Nainita Desai Premieres Music Video from 'The Reason I Jump'
After last year's successful Sundance premiere, the award-winning documentary The Reason I Jump has finally made its way into virtual theaters. Directed by Jerry Rothwell and based on the book written by the young autistic artist Naoki Higashida when he was 13-years-old, The Reason I Jump celebrates the beauty of being different. Composer Nainita Desai further illustrates this sentiment in her companion music video "Beauty Is In The Detail," exclusively premiering on Cinemacy.
The central theme of the film is communication and all of its interpretative forms. With this in mind, Nainita's biggest challenge was illustrating and amplifying what it feels like to be autistic. Nainita successfully communicates intense sensory worlds into song by using orchestral strings, custom-made instruments, electronics, and found sound.
"The song represents the beauty of the neuro-diverse world and how the characters perceive the detail in objects before seeing the whole picture unfold before them," says Nainita. Plus, to keep the soundtrack inclusive and authentic to the film, Nainita reached out to Elisabeth Wiklander, a cellist with the London Philharmonic Orchestra who is autistic as well as a cultural ambassador for the National Autistic Society. Daniel Pioro (Phantom Thread) is the featured violinist on the track.
Nainita's contribution to the film continues to gain accolades from industry professionals. Most recently, she was recognized by the British Independent Film Awards and Cinema Eye Honors with best score nominations.
The soundtrack to The Reason I Jump will be released by the London-based label Mercury KX on April 16, 2021.
'Acasa, My Home' Review: Trying to Domesticate a Free Spirit
Set in a barely-livable compound in the middle of the untamed Bucharest Delta lives the Enache family. The nine children and their parents have called the decrepit shack and the surrounding wildlife their home for 18 years, a miraculous feat considering the circumstances and extreme weather conditions they face every season in Romania. Their incredible story of adaptation is told by first-time filmmaker Radu Ciorniciuc in the cinematically striking documentary Acasa, My Home.
If you liked 2019's Honeyland, and 2015's The Wolfpack, then you'll be blown away by the thematic similarities in this film. Winner of the Special Jury Award for Cinematography at the 2020 Sundance Film Festival, Acasa, My Home is a searing portrait of humans' symbiotic living with nature, and the devastating effect of trying to domesticate a free spirit.
While it is certainly not ideal conditions to raise a family in, the elder Enache–a strong-headed, stubborn drunk who doesn't listen to authority–chooses this life for himself and his family. He ignores pleas from social services and refuses government intervention until he cannot turn a blind eye any longer. A highly anticipated urban nature park, in which Prince Charles was the guest of honor at the groundbreaking ceremony, is set to start construction on the land, forcing the Enaches to adapt to urban living in city-sanctioned housing.
For all of the children (some teenagers), this is their first time attending school, making friends outside of their siblings, and learning how to spell their own names.
Acasa, My Home feels distinctly split into two acts; Act 1 consists of the family's daily struggle to survive in the Romanian wilderness, and Act 2 shows their attempt at acclimating into society. For all of the children (some teenagers), this is their first time attending school, making friends outside of their siblings, and learning how to spell their own names. Pressure builds within the family, and their selfishness, ignorance, and defiance further splinter already delicate relationships.
Visually, Acasa is stunning. Incredible drone shots capture the vast freedom that the Enache's had for 18 years, while more observational close-ups show the intimate dynamics between siblings and parents. Their move to the city feels obviously more constrained, both emotionally and physically. Paired with bold and investigative direction from Radu Ciorniciuc, Acasa, My Home is a sweeping, powerful watch.
One moment I haven't been able to forget is the scene where a park ranger educates spectators on the newly constructed nature park. In talking about its native plants and animals, he reminds the group to not disturb the wildlife. People used to try to catch the wild birds and domesticate them, but they would die because they're not meant for captivity. Their home is in nature, we cannot force a wild creature to adapt to our definition of "acceptable living." Even if it's an allegorical story, it's fittingly applied here.
Distributed by Zeitgeist Films, in association with Kino Lorber, the film is available to stream via Kino Lorber virtual marquee on Friday, January 15, 2021.
