'Saltburn' Is a Glossy Romp Through Hipster Affluence
If Saltburn was a person, he would be that hipster kid with main character energy. The unchallenged confidence and colorful charisma make for a staggering first impression but behind the initial charm exists a desperation to be seen as cool. Following her directorial debut Promising Young Woman, filmmaker Emerald Fennell crafts a slightly edgy film about loud luxury that skews favorably toward Gen Z. Saltburn offers a fun enough viewing experience but I'm not sure it's sticky enough to stay in the public consciousness for long.
Much like a modern-day adaptation of The Talented Mr. Ripley for the streaming generation, Saltburn tells the rags-to-riches story of college student Oliver Quick (Barry Keoghan). Entering his first year at Oxford University, Oliver struggles to fit in with his high-society peers. A chance encounter with the (objectively) gorgeous aristocrat Felix Catton (Jacob Elordi) brings Oliver into a world that, up until then, had been far from within his reach. As summer break approaches, Felix invites Oliver to spend the next few months with him at Saltburn, the grand English manor that has been in the Catton family for generations. Given Oliver's dysfunctional family dynamic and subsequent vow that he would never step foot in his childhood home again, he graciously accepts Felix's invitation.
Upon arriving at Saltburn, there is a period of adjustment for Oliver who is not used to wearing full black tie attire to dinner and having waitstaff at every beck and call, but it only takes a couple of days to adapt to the Catton's laissez-faire lifestyle. It's not long before he too is peacocking as an heir to the Saltburn estate, much to the delight of Felix's delusional parents Sir James (Richard E. Grant) and Elspeth (Rosamund Pike). Oliver is becoming obsessed with his newly adopted association with wealth, power, and–more disturbingly–Felix.
There's a saying that goes, "Eat the rich", but in this case, it's more like "Drink the rich's bath water." As Oliver continues to lose himself in Saltburn, the darker and more voyeuristic his actions become. It's apparent that Oliver is in love, but with who–or what–is the burning question. From here, the film explodes into a dizzying array of power games, privilege, seduction, and madness.
Despite the abundance of riches that purposefully bloat the film, there is a superficiality that lingers throughout Saltburn as if the whole thing is playing too safe. It's provocative enough at times to garner gasps from the audience (and is definitely not a kid's movie by any means) but it seems to stay too comfortable on the surface rather than digging deeper and exploring more complex depths of the narrative. Working with what they have on the page, the performances are deliciously satisfying. Barry Keoghan is by far the scene stealer and brings an undeniable electricity to the role of Oliver. Watching his career trajectory from co-starring in The Killing of a Sacred Deer and American Animals to headlining major studio films like The Banshees of Inisherin and Saltburn has been so rewarding to experience. Visually, every frame looks like a glossy pop-magazine come to life. Shot in stunning detail by Damian Chazelle's go-to cinematographer Linus Sandgren, Saltburn's richly crafted aesthetic plays in perfect unison with the onscreen shenanigans.
Emerald Fennell's sophomore feature is a time capsule of mid-2000s glamour and full of sweaty, horny college students. The nostalgia is nice but not substantial enough to carry the film on its own. There is a line early on in the film when Oliver engages in a debate with his professor and fellow classmate about style vs substance, arguing "It's not what you say but how you say it." Unfortunately, Fennell follows Oliver's methodology, Saltburn is all style and limited substance.
'Aligned' Is a Gorgeous Meditation on Self-Acceptance
Captivating scenery and hypnotic movements run abundant in writer/director Apollo Bakopoulos' heartfelt film, Aligned. The gorgeous opening dance montage and accompanying piano score sets up audiences for an intimate evolution of self-reflection as we watch Aeneas, an aspiring professional dancer, embark on a life-changing journey of self-discovery. Making its World Premiere at the 2023 Brooklyn Film Festival, Aligned is an inspiring watch that comes with a positive message, leaving the viewer with a sense of good vibrations and a tangible spark of self-confidence to carry with them throughout the day.
Aeneas (Panos Malakos) seems to have it all, a supportive girlfriend, his health, and the opportunity of a lifetime: a three-month residency to train at a dance academy in Greece, which will bring him closer to his ultimate goal of becoming a professional dancer. He arrives in Athens from New York City full of excitement and open to the possibility of what lies ahead. Once at the studio, he is immediately introduced to Alex (Dimitris Fritzelas), a fellow dancer who quickly becomes a friend. Intimacy is the universal dancers' language and the closer the two men become on stage, the more that translates off stage as well.
Through their shared cultural heritage, Aeneas and Alex find a deep and unexpected connection they both acknowledge is worth exploring further. Aeneas expresses his lack of self-confidence and vulnerability to a receptive Alex, who offers non-judgemental comfort and support. His advice, to lead with the heart rather than the mind, is a common phrase repeated throughout Aeneas' self-discovery journey. At a crossroads with his newfound queer interest in Athens and a deteriorating relationship with his girlfriend at home, Aeneas is finally able to confront his deep-rooted insecurities and feel the transformative power of self-love.
Running 78 minutes long, Aligned jumps into the crux of the story immediately and doesn't linger on supplemental details or scenes that drag the material down. The filmmaker could have been tempted to linger on the dance sequences and additional distractions, however, the decision to stick to the bare bones of what is necessary is a mature and respectable approach. The fluid camerawork that captures the beautiful dance montages between the two men embodies the feeling of freedom and non-sexual physical intimacy. One scene, in particular, stands out as truly stunning, when the men improvise a dance in their apartment. This is the first time they advance from the boundaries of platonic friendship into a more emotionally invested relationship. Without words, they convey everything we need to know.
