'The Aftermath' Review: A Turbulent Love Story that Wallows in Sadness
A beautiful British woman falls in love with an equally handsome German man after an unwelcomed sexual advance wins her over in James Kent's latest, The Aftermath. A broody Keira Knightley and rugged Alexander Skarsgård star in this turbulent love story about following your heart, despite the consequences of their actions and disregard for all of the people this taboo relationship would hurt along the way.
Two attractive people meet. And quickly fall in love.
Set in 1940s Germany, post-WWII, Rachael Morgan (Knightley) and her husband of more than 11 years, an over-worked army colonel named Lewis (Jason Clarke), relocate from London to Hamburg so he can assist with post-war recovery. The large house they acquire already has two tenants living in it, German-born architect Stefan Lubert (Skarsgård) and his daughter, Freda (Flora Thiemann). Faced with this unexpected situation, Lewis makes the generous but controversial decision to allow the small family to stay. Stefan and his daughter keep to their quarters in the house's attic, hardly a livable space but apparently better than the alternative, while Lewis and his wife take over the rest of the house. The feelings of PTSD from the war, including the death of her young son and Lewis's absence for weeks on end, has led Rachael to feel extremely isolated. Feelings of paranoia also have her assuming that every German is an untrustworthy Nazi, which Stefan is clearly not. So this living arrangement is less than ideal for her. But two attractive people who both suffer from feeling lost and misunderstood can't suppress the sexual tension for long before one goes in for an unwarranted kiss, which is exactly what Stefan does.
The enemy becomes the lover
This seems to spark something in Rachael, and not feelings of #MeToo. She begins falling in love with "the enemy" behind her husband's back, the pair even going as far as having sex on the dining room table. After sneaking around their respective families and friends, the couple creates a plan to run away together but matters of the heart aren't always so simple, as the view from Rachael's rose-tinted glasses starts dimming to reveal the reality of her situation and a future that she will be putting in jeopardy.
Detailed sex scenes overcompensate for a lack of real connection
There's no way around it- The Aftermath is disappointing. With so much potential on screen and off, including the queen of conflict-ridden period pieces Keira Knightley and the always mesmerizing Alexander Skarsgård, this film misses the mark for a few reasons. It should be noted that the screenplay is based on the book of the same name written by Rhidian Brook, and like most adaptations, falls victim to rushed character development and story arcs. Rachael enters into this complicated relationship with strings attached as a married albeit unhappy wife, whereas Stefan's wife has since passed. For this reason, her actions come across as selfish and make it hard to sympathize with. Knightley's character left me feeling irritated, which is something I really didn't want to feel towards a woman who is clearly suffering. This is the film's biggest deterrent, but that's not to say there aren't "pleasurable" moments too. Without getting too graphic, the sex scenes are pretty out there (clearly, Kent was intent on showing audiences that Stefan really, really wants to please Rachael in more ways than one).
This wartime drama misses the mark
The Aftermath isn't the home run those associated with the film were hoping for, but it should be acknowledged for its portrayal of a rarely seen side of WWII. Aesthetically speaking, Kent has done a wonderful job in showing the beauty amidst the rubble, if only this film could have done the same.
The Aftermath is rated R for sexual content/nudity, and violence including some disturbing images. 108 minutes. Opening this Friday at ArcLight Hollywood and The Landmark.
'Transit' Review: Lying to Save Your Life
Would you lie to save your life? What if this lie meant losing the love of your life? These are the questions our protagonist is left to ponder in the German film Transit, directed by Christian Petzold. It's a classic story of fight or flight set against a dark backdrop of wartime uncertainty and one man's life-changing decision when he realizes that his survival is on the line.
Assuming a new identity for survival
Georg (Franz Rogowski) is a German refugee trapped in France due to the (purposefully vague- more on that later) occupation of Paris. He carries a couple of letters which he intends to deliver to a writer named Weidel in Marseilles- who we come to find out is actually deceased. With nothing more than the clothes on his back and a small wad of cash, Georg sneaks aboard a train heading to Marseilles. Once there, he attempts to deliver the letters to the local consulate when a mix-up occurs, and officers assume Georg to be the dead author. With this new identity comes a Visa, a passport, and most importantly, safety. What Georg didn't expect, however, was that he would fall in love with Marie (Paula Beer), the wife of the dead writer whose identity he has assumed.
Modern-ish look at events of the 1940s
Transit is poised as a modern adaptation of Anna Seghers' classic 1944 novel when the Nazi invasion of Europe was an imminent threat. And while Transit manages to capture the overall tone of era-depression, it is a confusing directorial choice to attempt to keep this time period "neutral." This past-meets-present-meets-timel
Certain directorial choices are questionable
Adapting a novel into a film inherently comes with a number of obstacles as well as criticism from the book's fanbase. Most importantly, how the director chooses to handle the impossible task of cramming hundreds of pages into an hour and a half can undoubtedly lead to rushed storylines or plot holes. The directorial choice to incorporate a third person narrator seems to be necessary, as this provides context and backstory to this fast-moving sequence of events. However, the revelation of the man behind the voiceover being the town's local bartender was a bit of a letdown which left me questioning who he was in relation to the story. How he would know what's going on when Georg is alone? It just doesn't click.