'The Reason I Jump' Review: Celebrating the Beauty of Differentness
The ability to effectively communicate through words is something that comes so naturally to most of us that we don't even have to think about it. From early childhood, it's reinforced that if we want something, we need to ask for it. But imagine for a moment, that the words you want to say can't escape your throat. Instead, they bounce around your mind like a ping pong ball in a match that you can't win.
That's the reality for nonspeaking autistic people, whose struggle is seen in director Jerry Rothwell's intimate documentary The Reason I Jump. Based on the best-selling book written by 13-year-old autistic teen Naoki Higashida, The Reason I Jump profiles incredible young adults from around the world who prove that they are so much more than just a label.
For too long, being "different" has been seen as a problem in our society. Through interviews with five autistic people and their families, they show how beautiful it is to feel so much. Trying to exist in an overstimulated world can be extremely overwhelming at times, which is why many in the documentary have turned to the arts (or jumping on a trampoline) to express themselves. Innate attention to detail adds a unique depth to their understanding of natural sounds and art and the results are humbling and joyous.
Of course, this beautiful view of the world is not without daily hardships. Many in the film express how uncomfortable it is to feel like a prisoner trapped in your own body, a feeling that I can't even begin to comprehend. For some, their concept of time is scrambled. One young boy's parent describes his memory as a pool instead of being chronological or in a linear fashion. For example, running through sprinklers as a toddler feels just as familiar and recent as celebrating a 16th birthday.
Winner of the World Cinema Documentary audience award at the 2020 Sundance Film Festival, The Reason I Jump is a modest yet inspiring watch, offering a new perspective in our continuous quest for total inclusivity.
Distributed by Kino Lorber. Opening at Laemmle Virtual Cinema on Friday, January 8, 2021.
'Pieces of a Woman' Review: An Aching Portrayal of Grief
Between the emotional rollercoaster of that nearly 30-minute one take and Vanessa Kirby's sensational performance, Pieces of a Woman is mesmerizing cinema through and through. Award-winning Hungarian director Kornél Mundruczó, who last shook me to my core with the politically charged dog-based drama White God, presents a skillfully-crafted observation of a woman regaining control of her life after a traumatic loss.
Before diving in, I feel the need to note that this film and its portrayal of infant death could be triggering.
The film takes place in Boston, mid-September. Young couple Martha (Vanessa Kirby) and Sean (Shia LaBeouf) anticipate their daughter's arrival; looking at minivans, decorating the nursery, and preparing for the home birth are just some of the tasks left to accomplish before welcoming their baby girl. They could never have imagined that the future they so joyously mapped out was charting drastically off course.
Despite frantic attempts to resuscitate the fastly-declining newborn, the couple's midwife Eva (Molly Parker) is unable to save the baby in what can only be described as a fluke. It's an unexpected shock for everyone, most of all for Martha, who expresses her heartache, anger, and apathy in various ways. This stillbirth has not only stolen her future, but it also stalls her relationship with Sean and presents personal challenges she must face head-on to move on.
As humans, we try to find (or create) answers to problems to justify why bad things happen to good people. It's easier to comprehend bad news if we feel like there is a reason for it; we flounder in uncertainty. This psychological dilemma is seen when blame is immediately placed on Eva, despite the very plausible possibility of the baby's death being of natural causes. Instead of picking out car seats, Martha is picking out headstones, a reality that her mother Elizabeth (Ellen Burstyn) will not accept. One scene-stealing monologue, where Elizabeth chokes back tears of anger and remorse, is the definition of heartbreaking. Although she comes from a place of love, her overbearingness only frustrates Martha more. Elizabeth wants to take Martha's pain away but doesn't realize that her overprotectiveness is only making the pain worse.
The 24-minute, uninterrupted home birth scene... This one-shot is impeccable, the choreography is both fluid and chaotic, and I found myself holding my breath in anticipation of what was to come.