Filmmaker Apollo Bakopoulos creates a gateway to openly discussing one's insecurities and struggles with low self-esteem in Aligned, showing that living authentically is the only true path to happiness. Aeneas' struggles are meant to hold up a mirror to our own self-sabotaging habits, and Alex's words of affirmation are intended to resonate with us as well. Fear and familiarity have been the invisible chains holding Aeneas back from embodying his true self. It's scary forging into the unknown, but it's even scarier living in complacency and regret. Through the captivating dance and photography of Aligned, we are offered a gentle reminder that self-acceptance is a journey and takes time. There is no linear path, and forward momentum leads to freedom.
'All of Us Strangers': Enter the Liminal Space Where Love and Loss Co-Exist
If you look closely, you'll see writer/director Andrew Haigh hidden in plain sight throughout the melancholic romantic drama, All Of Us Strangers. Loosely adapted from the Japanese ghost story Strangers, written by Taichi Yamada in 1987, Haigh infuses chapters from his own life story into this mesmerizing tale of love, loss, and second chances. His personal connection to the material makes the film feel that much more fragile; Haigh's finely tuned singular experience doesn't omit his audience but rather, it creates a universal resonance where audiences can see themselves reflected in the film too.
Adam (Andrew Scott) lives a quiet (albeit, seemingly lonely) life as a queer screenwriter living in an apartment tower in contemporary London. The film opens with a gorgeous skyline shot of a blood-orange sun, marking the end of another unproductive day for Adam. His recent attempt to put pen to paper on his latest screenplay is coming up fruitless. He moves apathetically, going through the motions of the evening until an interruption by his mysterious neighbor, Harry (Paul Mescal). Harry is a charmer and unabashedly flirtatious. In a bold move for this near-stranger, Harry invites himself inside Adam's apartment and subsequently proceeds to pierce a hole in Adam's self-protective armor. This is jarring for Adam since he has lived his life in subdued modesty but sensing the start of a personal evolution, he embraces Harry and the unknown.
As Harry begins chipping away at Adam's tough exterior, offering him the space to feel safe exploring a relationship with a man, another revelation is on the horizon for Adam. Looking for inspiration for his script, Adam turns to old photos from his childhood. This walk down memory lane triggers something internal and Adam is inexplicably drawn to make a pilgrimage to his childhood home where he lived with his mum and dad (Claire Foy and Jamie Bell) before their sudden deaths. Adam was only 12 years old when his parents died in a car crash over the Christmas holiday, and since then, he has learned to cope by pushing down any emotions surrounding their existence. As he reaches the house, a flood of visceral memories come rushing back as Adam sees his parents standing before him, just as they looked 30 years ago. Is this a dream? It must be, but it feels very real to Adam. Regardless, this surreal experience gives everyone–dad, mum, and child–the opportunity to finally have proper closure and a final goodbye.
The fragility that stems from an adult man reckoning with childhood trauma is a devastatingly cathartic experience to witness. Andrew Scott was born to embody the role of Adam, his nuanced mannerisms and sensational performance are heartbreaking as we see a scared boy hiding inside a grown man. Scott plays Adam's vulnerability journey with such a dynamic range–he starts off fairly constricted and uncomfortable but over the course of the 105-minute runtime, he is exploring a cacophony of emotions. Acting opposite Scott is Paul Mescal's Harry, a good-natured free spirit who wears his heart on his sleeve. Their dynamic is raw, at times fraught with miscommunications, but at the foundation is an acceptance that we would be lucky to be immersed in.
Haigh captures the tone of All of Us Strangers through the use of 35mm film to evoke the "texture" of memory. This analog vessel is an embodiment of the time period as well as the sentiment that memories, much like the physical element of film, can fade or become distorted with time. Aiding in the tonal aesthetic is the subtle yet enriching score by French pianist Emilie Levienaise-Farrouch. Her compositions turn feelings of detachment and catharsis into auditory sensations and offer a beautiful finishing touch.
There is a quote I heard recently that reads, "Be nicer to your parents, it's their first time experiencing the world too." I couldn't stop thinking about that as I was watching All of Us Strangers. Haigh's emphasis on connection and the complicated human experience, set against a mesmerizing, reality-bending backdrop, is a visual and sensational knockout. At its core, All of Us Strangers is a devastating tale of navigating through grief, and while heartache never feels great, the ability to experience such an emotion is a testament to being alive, which is always something worth being grateful for.
This review is part of our AFI FEST 2023 coverage.
'Lead and Copper': An Exposé On The Horrifying Flint Water Crisis
The Flint, Michigan water crisis will forever be remembered as one of the worst public health disasters in American history. The human-created disaster spanned 2014 - 2016 and tens of thousands of lives were forever damaged by their local government's carelessness and corporate greed. In the documentary Lead and Copper, filmmaker William Hart investigates why Flint officials made the deadly water supply switch in the first place and the severe consequences the community still faces today.
I'd bet that a majority of Americans have never been to Flint, but the opening few minutes of the film do an excellent job of making the audience feel as if we had spent our whole lives there. Sweeping shots of the city, the rolling hills, and robust rivers portray a picturesque community that made up this small but mighty town. All was well in Flint until April 2014, when the city irrationally changed its water supply source from the Detroit-supplied Lake Huron to the Flint River. At the time, Flint residents were paying the highest water bill in the United States at around $230 a month–a shocking statistic that the film lays bare in bold lettering. The local governing officials were becoming fed up with the price gouging and decided to switch to a cheaper, albeit riskier, option. Behind closed doors, it was decided that the municipality water would come from the Flint River, which was meant to be a band-aid, not the solution, to the wider water accessibility issue.
