Review: 'Grand Central'
Coming off of her success in the controversial film Blue is the Warmest Color comes Léa Seydoux's second French drama, Grand Central. Not one to shy away from a nude scene (or two), Seydoux bares all as Karole, the love interest of Gary Manda, played by Tahar Rahim. Gary is recruited to work in a power plant where the pay is low and the conditions are toxic, but for this desperate Frenchman, he'll take any job he can get. Immediately, he meets Karole, another factory worker, and they quickly express their mutual interest in each other. The catch: Karole is engaged to Toni (Denis Ménochet), a powerful man who also works at the factory. Despite the cat and mouse storyline appeal, this melodrama ultimately falls flat.
Whether it's laying naked in the grass or rowing a boat at midnight, Zlotowski steeps her characters in realism with a touch of whimsicality.
Grand Central has all of the characteristics that make up a good film, although its pace and ending, or lack thereof, affected my overall feelings towards it. The most interesting part about the film is director Rebecca Zlotowski's attention to color and the environment; whether it's laying naked in the grass or rowing a boat at midnight, Zlotowski steeps her characters in realism with a touch of whimsicality.
Even with top-notch cinematography, Grand Central relies heavily on its actors to engage the audience. Cannes darling and fashion muse Léa Seydoux lives up to her potential as Karole, a confused girl at a crossroads between thinking with her head vs her heart, however, her character isn't given much depth and makes it difficult to empathize with. The film ends on the phrase "I was scared," and it seems as if Zlotowski, too, was scared to fully commit to her characters. Grand Central plays too soft for a film with seemingly so much at stake; visually, the film is stunning, but it's missing the depth necessary for a timeless dramatic film.
https://www.youtube.com/watch?v=TO_JOX2vTd4
AFI Film Festival
Morgan catches us up on the happenings at AFI Film Festival, and shares what film she's most excited to see.
https://www.youtube.com/watch?v=7jSN3vloWiM
'The Selfish Giant' Review: Clio Barnard’s First Film is a Powerhouse
There's a saying in the industry that, to save yourself a ton of stress, you should never work with kids or animals. Director Clio Barnard disregards this old way of thinking as she incorporates a variety of horses and casts newcomer Connor Chapman, 13, as her protagonist in the British independent drama, The Selfish Giant. If there was any sort of risk involved, Barnard will be pleased to know that her film, based on the Oscar Wilde novel (aptly titled The Selfish Giant) is receiving praise for its stunning cinematography of the realistic depiction of an English working-class borough. So far, this is the breakout film of the festival.
https://www.youtube.com/watch?v=7tEgcpTbvJ8
Chapman plays 12-year-old Arbor, an angelic looking boy born into rough living conditions. He suffers from ADHD and is constantly trying to engage himself, but finds trouble wherever he goes. His best outlet is collecting scrap metal from the sides of the road with his friend Swifty, played by 15-year-old Shaun Thomas, a fellow first-time actor. The boys are desperate to make money for their families, both of which are struggling to pay the bills. Although it's not much, Arbor's eyes widen as he realizes the potential in scrap collecting. This desperation ultimately makes for a difficult ending, one that is foreshadowed throughout the film but still comes as a shock (no pun intended).
The Selfish Giant is a powerhouse of a film, a huge success as Clio Barnard's first narrative. The depiction of social realism is beautifully portrayed through the cinematography and art direction, and the performances that come from the child actors can only be described as breathtaking. It is a heavy film for such a small boy to carry, but Conner Chapman makes it look easy. The Selfish Giant comes highly rated, a definite must see for its' inevitable widespread release.
Review: 'Why We Ride'
Why We Ride is a cinematic look at the love story between a man, or woman, and their motorcycle. For most interviewees, the motorcycle was their first love; they recall the age of their first ride, who taught them how to shift gears and most importantly, the make and model of the bike. It’s obvious that director Bryan H. Carroll himself is a motorcycle enthusiast, and while his passion is beautifully parlayed onto the big screen, the film’s powerfulness may get lost to those who aren’t avid bikers.
Aesthetically, Why We Ride is a vivid and colorful film that inspires adventure.
The documentary talks to average people with one thing in common; the love of motorcycles, and every person has an incredible story. Engaging personalities are important to keep the story moving, and Carroll found just the right storytellers. Mother-daughter riders, ex-veterans, amputees, and children are among those who open up about their first memories, and what they learned along the way.
Part history lesson and part sports film, Why We Ride is beautifully shot; sweeping landscapes and open roads are emphasized by the cameras high-definition. The score is powerful and theatrical, adding to the overall feel of the documentary.