Written by Kata Wéber and executive produced by Martin Scorsese, Mundruczó's Pieces of a Woman is a performance-driven tour de force. The film consists of small details that create a tsunami of emotional catharsis. The result is a raw glimpse at the physical and psychological after-effects of a loss that is rarely portrayed onscreen. Martha is a layered character who isn't always likable as she goes through her grieving process. She becomes emotionally reckless, detached, and selfish, but we never feel compelled to villanize her. Here, Mundruczó shows there is no right way to grieve, and Vanessa Kirby's embodiment of a shattered woman trying to put the pieces together is powerful.
Now, the scene you've probably heard about: The 24-minute, uninterrupted home birth scene. This one-shot is impeccable, the choreography is both fluid and chaotic, and I found myself holding my breath in anticipation of what was to come. Kirby and Parker's dynamic in this scene is the epitome of feminine strength and is by far the most unforgettable scene in the whole film. Personal controversy aside, Shia LaBeouf gives an expectedly herculean performance as Sean. However, it's difficult to separate the art from the artist, especially when he gets sexually aggressive, physically abusive, and verbally degrading towards Martha.
In addition to the top-billed cast, appearances by Benny Safdie, Sarah Snook, and Jimmie Fails are fun surprises. Complementing the onscreen visuals is Howard Shore's score, whose composition of light piano strokes and harmonic vocals play like a baby's lullaby.
Kornél Mundruczó once again doesn't shy away from the reality of human existence. It can be gritty and hard and unfair, but life will only beat you down if you let it. Pieces of a Woman shows that resilience is the only way forward, and there is light just on the other side of the darkness.
Distributed by Netflix, Pieces of a Woman is available to stream on Thursday, January 7, 2021.
'One Night in Miami' Review: When Four Towering Figures Came Together
This seems to be the year of turning historically significant stage plays into strong feature films, and I am here for it. Hot off the heels of Netflix's homage to the "Mother of the Blues," Ma Rainey's Black Bottom, comes the Amazon Original One Night in Miami, a dazzling interpretation of Kemp Powers' play about the infamous night four formidable figures spent together, passionately discussing race, religion, and philosophy through monologues and music.
Miami, 1964. Friends gather to celebrate a surprising post-victory win for Cassius Clay aka Muhammad Ali (Eli Goree), the underdog who was all but guaranteed to lose his fight against heavyweight champion Sonny Liston. Reveling in glory and fame, Cassius is quickly humbled when his friends arrive at his hotel room– a room he was forced to book because Jim Crow-era segregation laws wouldn't allow him to stay in Miami Beach. Over the course of one night, Cassius and his friends, activist Malcolm X (Kingsley Ben-Adir), singer Sam Cooke (Leslie Odom Jr.), and football star Jim Brown (Aldis Hodge) passionately talk about their roles as leaders in the Black Power Movement and how they can better represent their community on the streets, on the stage, on the field, and in the ring.
While One Night in Miami is a fictitious account, it doesn't negate the fact that the brotherly bond shared between these four icons was monumental...
Proving that her creative talents extend far beyond her on-screen performances, first-time filmmaker Regina King delivers a solid directorial debut in One Night in Miami. Granted, the shooting script is pretty straight forward with most of the filming taking place in one room over one night, but she has the thespian's golden touch when it comes to coaxing the best performances out of her actors. Kingsley Ben-Adir's passionate monologues as Malcolm X will shake you to your core, and Leslie Odom Jr.'s soulful rendition of Sam Cooke's "A Change is Gonna Come" will cause the hairs on the back of your neck to stand up straight.
Watching this interpretation of how four of the original Black Power Movement influencers could have spent that infamous night is incredibly inspiring. While One Night in Miami is a fictitious account, it doesn't negate the fact that the brotherly bond shared between these four icons was monumental, both that night and evermore.
Distributed by Amazon Studios, One Night in Miami is in select theaters on Friday, December 25, 2020. Coming to Amazon Prime Video on January 15, 2021.
'Promising Young Woman' Is a Twisty Tale of Female Revenge
It was the haunting orchestral arrangement of Britney Spears's "Toxic" that did it for me; I knew at that moment that Promising Young Woman was something special. Both a cautionary tale about the dark side of bro culture and how repressed trauma can turn into boiling vengeance, Promising Young Woman tackles a sensitive conversation with sprinkles of irreproachable charm to create an intoxicatingly dark comedy.