An unconventional leading man
Franz Rogowski is an interesting protagonist who broods at the right moments, and his internal confliction between his true self and faux self is the film's emotional strength. Rogowski's quirks, which include traces of a former cleft palate and a noticeable speech impediment, make him an unlikely leading man but this doesn't stop him from taking the bull by the horns and giving his all to this character- which requires more internal conflict than external. For a film based around a lie, Transit has a strong narrative foundation, however, the indistinguishable time period, along with other questionable directorial choices, play too melodramatic to be memorable.
Transit is 101 minutes. Not rated. Opening this Friday at the Laemmle Royal.
'Time For Ilhan' Review: Redefining American Politics
On Friday, March 8th, we celebrate International Women's Day with more optimism and determination than ever before. The rise of women taking control of their power and potential has been evident in the growing number of females in leadership roles, including in our government. In this arena, Alexandria Ocasio-Cortez may be a more recognizable household name but let us not forget other another woman of color who recently made history. The documentary Time for Ilhan shows Somali immigrant Ilhan Omar’s election into Congress and her determination to diversify and redefine the status-quo of politics in America.
Ilhan Omar made history with her election
Ilhan Omar is a living definition of the American dream. After her mother died when she was a child, the Somali government collapsed, and a civil war broke out. Ilhan found safety in a refugee camp until she was presented with an opportunity to start a new life in America, which she embraced whole-heartedly. Fast forward years later, Ilhan is 33-years-old, a wife and mother to three children, and ready to give back to the country that has offered her so much. Time for Ilhan covers the 2016 election season as she seeks to overthrow the current 43-year incumbent to become the new State Representative in Minnesota's Senate District 60B. Ilhan's story as an underdog immigrant who, against all odds, becomes the first person of Somali descent to be elected to Legislative Office in the United States is nothing short of inspiring.
Even with the odds against her, she prevailed
The odds were against her from the very start- being a woman, an immigrant, and a Muslim were qualities that scared off many potential voters at first but Ilhan is nothing if not resilient. This documentary, directed by Norah Shapiro, herself an award-winning female filmmaker, is a testament to the power we as individuals have to change the world. Regardless of gender, color, race, or religion, nothing is impossible when one sets their mind on a goal. To this point, I highly suggest sticking around after the film ends to watch the credits. This short montage is just as inspiring as the film itself.
The perfect film to watch on International Women's Day
Ilhan came to America as a refugee and now stands alongside other political heavyweights in Congress. Personal beliefs and party politics aside, her journey is one that should be admired, respected, and continuously told. Ilhan serves as an inspiration for all of those who have ever felt like an “other,” making it the perfect film to watch this International Women's Day.
Time For Ilhan is not rated. 89 minutes. Available on VOD and on DVD this Friday.
'Woman at War' Review: Mother Nature vs Motherhood
The offense is the humming of electrical powerlines, the defense is to shoot them down. In a literal power struggle between capitalism vs environmentalism, director Benedikt Erlingsson's lyrical drama Woman at War is a pseudo-folklore that combines the beauty of Iceland with the strength of a woman. Here's what you need to know about the 2018 Cannes Film Festival selection:
'The woman on the mountain'
The backdrop is modern-day Iceland where our unlikely protagonist and self-appointed soldier is set to take on the country's aluminum industry. Halla (Halldóra Geirharðsdóttir) is an unsuspecting middle-aged woman who, when not moonlighting as a covert environmental activist, is a single, well-respected choir teacher. Her determination to keep her country pollution-free has been quite successful so far, that is, until she receives a follow-up call from an adoption agency request that she sent several years ago. Turns out, Halla is now destined to become a mother to a four-year-old Ukrainian girl, thus forcing her to choose to continue her commitment to saving mother earth, or embark on her dreams of motherhood.
The core message is stark- one of big corporations and environmental decline- but Woman at War tells this tale with humor and self-awareness. This is evident in the very first scene, as Halla is bringing down one of many power lines in the country's picturesque and luscious hillside. A three-piece band (also playing the score) appears in the open field and continues to follow her throughout the film- drum kit, tuba, and all. Halla's home-grown sabotage against her country’s industrialization leads back to her strong beliefs in that what she is doing is right, despite the fact that it is "illegal".
Real problems told through humor
Highly creative and unique, Erlingsson uses inventive storytelling as the vehicle to get his point across: unless ordinary people like Halla step up in defense of nature, we will be complacent in the harmful changes occurring around us. His message is told through humor, including jokes about the incestuous nature of Iceland and even in naming a dog, 'Woman.' These light-hearted moments are balanced with more sobering ones, like Halla wading through waist-high water, symbolizing the cleansing of her past life, and starting fresh. This baptism of sorts gives Halla a new identity, a new role in the world which shifts her protectiveness from Mother Earth to Motherhood.