Flint residents familiar with the local river didn't even want to swim in that water, let alone drink it. Quickly, it became blatantly obvious that the switch was the wrong course of action. The community complained of yellow/brown water that resembled cooking grease pouring out of their faucets. People were getting sick, their hair and skin had become visibly damaged, and that wasn't even the worst of it. To everyone's horror, the city was denying there was anything wrong. People turned to buying bottled water in bulk to shower with and wash their dishes. It was unsustainable, costly, and unfair. Eventually, city officials couldn't deny the issue any longer. These people, under their watch, had been poisoned.
The stories that survivors of the water crisis tell in such detail throughout the film are enough to make you gag in disgust, both at the tainted water they were subjected to as well as their local government. William Hart interviews many people who came to the same conclusion nearly 10 years ago, which is that this happened because Flint officials valued money over human lives. Exposed emails to and from city officials further confirm the theory of turning a blind eye to the lead and copper rules and regulations. The lack of action by those in power signaled that human lives are expendable, especially ones that may run along racial or economic lines.
The film itself is presented in a typical documentary format, including interviews with subjects in their home or business and the inclusion of archival footage from court proceedings and council meetings. The score comes across as a little heavy-handed at times, yet on the whole, the film does an excellent job of recapping the water crisis as well as providing a compelling human interest story about the resilience of the Flint residents. One quote that really struck a chord comes from Elijah Eugene Cummings, the politician and civil rights advocate who served in the U.S. House of Representatives for Maryland's 7th congressional district from 1996 until his death in 2019. Cummings perfectly sums up the course of thinking that we should all be leading with, especially those in positions of power and influence: "We don't inherit our environment from our ancestors, we borrow it from our children."
'Dream Scenario': Nic Cage Delivers Brilliance in This Existential Tragicomedy
I'm convinced that Norwegian writer/director Kristoffer Borgli found a way to enter into my dreams and subconscious. That's the only way I can explain how Dream Scenario and his previous film, Sick of Myself, feel so tailor-made for me. A dark comedy about a flawed protagonist struggling with loneliness, sign me up! Distributed by A24 and produced by Ari Aster, Dream Scenario is visually stunning, completely original, and most excitingly: refreshingly weird. In a somewhat meta role for Nicolas Cage, who is used to his "memeification" at this stage in his career, Dream Scenario is a film I didn't want to wake up from.
Paul Matthews (Nicolas Cage) is a middle-aged, married, father of two. He is a tenured professor at the local university and is content with his life in upper-middle-class suburbia. Everything about Paul is ordinary, and that is fine with him. He is comfortable with the way things are. Each day carries on just like every other until, in a bizarre turn of events, Paul is informed that people have been unexplainably dreaming about him at night. His daughter, his students, his colleagues, and his former ex-girlfriend have all seen Paul in their dreams, which are surreally depicted in various degrees. What starts out as a couple of strange coincidences turns into an international phenomenon when total strangers report seeing Paul appear in their dreams as well. Soon enough, this ordinary man becomes the most talked about person on the planet, catapulting him into a worldwide celebrity with a fan base that the Kardashians would be jealous of.
Just as quickly as his 15 minutes of fame falls into his lap, it ruthlessly begins to fade. The dreams that were once harmless sharply turn into night terrors, with people fearing for their safety, even if they are close to Paul in real life. Paul initially had no control over his stardom and now realizes that his downfall is out of his hands as well. His wife (Julianne Nicholson) grows frustrated with Paul's explosive behavior at home, his children (Jessica Clement and Lily Bird) become embarrassed by him, and his managers (Michael Cera and Kate Berlant) become desperate to secure opportunities for their once-celebrity client. In a twisted turn of fate, Paul's rise to fame and subsequent fall into obscurity leaves him destitute, heartbroken, and delusional.
Through Dream Scenario, Kristoffer Borgli explores themes of modern celebrity and hive mentality with sharp, edgy humor. The premise is totally wacky and yet with every scene, I fall deeper in love with Paul Matthews and start to develop a sense of protectiveness around him. The script is something special and only could have been brought to life by one man: Nicolas Cage. His performance is masterfully measured and equally unhinged in all of the right moments (Paul Matthews and Paul Hunham from Alexander Payne's The Holdovers would definitely be the friends who drink scotch and complain about their bratty students in an alternate universe). Cage is magnetic in both solo scenes and acting alongside the always fabulous Julianne Nicholson. Cage agrees with the film's specialness, saying, “It was one of the best scripts I’ve read, quite frankly, and I think it’s my best performance and probably the best movie I’ve ever made.”
On the craft side, exceptional editing by Borgli acts as an omniscient character that further aids in punchlines and humorous moments. The score by composer Owen Pallett is much more grounded than the film itself, mirroring the stable and steady life Paul had before he shot to stardom. An assortment of strings and simple melodies from a grand piano create a classical sound that is unexpected for this zany of a film. As a chamber music composer, Pallett brings his experience working with esteemed groups and artists–including The National Ballet of Canada, the Toronto Symphony Orchestra, Frank Ocean, and Sigur Rós–to this dark comedy. The Dream Scenario score could have easily gone in the direction of Son Lux x Everything Everywhere All At Once or Colin Stetson x Hereditary, but the decision to explore simple, more organic sounds feels like the right call here. While the score breathes, it allows the stellar sound design to get noticed.
Dream Scenario is one of the most unforgettable films of the year and will no doubt put Kristoffer Borgli's name in the mainstream consciousness. Fans of Eternal Sunshine of the Spotless Mind and Curb Your Enthusiasm will find tonal similarities abound in Dream Scenario although the film successfully carves out a niche for itself as a wholly original concept. It's not a stretch to say that Nic Cage may find himself the darling of awards season once again. Wouldn't that be a dream come true?
