital transfer for a film that was shot on 35mm as it wouldn’t just need to have Coppola’s involvement but also the involvement of cinematographer Lance Acord as well as film editor Sarah Flack who both played a key role in the film. There’s also the sound as longtime Coppola collaborator in sound designer Richard Beggs would also play a major role for the film’s sound as a Blu-Ray/UHD-Blu-Ray release would present the film in an uncompressed soundtrack that would do more for the film from an audio perspective. A casual consumer might not care for these things but for anyone that loves this film will want a lot to expect to recapture something close to what they might’ve seen when the film was released in theaters in the fall of 2003.
2. Retaining the Original Special Features from its 2004 DVD Release.
One of the key aspects of the film’s 2004 DVD release that made it so special were its special features as they’re something fans of the film wanted when it first came out. Among those features include a music video for the song City Girl by Kevin Shields that was directed by Coppola as well as a making-of documentary, a 10-minute conversation with Coppola and Bill Murray on the set of Wes Anderson’s The Life Aquatic with Steve Zissou, five deleted scenes cut from the film, and the full version of Bob Harris’ appearance on Matthew’s Best Hit TV Show. The only special features that was added to the 2010 Blu-Ray was a trailer for Coppola’s 2010 film Somewhere and a promotion for the film where Coppola, cast, and crew members talk about the film (as it was an unnecessary extra).
With the exception of promotional stuff relating to Somewhere, many of the features of the original DVD release should be included as part of the release in a newly-remastered form as it will allow fans have something as they can watch these special features on their big TVs and such.
3. New Interviews with Sofia Coppola, Bill Murray, and Scarlett Johansson.
For years ever since the inception of DVDs and the extra material involved with the film, one of those extra features would be the audio commentary as it is a fun viewing experience to hear a filmmaker talk about the film with the cast or crew members. Yet, Sofia Coppola is among those that has no interest in doing audio commentaries as she prefers to do interviews and not reveal too much about her work. A new interview with her on the film and its legacy would be a nice addition to the many interviews she had done about the film while it would allow her to close the book on a key chapter in her life.
Then there’s film’s lead actors in Bill Murray and Scarlett Johansson as getting the two to do new interviews would be a challenge. Notably as Murray is often elusive and doesn’t do a lot of interviews as well as the fact that he’s a target in the world of cancel culture due to his behaviors in the past which is just fucking stupid. Murray’s involvement would likely happen if he’s asked by Coppola as the two have collaborated on two other projects directed by Coppola. Then there’s Johansson who is currently one of the biggest film stars as of 2023 as the film was a major career breakthrough for her. An interview with is iffy due to her schedule and such though she is willing to discuss the film and her role while questions about why she and Coppola hadn’t collaborated since might be a question she and Coppola won’t answer.
4. A Perspective from the Japanese and Asian on the Film and its Polarizing Response.
Since the film was set in Tokyo and areas in Japan, the film had gained criticism from Asian audiences and film critics over the way people are depicted in Japan. While Coppola has maintained that her intentions wasn’t to insult the Japanese or Asians in general. A documentary about the response in Japan and why the film has garnered mixed reactions in the country is something that is needed where a balanced perspective of where Asians are coming from on their critique on the film but also a perspective on those who think the film isn’t trying to be insulting to the Japanese. It would be something that modern audiences will need without deviating into this realm of cancel culture which has unfortunately done a lot of damage in making people accept the ideas of what is entertainment and such.
5. New Interviews with Music Supervisor Brian Reitzell and Score Composer Kevin Shields on the Film’s Music.
The film’s music soundtrack was a key factor to the film’s success yet the film did the unthinkable in obtaining the services of My Bloody Valentine’s Kevin Shields in creating new and original music since the release of the band’s 1991 landmark album Loveless. With Shields being more available in recent years to do interviews, him having to talk about the soundtrack and what took him so long to create new music. Brian Reitzell should also be interviewed not just cultivating the soundtrack but also playing a key role in the music with Roger Joseph Manning as they also go into depth about the film’s soundtrack including the karaoke scene in the film.