Aesthetically, Why We Ride is a vivid and colorful film that inspires adventure. For those who ride, this film may serve as a celebration of culture, however, this unique appreciation may get lost in translation for the average person.
https://www.youtube.com/watch?v=-qM0a71xrLU
'Blue is the Warmest Color' is a Beautiful, Artful Epic
One of the most controversial and beautiful films of the year comes from France, where famed director Abdellatif Kechiche explores the very personal lives of two women and their intimate struggles with their relationship and each other.
Previous to it’s theatrical release, Blue is the Warmest Color found itself at the center of media scandal; a 151 minute run time, a 10 minute lesbian sex scene and other graphic moments were seen as exploitive, however, it’s these boundary-pushing moments that make the film not just another movie, but an artful epic.
Adèle (Adèle Exarchopoulos) and Emma (Léa Seydoux) are high school students, at a time when self-discovery is at its’ peak. The two cross paths (literally) as Adèle is on her way to school and it only takes one glance for her to become smitten with Emma, the blue-haired pixie. A night out with friends brings Adèle to a gay bar, and it’s here where she runs into Emma again, but this time it’s different. Emma is already in a relationship with another woman and does not come on to Adèle at first; the two begin a friendship as innocent as Adèle herself. The sexual tension builds in their friendship, until one afternoon at the park, Adèle, who has no previous experience with gay relationships, can no longer hold back her feelings and kisses Emma gently on the lips. This is the beginning of their torrid relationship.
...the camera is not invasive, but rather floating alongside the characters through each scene and observing them in their most intimate moments.
At Sundance, the film was praised for its incredible filmmaking and cast, but quickly became noted for its 10-minute sex scene. This scene has been widely critiqued by journalists and audience members for being borderline pornographic and distasteful. While the scene is longer than necessary, the reason why it is in the film should not be overlooked; it is the first time Adèle and Emma consummate their relationship. The scene is not “sexy,” nor does it strive to be; its purpose is to show Adèle’s innocence and absolute love for the person she believes to be her soul mate, regardless of gender. This is the perfect example demonstrating the difference between “having sex” and “love-making.”
As far as Abdellatif’s directing style, he is known for rigidness and perfection; shooting over 100 takes of the same scene until he is completely satisfied. This approach most likely makes for a rough time on set, however, it’s translation onto the big screen is nothing short of perfection. In Blue is the Warmest Color, he approaches the project in a documentarian style of filmmaking; the camera is not invasive, but rather floating alongside the characters through each scene and observing them in their most intimate moments.
Léa Seydoux and Adèle Exarchopoulos have been praised for their performances as Emma and Adèle; there’s no doubt this film will launch their careers into more mainstream films. I was completely blown away by their dedication to the characters; as invasive as the film was, Seydoux and Exarchopoulos were not afraid to commit 100%.
You don't have to be gay or French to appreciate the magnitude of a film like Blue is the Warmest Color. At its’ core, it’s a film about coming of age and falling for your first love. The biggest disappointment would be if the drama surrounding the film overshadows its brilliance. Blue is the Warmest Color is a complete success for Abdellatif and I predict we’ll be hearing more about the film come awards season.
https://www.youtube.com/watch?v=J_ekBcdPzIk
Director Steve Hoover on 'Blood Brother'
First-time director Steve Hoover talks exclusively to CINEMACY about his experience making "Blood Brother," the Sundance-winning documentary about the story of a group of children infected with HIV and Rocky Braat, a disenchanted young American who makes it his mission to care for these kids.
https://www.youtube.com/watch?v=Cpd8AcXsXxo
'Blood Brother': One Man’s Mission to Make Orphaned Children Smile
Blood Brother is an emotional look into the desperate lives of orphaned children living with HIV in India, and one man’s determination to make them smile.
First-time director Steve Hoover embarks on a journey with his protagonist and best friend, humanitarian Rocky Braat, and together, travel to a poverty-stricken HIV orphanage to create a family with the children who have nothing.
The documentary draws you in from the second it hits the screen; a young girl is seen lifeless, flung over her father’s shoulder as a crowd of villagers are clearly in distress. It’s nighttime and the tension is high, even with the scene being a silent one. We gather that her father is trying to get his daughter to a hospital. He begins to wrap her in a blanket when, seconds later, her head snaps backward, face towards the sky. At this moment, we know she’s lost the battle. The scene ends abruptly, without explanation, and the title sequence of the film begins. It's unsettling, but a good preparation for what to expect about the documentary's tone.
This is what happens when you become close to someone, you accept the risk that they could break your heart.
For the most part, Blood Brother plays at a very quick and consistent pace, although the beginning drags a bit. Rocky’s family backstory is uncovered and his previous trip to India is discussed, although I believe the film could have done without the extra background and just focused on Rocky’s current time in India.