'Shadow Brother Sunday': Alden Ehrenreich Crafts a Tight, Tense Debut Short Film
Any time a well-known actor steps out from behind the lens and into the role of a filmmaker, it comes with an additional layer of pressure. After starring in a string of big-screen hits, including Netflix's Fair Play, Disney's Solo: A Star Wars Story, Elizabeth Banks' Cocaine Bear, and the Coen Brothers' Hail, Caesar!, Alden Ehrenreich proves that his expansion into directing has come by way of learning the tricks of the trade from some of the industry's best. The experience of working with top-tier directors effortlessly translates onto the screen in his short debut film, Shadow Brother Sunday. After watching the film, it's easy to recognize that the guy's got talent, and hopefully, this is just the beginning of a very storied and fruitful filmmaking career.
In Shadow Brother Sunday, which Ehrenreich wrote and directed, he transforms himself into Cole, an aspiring musician whose jealousy toward his famous brother seeps into dangerous territory. When Jacob (Nick Robinson), an actor on the rise, returns home to attend the premiere of his latest film with his family, the general mood in the household is celebratory and bright. That is, until Cole enters and brings with him a dark cloud of negativity and gloom. Frustrated with his financial situation and seeing an easy opportunity for quick cash, Cole entertains the idea of selling his brother's personal information to a gossip site. The decision weighs on Cole; he loves his brother, yet feels entitled to the same amount of success that Jacob is currently basking in. Time is ticking, and Cole has to make a choice: stand by his brother, or sell him out.
Ehrenreich uses the film's 15-minute runtime to craft a concise drama. The pacing hits the right tension notes and ends on a cliffhanger that will hopefully be addressed in a feature-length adaptation (one can dream!). As a filmmaker, Ehrenreich wanted to create as much authenticity for the actors as possible, which is why his performance is immersed in method acting–gaining over 20 pounds to fully embody Cole's uncomfortable physical state. He also set up dinner parties so that the faux family could get acquainted off-camera and organically develop their relationships.
For transparency's sake, Ehrenreich didn't claim to take this project on alone. Shadow Brother Sunday is equipped with backing and support that most directors in the short film space only dream of, including Francis Ford Coppola serving as Executive Producer and Elizabeth Banks moderating the premiere's Q&A. Still, Hollywood legends aside, the film could hold its own
As Ehrenreich continues down the directorial path with confidence and passion, I believe he could follow a similar trajectory to Bradley Cooper (Maestro, A Star is Born). Shadow Brother Sunday premiered at the 2023 Tribeca Film Festival and won a Special Jury Award for Excellence in Filmmaking from the Salute Your Shorts Film Festival. It qualifies to be considered for a 2024 Academy® Award.
In 'Four Daughters,' Heartbreak Blurs the Lines of Reality
Winner of the Golden Eye for Best Documentary at the 2023 Cannes Film Festival, Four Daughters is a film of defiance. Directed by Oscar-nominated Tunisian filmmaker Kaouther Ben Hania, Four Daughters expertly blurs the lines between fiction and non-fiction to tell the origin story of Olfa, her four daughters, and the generational trauma that casts an overwhelming shadow on their shared future. This isn't your traditional documentary, not in the slightest. While the events are real–tragically so–the storytelling approach is entirely unique and singular. Not only has Kaouther Ben Hania crafted an unforgettable work of art with Four Daughters, but she may have also invented a new genre of film.
Olfa Hamrouni is a middle-aged mother living in Tunisia with her two younger daughters, Eya and Tayssir. Her two older girls, Ghofrane and Rahma, left the family home years ago after becoming radicalized by extremist groups in their hometown. This loss has been nearly impossible for Olfa and her younger girls to accept. There was no closure in the form of a "goodbye," no see you later, just absence one night, leaving the remaining family with guilt, anger, shame, and sadness. Reacting to this missing piece in their previously tight family circle, director Kaouther Ben Hania reimagines what life would be like if Ghofrane and Rahma returned home. Casting professional actresses as the missing eldest daughters, including acclaimed Egyptian-Tunisian actress Hend Sabri as Olfa, Olfa is reunited with her missing girls through re-enactment scenes and given the opportunity to heal past wounds and unpack complicated family history together.
Recounting moments from her life through intimate interviews, Olfa is also present in many of the reunification scenes. However, another actor steps in to play her in scenes that become too upsetting (including scenes of sexual abuse and violence). This is method acting taken to an extreme and such a stunning process to observe as an audience member.
Under the guidance of director Kaouther Ben Hania, the family re-enacts specific scenes in an effort to express their feelings toward "Ghofrane" and "Rahma" and work through their family issues which, it turns out, is quite traumatic. In one example, a man playing Olfa's partner, Wissem, is in a scene that depicts addiction and sexual abuse. The confrontation from the younger girls (Eya and Tayssir) gets to be too overwhelming for the male actor, who calls off the shoot and leaves the scene, needing to smoke a cigarette in an effort to come down from the emotional toll of the scene.
Ghofrane and Rahma's homecoming may be manufactured, but the feelings their presence evokes are real. It's obvious that this acting is a form of therapy for Olfa, Eya, and Tayssir, who vulnerably relive their own trauma in this safe setting. Behind the camera, the string composition by composer Amine Bouhafa is a hauntingly beautiful representation of melancholy. Each note carries with it a sense of forlorn longing and heartbreak.
The magic of Kaouther Ben Hania's Four Daughters is its ability to incorporate performance art within a documentary without feeling inauthentic. It never strays from the purpose-driven mission of searching for inner truth. The sad truth is that Olfa may never get her two daughters back but, if this film offers even the slightest respite from that devastating reality, then it will have served its purpose.
In theaters on November 3 in Los Angeles, with expansion to follow.