6. New Art Work for the Blu-Ray release.
Criterion isn’t just regarded into the work they put into the Blu-Rays as far as extra features and the overall presentation but it is also in the packaging of these Blu-Rays. Criterion is lauded for their art work in not just the front and back covers but also in the booklets as they do a lot in creating packaging that is suitable for the film. Fortunately, there’s fans that have created ideas of what a Criterion packaging for the film should look like instead of just a bland recreation of the film’s poster as its DVD/Blu-Ray cover. It should look like the film itself as well as maintain a color scheme that is faithful to the film.
7. Anatomy of a Scene on the Commercial Shoot & the Mysterious Dialogue in the Film’s Finale.
The film is notable for 2 key scenes in the film as it adds a lot of intrigue for the film. The first is the commercial shoot where a director is talking to Bob Harris in Japanese as to American/Western audiences. They have very little clue in what this man is saying as the translator is telling Harris “with intensity” though Harris is aware that he’s saying a lot more. It was a scene presented without subtitles as it should get some insight into why Coppola chooses to shoot that whole scene without subtitles as it would then be re-presented with the subtitles. Then there’s the film’s ending as it relates to mysterious words that Bob whispered to Charlotte before he leaves to return to the U.S. as it is one of the great mysterious events in the film. Some insight from Coppola, Murray, and Johansson could divulge into what was said but it’s probably best if it remains a mystery.
8. A Documentary on the Film’s Famous Locations back in 2002.
Tokyo is a major character in the film as the many locations that Coppola picked out in the film are unique including the Hyatt Hilton Hotel that the characters were staying in. Tokyo is a city with some notable landmarks including the Shibuya walkway in the middle of the city as a documentary on some of these locations should be noted including the restaurants Bob and Charlotte went to as well as the key location in Kyoto where Charlotte made a visit there. It’s something that hardcore fans of the film should want if they ever decide to travel to Tokyo and Kyoto in the hope of seeing the places of their favorite film.
9. A Documentary on the Film’s Promotional Trip from Telluride to the Oscars.
The film’s theatrical journey from its premiere at Telluride in late August of 2003 that was followed by its screening at the Venice Film Festival that year where the film won two awards for Coppola and Johansson. It would be a documentary that should consist largely of archival footage and interviews from that time and the buzz it got into the Oscars.
10. Essays on the film from various film scholars (myself for consideration) and filmmakers.
One of the great things about Criterion are the booklets as they often have essays that are fascinating to read along with interviews and such from other publications. It is a film that has gained a lot of acclaim and love from a lot of people including filmmakers and film scholars. It’s not just film scholars and critics that have something but also various film bloggers including myself as I have written a lot about the film. I would also include an excerpt from Hannah Strong’s book on Sofia Coppola that was released last year as she had some great things to say about the film.
It’s been 20 years since the film has come out and it’s high time for a proper UHD 4K Blu-Ray release from Criterion. Hopefully, it would set the way for more films from Sofia Coppola to be released from Criterion as it is a great home video label. Until then…
Directed and co-starring Ben Affleck and written by Alex Convery, Air is the story about the origin of the Air Jordan shoe line by Nike and how an employee from Nike makes a discovery about the then-unknown Michael Jordan and to build a shoe line around him. The film is about the creation of a shoe line that wouldn’t just save Nike from shutting down but create something that would play a key role in the world of popular culture. Also starring Matt Damon, Jason Bateman, Marlon Wayans, Chris Messina, Chris Tucker, and Viola Davis as Deloris Jordan. Air is a riveting and exhilarating film from Ben Affleck.
Set in 1984, the film follows talent scout Sonny Vaccaro (Matt Damon) who works for Nike’s basketball division as it is on the verge of shutting down due to low sales where he decides to bet on an idea in the hope of saving the division by building a shoe line for a future NBA prospect in Michael Jordan. It is a film that is about the creation of the Air Jordan shoe line and its origins as well as the impact it would have on Nike at a time when they were falling behind other competitive rivals in Converse and Adidas as Nike’s CEO Phil Knight (Ben Affleck) was forced to lay off people ever since the company has gone public. The film’s screenplay by Alex Convery, with un-credited contributions from Ben Affleck and Matt Damon, is largely straightforward in its narrative as it follows Vaccaro who is tasked by Knight and marketing VP Rob Strasser (Jason Bateman) to come up with a new spokesperson for Nike’s basketball shoes with a limited $250,000 budget. Yet, the choices he is given aren’t impressive with the exception of Charles Barkley while trying to nab Michael Jordan is impossible as he has already expressed interests from both Converse and Adidas who are preparing to make their offers.