Not all superheroes wear capes. In this case, it's just pink lipstick. When Cassandra (Carey Mulligan)–a once aspiring medical student– isn't working behind the bar at the local coffee shop, she's living a double life as a single, helpless frequenter of dive bars and nightclubs. Much to the surprise of the pervy men who try to take advantage of her in her drunken state, Cassandra's disheveled appearance and slurred speech aren't the results of too much liquor. This is all an act; sober as a judge, Cassandra gets men to their most vulnerable before unveiling herself as a fully functioning feminist who highjacks the night by teaching these men a valuable (and sometimes violent) lesson about their ignorance of rape culture.
But why go through all of this trouble every night? It's clear that she gets some satisfaction from teaching these creeps how to treat a woman with decency and respect, but Cassandra doesn't bear this cross for herself; her justification is something she keeps close to the vest. As she continues to go through the motions of her "questionable" daily routine, Cassandra hesitantly entertains a real relationship with her old medical school classmate Ryan (Bo Burnham), a sweet guy who seems like the perfect complement to her introverted self. However, his re-emergence in her life brings up a traumatizing event from her med school days which reignites Cassandra's deep-rooted desire for revenge, making her double down on her savage antics in an attempt at retroactive retribution.
Under Promising Young Woman's poppy bubblegum surface is a story so dark and twisted, it makes Nurse Ratched look tame. Director Emerald Fennell's genre-blending world finds the right balance between entertaining romantic comedy and horrifying revenge thriller, which is even more impressive considering it's her feature film debut. Also doubling as the screenwriter, Fennell's confidence in creating a story so sensitive yet relevant in today's dating culture and #MeToo movement is an unforgettable cinematic experience. Carey Mulligan's Cassandra is an untraditional heroine. She's quiet, cold, and suffers from mental anxiety, yet her determination to rid the world of misogynists is admirable. She is a flawed individual with pure intentions, the underdog of her own story, but not for long.
Bursting with wall-to-wall vibrance and violence, Fennell & Co have created a gritty tale of revenge in the modern age. Phenomenal performances aside, also worth noting is the film's soundtrack which is exclusively made up of female artists, including Paris Hilton's infamous debut single "Stars Are Blind." If there's a succinct message to take away from Promising Young Woman it would be this: don't underestimate the strength of a woman, quiet doesn't equal weakness, and you can always count on an ex-nursing student to give offenders a taste of their own medicine.
Distributed by Focus Features, Promising Young Woman is playing in select theaters on Friday, December 25, 2020. Coming soon to VOD.
'Luz: The Flower of Evil' Review: A Mesmerizing Faith-Based Fever Dream
When the press release for Luz: The Flower of Evil popped up in my email, my jaw dropped. A quick scan through the beautiful images led me to the film's description: "The Witch meets Jodorowsky’s El Topo meets The Sound of Music landscapes and with a sort of Terrence Malick tone..." Whatever this movie was, I knew I had to see it for myself. This was either going to be the biggest cinematic accomplishment of all time or a total letdown.
Director Juan Diego Escobar Alzate delivers a visual feast in this trippy fever dream, where good battles evil in an overly saturated mountain town. Alzate's highly-ambitious fantasy horror film may sound like an explosion of genres-which it is- but it's one of the most unique and bold expressions from a filmmaker I've seen recently.
Blurring the lines between heaven and hell, the leader of a small religious cult reigns over his community. El Señor (Conrado Osorio) is an overly protective, single father of three girls Uma (Yuri Vargas), Laila (Andrea Esquivel), and Zion (Sharon Guzman), and considers his word to be gospel. One night, he returns to his mountainous village with a young blonde-haired, blue-eyed boy who he claims to be the new Messiah. But not everyone believes this child is the second coming of Christ, especially when death and destruction suddenly befall El Señor's own family. This causes his daughters to question the existence of God and the dangers of their blind faith.