'Alone Together' Offers Jordan Peele-Inspired Gothic Horror
Dysfunction runs rampant in director Will Kresch's tightly woven horror film, Alone Together. Considered a "bottle movie" for its primary use of only one location, Alone Together tells the story of one woman's attempt to escape the shadow of her trauma–both physical and emotional–and the lengths to which she is willing to go in her fight for survival. Set against the COVID-19 backdrop, one of the scariest parts of the film is having to relive the pandemic all over again.
Have you ever felt alone despite being in a relationship? That is the case with Nassdja (DeAnna S Wright), a woman at her wit's end who, seemingly going against her intuition, continues to stay in a toxic relationship with her aggressive boyfriend, Luke (played by the director's brother, Matthew Kresch). As COVID-19 ramps up and forces the couple to shelter in place, they decide to go into lockdown together at Luke's family's cabin in the woods. The location is remote and far away from family or friends, and with unreliable wifi, they will essentially be living off the grid. Nassdja convinces herself that this could be their chance at re-connection but immediately upon entering the house, she feels a rush of uneasiness overcome her. Horror sets in when she realizes that they are not alone.
Alone Together drops viewers into brute intensity from the jump, and the heaviness of the film never really lets up. What starts out as reality-based conflicts evolve into intense, psychedelic visions with haunting malevolent spirits, making for a trippy and shocking turn of events. This transition from normalcy to otherworldly catastrophes keeps the audience engaged and guessing at every turn. The film really shines during the dream sequences, which are fantastically executed from all sides. The colors, music, erratic camera angles, and editing all work so well. Alone Together offers Jordan Peele-inspired horror and delivers tenfold on maximizing the gothic, dark undertones.
Co-writer/director Will Kresch set out to make a film that felt unforgiving, and it's safe to say he succeeded. Kresch summarizes, "I wanted to remind people what it's like to feel under siege by loss and pain, and be forced to mine their souls to uncover the strength and grit to fight to survive. To hack through all that agony and find yourself standing over the mangled corpse of your malefactors, with a bloodied grin, celebrating that tangy coppery taste on your tongue, because like life itself, I believe movies are best when they are thrill rides that reflect reality in all its pain and exhilaration."
Jason Momoa Narrates 'Deep Rising,' an Ecological Wake-Up Call
Ever since I became scuba certified last month, I have taken an even deeper interest in the health of our ocean and the well-being of the incredible creatures that call it home. The experience of existing underwater–even for just an hour–is unlike anything I've felt before. My senses became much more fine-tuned to the sights and sounds of this abundant, alien-like ecosystem, and I felt an unexpected connection to my pre-historic roots. Director Matthieu Rytz's documentary Deep Rising calls our attention to the existential threats that face this beautiful landscape and arms audiences with information about the devastating reality that we are barreling toward if we don't make major changes, fast.
Aquaman himself, Jason Momoa, lends his commanding voice to the film as he narrates throughout this ecological wake-up call. "We are tied to the ocean," he says stoically. "It has always shaped human lives." As humans have evolved throughout the centuries, we have learned how to adapt to our environment. In the case of Deep Rising, the problem we face today is the fact that we are pulling resources from the ocean without understanding its complexities and the cause and effect of such actions. The resources at hand are deep sea nodules containing highly sought-after metals. As capitalists discovered these nodules' potential to become the new source of energy to fuel the earth and the economy, mining these rocklike objects became a top priority with little regard to how disrupting the ecosystem could have devastating effects.
Through fly-on-the-wall coverage, Deep Rising exposes the people and businesses behind the for-profit motives of greenlighting massive extractions of metals that are deemed essential to the electric battery revolution. The bigger picture that the film tries and lacklusterly succeeds in driving home is the fact that we should be developing alternative methods for harnessing energy that do not involve destruction, such as hydrogen. While Rytz has a justifiable cause for creating this film, the story itself is presented in a very dry manner. Footage from committee hearings, press conferences, and business pitches tend to come across as sterile and stand in stark contrast to the whimsical, effervescent sea life we’re lucky to get a peek at up close. There is creative respite in Ólafur Arnalds’ score, which is by far the standout of the film. The Icelandic composer creates a sense of icy foreboding with vast and deep notes along with consumer-friendly house music on a loop.
Deep Rising is an urgent geopolitical and scientific documentary that carries a strong message: the bottom of the seafloor is home to the most unimaginable life forms that have existed since the beginning of time, so why do we humans feel that it is our right to take their resources for ourselves? As Rytz elegantly states, "In order to address the climate crisis, we must protect the biodiversity of our ocean and as humanity is fast devouring the finite resources of our Blue Planet, we are witnessing the sixth mass extinction before our very eyes. While the world’s human population represents a minuscule 0.01 percent of all living things, our own body mass consists mostly of the primordial ocean and microbes. Protecting ocean biodiversity then, is not just about securing the future of turtles, dolphins, whales, and all the other amazing sea life we love and cherish. It is bigger than that. Because the biosphere does not belong to us; we belong to it."
For fans of: Leviathan, Chasing Coral
Blair Mowat Premieres Track From Eddie Izzard-Led 'Doctor Jekyll'
If you're a fan of Danny Elfman's spooky soundtracks for his longtime collaborator Tim Burton, meet the new heir to the throne. Blair Mowat is a Scottish, BAFTA-nominated composer who lends his robust sound to Doctor Jekyll, the upcoming British horror film directed by Joe Stephenson. Mowat's 17-track album will be released on all digital platforms on Friday, October 27th, coinciding with the film's UK premiere date.