While re-watching the 1982 NCAA championship where Jordan scored the winning shot, Vaccaro makes a discovery about that winning shot while also watching a commercial that Arthur Ashe did for Head tennis rackets as he came up with an idea that he knows is a major risk since he knows Jordan has no interest in Nike. After a dinner with George Raveling who coached Jordan for the 1984 Olympics, Vaccaro makes the decision to visit the Jordans at their home in Wilmington, North Carolina against the advice of Knight, Strasser, and Jordan’s agent David Falk who doesn’t like Vaccaro. Yet, Vaccaro’s meeting with Deloris Jordan about what he wants to do for her son has her intrigued as well as influence her about her upcoming meetings with Converse and Adidas. Vaccaro’s determination would win over Strasser as well as another VP in Howard White (Chris Tucker) and shoe designer Peter Moore (Matthew Maher) as they realize what they have to do to stand out against their competitors despite a rule by the NBA about shoes. Even as Nike knows they have a lot against them as well as trying to convince Jordan to sign with Nike where they would make a move that would prove to be groundbreaking.
Affleck’s direction is definitely stylish as it is shot in areas around Los Angeles but also places in Oregon including its headquarters at Beaverton, Oregon to create a world set during a fruitful period in time as basketball was about to reach newfound popularity in the NBA due to the rivalry between the Los Angeles Lakers and the Boston Celtics. While there are some wide shots to establish some of the locations including the look of the basketball division floor at the Nike headquarters. Affleck maintains an intimacy into the direction with its usage of close-ups and medium shots as well as some unique tracking shots with the usage of the Steadicam to get a look at the entire basketball division floor as it would show people at work as it feels more like a place where everyone is enjoying themselves despite the fact that they might lose their jobs. Affleck also plays up to a certain look and feel of the times that is the 1980s as it does evoke some nostalgia but it also plays into a world that is changing with American basketball becoming big business as Nike struggles to keep up with their competitors.
A key aspect in Affleck’s direction that is very notable relates to Michael Jordan (Damian Young) as his face is never shown throughout the film while he rarely speaks as Affleck focuses more on the people at Nike as well as Jordan’s parents as they play a major role in his ascent. The conversation between Vaccaro and Deloris Jordan at the latter’s backyard is a key conversation where Vaccaro reveals certain small details about her upcoming meetings with the people at Converse and Adidas as the meetings would reveal what Deloris sees in those small details but also in questions she needed to ask. The meeting between the Jordans and Nike is a key moment that begins the film’s third act as it relates to what Nike wants for Jordan where Vaccaro talks to Michael about his future and what he will face as it raises a lot into the decisions they would make. A decision that Deloris Jordan would make that isn’t just game-changing but also would give Vaccaro a wider view on the future of sports. Overall, Affleck crafts a riveting and evocative film about a Nike talent scout who takes a big risk in nabbing a future icon to be the face of a new shoe line made exclusively for him.
Cinematographer Robert Richardson does brilliant work with the film’s cinematography with its low-key yet colorful look to play into the look of the 1980s with its emphasis on low-level lighting as well as maintaining some grainy colors for some of the daytime exteriors as it is a highlight of the film. Editor William Goldenberg does excellent work with the editing as it has some stylish montage-style cutting but also some straightforward cutting to play into the drama and some of the comedic moments in the film. Production designer Francois Audouy, along with supervising art director A. Todd Holland plus set decorators David Smith and Henry Somarriba, does amazing work with the look of the Nike building interiors including Knight’s office as well as the exterior of the Jordan family home. Costume designer Charlese Antoinette Jones does fantastic work as it plays into the style of the 80s clothing including some of the Nike tracksuits that Knight wears as cheesy as it looks.
Hair stylist Jessica Allen and makeup artist Kerrin Jackson does nice work with the look of the characters with Knight being the most notable with his hairdo as well as the look of Deloris Jordan. Special effects supervisor Mark R. Byers and visual effects supervisor Hansjeet Duggal do terrific work with the visual effects as it plays into some of the TV footage as well as some set-dressing for some of the exterior shots. Sound editor Susan Dawes, plus sound designers Ai-Ling Lee and Tobias Poppe, does superb work with the sound as it play into the atmosphere of the offices and phone calls as well as the sounds of cars and such to play into the atmosphere of the 1980s.