It's gory and graphic and, yes, there is a demonic goat, but Luz: The Flower of Evil is more than just shock value antics.
The desire for freedom lies at the heart of Luz: The Flower of Evil. For El Señor's daughters, they long to be able to make their own choices regarding their faith, their hobbies, and their budding sexuality. It's only when freeing themselves of the societal religious chains they proclaim, "by letting go of Jesus, I finally understood the true meaning of God."
In this incredible trip to heaven and hell, Alzate is ultimately showing the duality of mankind. We as humans are all part good and part evil, much like how some religions preach that God and the devil co-exist. The imagery that goes along with this message is nothing short of inspiring, every scene has a beautiful composition and texture. Kudos to the colorist Felipe Martinez and color grading company We Make Color for creating such aesthetically rich and unforgettable visuals.
It's gory and graphic and, yes, there is a demonic goat, but Luz: The Flower of Evil is more than just shock value antics. It carries a powerful message of unnecessary harm we endure due to manmade problems. Much like Nomadland's take on the power of the natural world's restorative healing capabilities, this film reminds us that nature doesn't cause pain. Appreciate miracles, don't go chasing them. And always remember that harmony brings peace and light. After playing in 34 festivals and winning 14 awards, Luz: The Flower of Evil is finally available to stream on Shudder next Monday, December 21st.
'Nomadland' Review: A Fresh Look at the Evasive American Dream
It takes a truly magical film to transcend its onscreen presence and hibernate inside your soul. That may sound lofty but since I first saw Nomadland, I haven't stopped reflecting on its gorgeous interpretation of alternative Americana living. Not only have I reveled in the beauty of the vast desert plains and saturated sunsets, but I'm finding myself meditating on the film's larger rhetorical question: what does it mean to feel "whole"?
Nomadland is no accidental knockout. With technical skill, a creative vision, and collaboration with some of the most respected artists in the game, director Chloé Zhao's third feature film is a love letter to nature's restorative energy and to the pioneers who brave their own trails
Set against a backdrop of economic hardship and an unsteady future, Fern (Frances McDormand) perseveres. She is a prideful woman who-despite losing her husband and more recently, her house and steady employment–accepts no handouts or sympathy. Seasonal gigs and living out of her camper van (named Vanguard) support a minimalist, albeit lonely, lifestyle. She quickly becomes intrigued by a community gathering of like-minded people and it's not long until Fern integrates herself into their tribe, which kick-starts her exploration into living among nature and discovering her holistic identity.
Compared to her new friends Linda May, Swankie, and Bob Wells (who are, in fact, real-life nomads) Fern is a "beginner nomad." She quickly adapts to life on the road as a single, middle-aged woman, constantly saying hello and goodbye to the strangers and friends she sees on her open-ended journey around the American West.
Throughout her time on the road, Fern gains independence from self and from society. Her life is atypical from most, a criticism echoed by her suburban-dwelling brother-in-law, but at this point in Fern's life, the stagnation of daily routines isn't her priority. Becoming more and more reflective and honest about what she wants out of life, Fern begins to find her peace. Her peace doesn't look like the pre-packaged "American Dream" that we've all been told to strive for, but it's aspirational nonetheless. A life of new experiences, a smorgasbord of interactions with various characters, and the opportunity to chart her own path offer simplicity and contentedness that a traditional life never could.
The character of Fern could only be brought to life by Frances McDormand, whose natural charm and undeniable talent are channeled in a steadily sentimental manner. Director Chloé Zhao and McDormand bring out the best in each other, creating something so pure like a perfectly in-tune duet. Visually, Nomadland is breathtaking. The poster alone gives a perfect peek into the film's peaceful warmness; you can almost feel the desert breeze sweeping across your face. Accompanying this rich aesthetic is the piano-centric score from composer Ludovico Einaudi, whose emotionally charged composition adds another element of nostalgia.
Nomadland humbly feels larger-than-life, observing man and nature in symbiotic harmony. It encourages us to look inward and examine where we can be more fulfilled, remembering to waste no time because life is short.
What makes you happy? Great. Now, do that thing.