The fabulous Eddie Izzard stars as both Dr. Nina Jekyll and Rachel Hyde in this haunting and unique adaptation of the classic tale. A wealthy woman in class and stature, Dr. Jekyll made a fortune in the pharmaceutical industry, quickly becoming a household name. But her success came at a cost. After a scandal forced her out of the spotlight, she was relinquished to live in seclusion with her demons. In need of an assistant and, begrudgingly, company, Jekyll hires Rob - a young father and ex-con straight out of rehab who is trying to get back on his feet. However, it soon becomes clear that there are evil forces at play, and Rob's wits are tested in a game of cat and mouse with a mysterious and manipulative entity.
Cinemacy is excited to premiere the track "Jekyll And Hyde" from Hammer Studios' Doctor Jekyll, below:
Says Blair Mowat of the duality of his work on Doctor Jekyll, "Our director, Joe Stephenson, was looking for a bold, gothic, and dramatic score mixing traditional Hammer tropes with a modern sensibility. Much like Jekyll and Hyde, this a score of two parts, recorded with two different orchestras - the Budapest Art Orchestra and The Royal Scottish National Orchestra. This helped to emphasize the split personality of the score switching from sparse haunting horror to the operatic gothic explosions we hear towards the end of the film. A 30-person choir helped achieve a sense of scale when we needed it and Jekyll's textural effects are performed on a variety of rare old string instruments such as the Viola Da Gamba and Stroh Violin, evoking the sense of an ancient evil."
If you listen closely, Mowat says you're in for a treat: “Fans may even notice that the main theme rhythmically spells out the title Doctor Jekyll."
With over two hundred scores for film, theatre, and television to his name, Mowat continues to push into new territory. His clients range from The English National Ballet and The Royal Shakespeare Company to BBC One (the Doctor Who spin-off series Class), SKY (The Amazing Mr. Blunden) & ITV (McDonald & Dodds). Both McDonald & Dodds and The Amazing Mr. Blunden were double nominated for Best Original TV Score and Best Opening Titles in the Music & Sound Awards. More recently, the BAFTA-nominated, award-winning composer scored Russell T Davies' drama Nolly, starring Helena Bonham Carter, and Men Up. As a musical arranger, he has worked on shows including Doctor Who and David Attenborough's Life Story.
'Anatomy of a Fall' is a Masterfully Executed Courtroom Thriller
When an unexplained death occurs in a cabin in a remote town in the French Alps, a woman is presumed guilty of murder and is forced into the most grueling physical and emotional fight for her life in the psychologically gripping drama, Anatomy of a Fall. Masterfully executed by French director Justine Triet with a sensational performance by Sandra Hüller that will leave you gobsmacked, Anatomy of a Fall is a masterclass in film pacing and a thorough examination of morality and how we react to complexities that arise in decaying relationships.
Was it suicide, or something much more sinister? This is the devastating corner that German author Sandra (Hüller) finds herself in after her husband, Samuel (Samuel Theis), is found dead in the snow. His lifeless body, lying directly below an open window from the third floor of their wood cabin, was discovered by the couple’s vision-impaired young son Daniel (Milo Machado Graner), and his seeing-eye dog, Snoop (a Border Collie named Messi). It’s a horrifying moment for Sandra, whose grief is abruptly cut short after she becomes the prime suspect in his death.
Sandra vehemently denies any involvement, despite the couple having their issues (the film opens with tense passive aggression from both parties). However, Sandra’s insistence, plus the lack of witnesses and a motive, initially gives Sandra’s lawyer, Maître Vincent Renzi (Swann Arlaud), a sense of confidence that this case will wrap up neatly. As proceedings get underway in the small French village, it’s clear that Sandra is up against a prosecution team with a relentless determination for a conviction. But the more evidence Sandra is confronted with, including a previous novel she wrote that shares similarities to the crime at hand, we find ourselves wondering… is she actually guilty?
https://www.youtube.com/watch?v=FUXawkH-ONM&ab_channel=NEON
In every sense of the word, Anatomy of a Fall is perfection. Don’t let the nearly three-hour runtime intimidate you, this courtroom drama soars by with brevity. The chain of events that unravel from the beginning of the trial builds upon themselves until we reach a monumental moment in the closing arguments, with powerful monologues from both the prosecution and defense. Triet, along with screenwriter Arthur Harari, have a “Shakespearean meets Sorkin” way with words that fit together so precisely, you can’t help but smile. Just as breathtaking as the screenplay–and the phenomenal acting by all involved–is the lack of a notable score. Triet’s decision to forgo additional music in an effort to lessen the emotional manipulation that a score can give and guide the audience to only focus on the characters instead is an untraditional and wildly commendable choice.
The title, Anatomy of a Fall, has a double meaning here too, which is powerful in both a literal and metaphorical sense. On one hand, there is the physical act of the fall which is the catalyst for the film. The entire basis of the trial is to prove that the fall was either accidental or manufactured. The anatomy is dissected from all angles. On the other hand, the fall also alludes to Sandra’s reputation, a sort of fall from grace as an esteemed author to a scorned woman capable of murder. Sandra endures scrutiny and dissection of her own, with her private life unexpectedly becoming public and judged by strangers who have the capability to ruin her future.
What makes Anatomy of a Fall so striking are the palpable feelings of tension and remorse, due in large part to the onscreen acting. Sandra Hüller (Toni Erdmann, Zone of Interest) was destined to play this part, her embodiment of this complex and compelling character is truly one of the most remarkable performances I’ve seen this year. And I can’t close without mentioning Snoop, whose performance is mind-blowingly incredible that I couldn’t help but laugh. Snoop is a star!
A crime room thriller with excellent storytelling, a unique directorial vision, and stunning performances from both human and canine, Anatomy of a Fall is the must-watch film of the season.