While at the HIV orphanage, Rocky is considered a hero, called “Anna,” meaning “big brother” to these children. It’s easy to see how at home Rocky feels around the children; his energy is at a constant high around them. Whether he’s playing guitar to the kids or being a human jungle gym, Rocky is their best friend and glimmer of hope. His special bonds are tested as he watches children die, or become so close to the brink of death that, in one instance, a boy falls ill and is given a survival rate of less than 10%. This is what happens when you become close to someone, you accept the risk that they could break your heart. Watching these moments are extremely powerful on screen.
Unlike other social justice documentaries, the weight of this film is heavy. Blood Brother is not only a remarkable film, it’s also Steve Hoover’s directorial debut, which is inspiring to all future filmmakers. The documentary premiered at the Sundance Film Festival 2013, where it won the US Documentary Grand Jury Prize and the Audience Award. Blood Brother is an important film that should be seen by everyone.
https://www.youtube.com/watch?v=YFJz1IFNawk
Lea Seydoux & Adele Exarchopoulos on 'Blue is the Warmest Color'
[soundcloud url="https://api.soundcloud.com/tracks/116736345" params="color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false" width="100%" height="100" iframe="true" /]
Our interview with Léa Seydoux and Adèle Exarchopoulos is an intimate affair; only a handful of journalists share a table with the two beautiful actresses (and their English translator). Léa, best known for her role in Inglourious Basterds is polished in a sleek dress and bangles up her arms. Adèle, still a rookie to the feature film world, seems extremely down to earth as she even eats a chocolate chip cookie during our talk. Their unorthodox approaches to typical "Hollywood" conventions make for fantastic on-screen performances in Blue is the Warmest Color, as well as making for interesting conversation. We begin:
WERE YOU INSPIRED BY ANYONE IN YOUR PERSONAL LIFE WHEN FILMING THIS MOVIE?
LÉA SEYDOUX: Yeah, I was inspired by someone that I know… This man that I’m talking about, I was deeply, deeply in love with him. Crazy in love.
ADÈLE EXARCHOPOULOS: For me, every experience is so different so I just tried to remember old love and the many states you can be when you’re in love. Especially your first love, when you think you’re gonna die.
WHAT WAS IT LIKE ON THE SET DURING THE SEX SCENES? THE ATMOSPHERE?
LS: The atmosphere, of course, was very difficult. [Director Abdellatif Kechiche] shoots with three cameras, sometimes four, so we were surrounded by cameras. It’s difficult to find intimacy sometimes. It’s difficult, but I think it was a very important part of the film.
IS IT TRUE THAT YOU SHOT THE ONE SEX SCENE OVER 10 DAYS?
LS: We spent many, many days… I don’t know if it was 10 days. We could spend 2 days on the same scene, then go back to another scene.
AE: It’s always difficult to make a sex scene, but in every scene there’s art.
LEA, DID YOU HAVE A HARD TIME CUTTING YOUR HAIR AND DYEING IT BLUE?
LS: Yes because [Abdellatif] wanted me to have blue hair many months before the shoot. It was kind of strange to look at myself, but I like to transform myself; Because of the hair I started to walk different. It’s really a process that I like and in France, you don’t really have that possibility. It’s rare [in France] to make a deep transformation.
WHAT WAS THE MOST DIFFICULT PART OF THE DIRECTING PROCESS?
LS: I think it was the repetition of doing hundreds and hundreds of takes. That was very difficult because you lose yourself, which is a good thing but it’s also very disturbing. We could spend, like, one week on one scene and it was the same scene the whole day. But I think it’s an experience, and it’s unique because it’s [Abdellatif’s] way of working and, as an actress, it was interesting to [push myself].
AE: I always wanted to work with him because he always gave justice to women. Even if it’s shocking sometimes, like the sex scene where it’s long and boring, I know he would always choose the best take.
WOULD YOU EVER WORK WITH A DIRECTOR [LIKE ABDELLATIF] AGAIN IN THE FUTURE?
LS: Yeah, but for me it’s not the thing I like the most.
THE SHOOT ENDED UP GOING OVER SCHEDULE BY THREE MONTHS, WHAT WAS THAT LIKE?
LS: All we did was work, we had no choice. At the end we shot seven days a week. We couldn’t see the end sometimes and we were scared, but the result is here and the fact that people like it and we won the Palme d'Or [at the Cannes Film Festival] and that says something. I think it will be a very important film for now and the future. We’re very proud of the film and that’s what makes me feel like it’s worth it.
WHAT WAS IT LIKE AFTER FILMING- DID YOU NEED A BREAK FROM EACH OTHER?
[LAUGHTER]
LS: No, we were very, very close. We’re very close friends now.