Music supervisor Andrea von Forester does incredible work with the film’s soundtrack in cultivating a slew of music from late 1970s/early 1980s that include music from Dire Straits, Bruce Springsteen, Run-DMC, Violent Femmes, Mike + the Mechanics, Dan Hartman, the Alan Parsons Project, the Clash, Cyndi Lauper, Harold Faltemeyer, His Name is Alive, Tangerine Dream with additional score music by Paul Haslinger from the group, Squeeze, Rufus with Chaka Khan, Night Ranger, ZZ Top, REO Speedwagon, Big Country, George Clinton, Grandmaster Flash with Melle Mel and the Furious 5, the Dazz Band, Miami Nights 1984, Chris Boardman, Zapp, Pino Donaggio, Thomas Newman, Alexandre Desplat, Andy Partridge and Harold Budd, Mark Isham, and Be Chi. It is a soundtrack that is filled with a lot of the music from that time and it is such a fun soundtrack to listen to.
The casting by Lindsay Graham and Mary Vernieu does wonderful work with the film’s ensemble cast as it feature some notable small roles from Jessica Green as Knight’s secretary Katrina Sainz, Asante Deshon as a 711 clerk that Vaccaro chats with often about basketball, Jay Mohr as the American Adidas executive John Fisher, Gustav Skarsgard and Barbara Sukowa as the Adidas sibling executives in Kathe and Horst Dassler, Julius Tennon as James R. Jordan Sr. and Damian Young as Michael Jordan. Matthew Maher is terrific as shoe designer Peter Moore as an eccentric man who is going through a mid-life crisis as he also figures out the kind of shoe that would be marketable but also be something beautiful. Marlon Wayans is fantastic as George Raveling as Jordan’s coach during the Olympics who converses with Vaccaro about Jordan but also reveals to have owned something historical as he gives Vaccaro some words of wisdom in approaching the Jordans.
Chris Messina is excellent as Jordan’s agent David Falk who came up with the name Air Jordan as someone who is quite volatile towards Vaccaro while trying to do everything in the best interest of the Jordans. Chris Tucker is brilliant as Howard White as a Nike executive who is reluctant to get Jordan due to the fact that Jordan doesn’t like Nike’s products as well as understanding the culture though he is won over by Vaccaro’s determination. Jason Bateman is amazing as marketing VP Rob Strasser as a man who is often baffled and frustrated by Vaccaro yet is won over as he realizes there’s a chance that this move to get Jordan could save his job and hopefully more time with his daughter. Ben Affleck is incredible as Nike CEO Phil Knight as a man that is trying to keep his company away from a board of directors while is also trying to run Nike in the hope that he doesn’t shut down their basketball division as Affleck brings a lot of humor to his character but also some grounded aspects that makes him someone who does care about Nike and its employees.
Viola Davis is phenomenal as Deloris Jordan as Michael Jordan’s mother who is surprised by Vaccaro’s visit as she is aware about her son being a hot prospect as she also understands what Converse and Adidas are offering yet she realizes that Nike is offering something more that she wants to ensure her son’s financial future. Finally, there’s Matt Damon in a tremendous leading performance as Sonny Vaccaro as this talent scout who is trying to find a new spokesman for Nike’s basketball shoes as he makes a discovery in Michael Jordan where he is aware of the risk he is taking but is also someone that is direct in his pursuit where Damon brings the everyman quality to his character from his physical appearance as well as the sense of humility he brings as it’s one of his finest performances to date.
Air is a spectacular film from Ben Affleck that features a great ensemble cast led by Affleck, Matt Damon, Viola Davis, Jason Bateman, Chris Tucker, Chris Messina, and Marlon Wayans. Along with its stylish yet nostalgic look, its study of a man taking a risk to capture an once-in-a-lifetime megastar, and a killer music soundtrack. It’s a film that isn’t just this fascinating sports film of sorts but also a film that shows the origin of one of the greatest shoe lines ever created. In the end, Air is a tremendous film from Ben Affleck.