In 'The Holdovers,' Lost Souls Connect Over Christmas
At the expense of sounding corny, The Holdovers is a film that truly warms the heart and soul, like the cinematic equivalent of a self-soothing hug by a crackling fireplace. Directed by Alexander Payne (Nebraska, Sideways), Paul Giamatti returns to the big screen in top-tier form as a cranky and out-of-touch professor whose cold heart begins to melt after forging an unlikely connection with a student. The Holdovers is a beautifully told story about the human condition and how understanding an individual's complexity can lead to an empathetic, life-changing awakening.
What one will notice immediately as the film opens is the visual homage to classic cinema of the 1970s. The desaturation and film stock quality make The Holdovers feel as if it is a treasure pulled from the archives of yesteryear. This throwback aesthetic carries on throughout the entirety of the film and is largely responsible for the overall tonal sense of comfort and warmth. The Holdovers doesn't just take place in 1970, Alexander Payne wanted audiences to feel as if the film was made in the time period as well.
Paul Hunham (Giamatti) is an ancient history teacher at Barton Academy, the New England-set boarding school for the upper echelon of privileged society. Paul is a single man, never married, and fiercely devoted to educating his students despite his ill attempts to inspire. His strict style of teaching and less than generous "Christmas gift" to the students of homework over the holiday break makes Paul the most despised professor on campus. All Paul wants for Christmas is a break from his students but as fate would have it, he is stuck with supervisor duty. This means he is forced to stay on campus and oversee the handful of students who aren't going home for the break, or the "holdovers".
15-year-old Angus Tully (Sessa) is one of the unlucky boys whose mom and new stepfather refuse to release him from Barton Academy for the holidays. Angus's frustration at the situation grows substantially when, comically, the four other boys who were initially holdovers manage to get released into the care of a friend's wealthy dad. This leaves Angus stuck with Paul and the only other faculty resident on campus, Barton Academy's head cook Mary Lamb (Da'Vine Joy Randolph).
Paul is a self-appointed loner who is forced into a parental role, Angus is a smart kid with bad behavior, and Mary is a caretaker who is navigating through the heartbreak of losing her only son. All three are tortured by their own thoughts and sense of hopelessness and, ironically, their lack of communication in expressing these feelings causes them to miss out on a chance for connection. Despite their many differences, Paul, Angus, and Mary are more alike than they even realize. Over the course of the two-week holiday break, the trio engages in comical misadventures, turbulent growing pains, and emotional catharsis–ultimately leading to the creation of an impromptu family unit that they all so desperately wanted.
The Holdovers feels like an instant classic, anchored by a knockout performance from Paul Giamatti. His pompous, pipe-smoking, historical text-spewing character is not only a riot to watch on screen but also mimics the classic tortoise archetype. He retreats into his shell when feeling threatened and is extremely vulnerable without his defensive armor. Paul's armor in this case is his intelligence, which is constantly tested by the wilding, unruly, and hare-like Angus. Newcomer Dominic Sessa is a breath of fresh air, acting as if he was somehow plucked from the 70s as well. The authenticity in his performance is incredibly impressive and sets a high bar for any future projects. The consistently wonderful Da'Vine Joy Randolph delivers an awards-worthy rendition of a single grieving mother experiencing many emotions at once. She is undeniably phenomenal.
The world of The Holdovers feels so real and tangible, in large part due to the outstanding production design by Ryan Warren Smith which is artfully realized and captured by cinematographer Eigil Bryld. A sweeping and delicately pieced orchestral score by composer Mark Orton–which includes the standard guitar, piano, and strings along with the unexpected addition of a toy trumpet, sleigh bells, and a marxophone–perfectly compliments the abundance of synced songs. Music supervisor Matt Aberle must have had their hands full licensing tracks from Cat Stevens, The Allman Brothers Band, and Labi Siffre among others.
A film to experience with friends and loved ones this holiday season, The Holdovers promises to spread joy and put a smile on the faces of even the most curmudgeonly of people.
Animated Horror Film 'Canvas' Echoes Real-Time Hopelessness
The heaviness of current world events can feel like we are living in a simulation, a sort of "hell on earth" scenario. This real-life recurring feeling of hopelessness for humanity tees up audiences for what to expect in writer-director Ryan Guiterman's animated sci-fi horror film, Canvas. This film doesn't offer respite from the horrible atrocities that seem all too commonplace nowadays; instead, Guiterman uses society's most vulnerable characteristics as the catalyst for his arthouse horror film. If you're ready to embrace even more doom and gloom, then buckle up and let Canvas take you for a ride.
Canvas had its World Premiere at the Annecy Animation Film Festival in 2022 and Gravitas Ventures secured worldwide rights shortly thereafter. In this midnight movie, a demon known as "The Painter" (Ell Peck) comes to Earth with a gruesome mission—to create new spawn from chaos and death. The omniscient godlike being speaks in a baritone rumble, in Latin, which is in stark contrast to the protagonist of the film, George Rohan (Steve Key). George is an FBI agent who has been assigned a special place within the "Painter Defense Agency" to keep the demon at bay and civilization safe. No one is to know the existential threat that "The Painter" poses for fear of total chaos and unmanageable uprising, and so it is George's job to keep things close to the vest. Meanwhile, journalist Reila Martin (Isabel Ellison) is hard at work attempting to expose George's growing web of lies. But secrets this big can only be kept for so long until they burst at the seams, at which point it may be too late.
https://www.youtube.com/watch?v=C1hfxtfq4LE&ab_channel=GravitasVentures
The impressionistic art style combined with its use of animation, live-action, and motion capture gives Canvas a sense of individuality among its animated peers. The Mortal Kombat-like font and use of heavy blacks and dark colors throughout are good indicators that this film is not family-friendly, or easily digestible for the average consumer. However, it doesn't seem like Ryan Guiterman is concerned with pleasing the masses. The target audience for this film is open-minded cinephiles who appreciate the art of graphic novels and respond to thinly veiled political subject matter.
What we see on screen looks like a comic book come to life, the merging of artistic mediums makes for a visually captivating watch. At times though, scenes are colored too dark and prove challenging to decipher what is happening in detail. The score, while appropriately dark and disturbing, seems to have been the victim of a poor mix job. There are moments when it is too overpowering and loud, which drowns out the dialogue in key scenes, making it challenging to understand.
Despite its technical obstacles, Canvas is a bold and pointed debut by a clearly gifted storyteller. The film ends on a note that seems to entertain the idea of a sequel. If Canvas 2 becomes a reality, I'm all in.
'Once Within a Time': Philip Glass Scores This Surrealist Fantasy
Steven Soderbergh and Alexander Rodnyansky present Once Within a Time, an experimental arthouse film written and directed by 83-year-old Godfrey Reggio. Imagine the free-flowing creativity of Disney's Fantasia in the style of Georges Méliès' 1902 silent film A Trip to the Moon (widely considered the first film ever made) and then add a dash of psychedelics. The result is something akin to Once Within a Time, a mind-bending surrealist fantasy that must be experienced on the big screen.
The original music composed by Philip Glass (who worked with Reggio on the 1982 indie musical Koyaanisqatsi) is the reason why I initially sought out this film before realizing that it is entirely wordless. The music isn't just important here, it is critical, serving as the emotional and emotive lifeblood of the story. With no comprehensible dialogue, the driving force of the film is undeniably the score. From the barbaric opening number to the whimsical tapestry that coats the kaleidoscope of visuals, Philip Glass creates another unforgettable masterpiece–which would also make for a phenomenal opera (manifesting this now).
Clocking in at only 51 minutes, with 10 of those minutes dedicated to the rolling credits, Once Within a Time is an avant-garde expressionist comedy where nothing and everything makes sense. It is a full sensory experience that celebrates art, music, and the gift of time. This multidisciplinary work–which includes puppetry, stop-motion animation, film tinting, and shadow-play, among others–explores humanity's relationship with five fundamental elements: earth, air, water, fire, and money, and how the narrow line between annihilation and redemption is reaching a critical moment.
The juxtaposition of seeing modern-day technology and public figures depicted in this old-fashioned aesthetic feels unsettling in a way that is hard to describe. iPhones and emojis are translated into tangible characters, visualized in archaic style after being put through the insanely creative mind of director Godfrey Reggio. Is that Greta Thunberg's face on an artist's wooden display doll? Is that Mike Tyson in a wrestling ring wearing a feather coat? One can extrapolate many meanings from every frame, like an endless spool of thread of infinite length, but it seems the true meaning that Reggio puts forth is open to audience interpretation where there are no wrong answers.
Once Within a Time isn't just a film to watch but rather, one to experience. The film ends with a question: "Which age is this: the sunset or the dawn?". This question is posed in multiple languages so everyone can participate in this philosophical conversation starter. Despite its apocalyptic leanings and purposefully open-ended storylines, Once Within a Time doesn't leave audiences in a state of doom and gloom. Rather, it expands the mind and leaves shreds of hope for future generations that rebirth will always come. There is no "happily ever after" because "after" is "now" and we will continue to exist in the "now", forever.
Playing at Braindead Cinemas this Friday, October 20th.
'Divinity' Review: A Lo-Fi, Mind-Melting, Perverted Affair
Director Eddie Alcazar has a gift for bringing to life the most mind-bending experimental films, and his latest Divinity is no different. In 2016, Alcazar released the grindhouse horror short film FUCKKKYOUUU, followed by his ambitious and equally mesmerizing feature, Perfect (2018). Unapologetic and defiantly bold, Divinity plays at the intersection of absurdity and video nasty – the place where Alcazar and his creativity thrive.
Set in an undefined time in the future, Divinity stars Stephen Dorff as Jaxxon Pierce, the heir of controversial scientist Sterling Pierce (Scott Bakula) who created a life-changing serum called "Divinity." When used properly, the serum promises immortality to those who inject it. High off of his father's legacy, Jaxxson's determination to take "Divinity" to the next level reaches a fever pitch when his vision of the future – one where he lives forever – becomes ever closer to reality. However, his plans for domination become thwarted when two unnamed brothers (Moises Arias, Jason Genao) show up unannounced with a plan to capture Jaxxson and get their hands on "Divinity" for themselves.
Not far away from the impending abduction is a sorority of women, led by a domineering Ziva (Bella Thorne). Her appearance throughout the film acts as interludes to the story's over-arcing structure, as she preaches about the destruction "Divinity" will cause to humanity. Another strong female character is the sex worker Nikita (Karrueche Tran), who initially finds herself at the home of Jaxxon Pierce to spend some two-on-one time with the brothers before accidentally inserting herself into their twisted game.
In addition to the acceptably kooky performances from all involved, the music is perhaps the biggest standout – which says a lot given the overwhelming distractions on screen at any given time. DJ Muggs and composer Dean Hurley, best known for his collaborations with David Lynch, create eerie, drone-heavy soundscapes that perfectly encapsulate Alcazar's bizarre world. Aiding in the film's visual aesthetic is cinematographer Danny Hiele, who previously worked in a similar 16mm black-and-white fashion on FUCKKKYOUUU. The crunchy quality feels as if it's been recovered from a 70's era time capsule, like a dirty little secret that should have never seen the light of day.
To call Divinity a wild ride would be an understatement. This is a lo-fi, mind-melting, perverted affair. Executive-produced by Steven Soderbergh, Divinity is another successful demonstration of Eddie Alcazar's unique and singular vision.
This review originally ran on January 30, 2023, during the Sundance Film Festival.