Music on the mountain
Original music by Icelandic pianist and composer Davíð Þór Jónsson is crucial to the film's structure and surreal narrative. Emotionally compelling, the score is both heard and seen on screen as the small group of musicians appear in various scenes with Halla, usually breaking the fourth wall, which signals an impending crossroads, or shift in narrative. The piano/drum/accordion combination creates a sound so specific to the environment, it acts as a love ballad to Icelandic culture and tradition. It's no surprise that Jónsson won this year's HARPA Nordic Film Composers Award for his contribution to Woman at War.
A modern poetic masterpiece
Woman at War is a gem of a movie with tremendous spirit. A strong performance from Halldóra Geirharðsdóttir grounds the film's fairy tale qualities in reality as our heroine sets out to right the world's wrongs with nothing more than a bow & arrow. Her strength is admirable and her beliefs even more so. It would be a shame to miss out on this foreign language eco-thriller, whose vibrant colors alone are enough to provide inspiration. In addition to a poetic masterpiece, Woman at War is just the type of film we should pay attention to right now.
Woman at War is unrated. 100 minutes. Opening this Friday at Laemmle theaters.
Film Independent Spirit Awards: From the Red Carpet
Taking place the day before the Oscars, the Film Independent Spirit Awards celebrate the best of films that are independently produced and made outside of the rigid – and often political - studio system. Despite their countries of origin, budgets, and talent attached, all of the films recognized at the Spirit Awards have one thing in common: they all embody diversity, innovation, and uniqueness of vision.
On Camera: Morgan Rojas
Editing by: Morgan Rojas
Camera: Ryan Rojas
Eva Melander: "It takes so much energy to keep calm"
On that Monday afternoon, the restaurant in The Hollywood Roosevelt Hotel was bustling with tourists taking Instagram selfies and businessmen deep in conversation. Sitting at a round table located discreetly in the back of the room, were Border director Ali Abbasi and actress Eva Melander who had just finished their drinks, leaving only a lemon and lime wedge near the empty cups. I sat down at their table, eager to talk about the Swedish fantasy thriller that was easily among my top films of 2018. In our interview, we talk about Scandinavian cinema, gaining 40 lbs., and more...
(Recently, Border was one of the films caught up in Oscar politics during the short-lived decision to cut out four categories from the broadcast, one of which included "Best Makeup and Hairstyling", which was- shockingly- the only nomination the film received. Luckily, a last-minute reversal of that decision saw to it that Border would indeed get its deserved time in the spotlight.)
The reality of Scandinavian cinema
Ali: There's a strange thing about the film industry in Scandinavia. Denmark, for me, is like a cultural colony of the United States. The Danish language is turning into "Danish with English words". In these Nordic countries, about 70% of programming is in English. TV series, children's shows, talk shows, everything. Then you have a totally different financing/political system. The United States has a very active role in the film industry, which makes a huge difference. What I've come to learn is that movies are made not because they are the best ideas, but because those are the movies that could be financed.
As a director, the main difference between Scandinavian vs U.S. cinema is the creative control you have. In Scandinavia, I have final cut unless I negotiate it away. Here, I don't have final cut unless I negotiate to get it. It's a night and day difference in that regard.
Magical realism inspired by South America
Ali: I started my career as a writer and have always been inspired by South American magical realism. It resonated with my world views, especially the political/social climate in Iran- where I come from- because my reality could be so strange. Things could be hard to comprehend even if it happened in front of your eyes. On a good day, you become interested in magical realism, on a bad day you become really paranoid and interested in conspiracy theories. This is like a disease in the Middle East, you know, people thinking 'Americans took our oil' and all these other countries 'conspiring' against us. As a political ideology, I think it's terrible. But as a literary cinematic device, I think it's fascinating.
Eva: When I was a kid and watched movies, I was often very bored because I didn't think the content connected to the world I was living in. I was obsessed with the [lack of common people] on television, not just the "movie stars." I was a very social-realistic kid haha.
Courtesy of Göran Lundström
Prosthetics taught Eva patience
Eva: I love transformation. I like to put characters on the screen that you don't commonly see and this role was the ultimate transformation. It took 4 hours to put on [prosthetics and makeup], so when we would start shooting at 6.30 am, I'd be in the makeup chair at 2 am. I'd work over 15 hours a day- 4 hours of prosthetics, 10 hours of shooting, and 1 hour to take everything off. I just had to save my energy in every moment, those 4 hours consisted of me basically trying to meditate through it all. I would listen to different mindfulness apps, I felt like an untrained Buddha! I learned a lot about patience. I gained 40lbs.
Ali: This is the first time it has actually struck me just what that process meant! While you were talking I was thinking about if I had any similar experiences, and I just thought of my flight to Los Angeles that was 12 hours. If I was in your position, not able to move, I would kill myself! I would start cutting myself just to see something happen! You were able to pull this off because you have an inner calm.
Eva: Oh, you could easily go crazy. It takes so much energy to keep calm. But it had to be done.
The importance of being ignorant
Ali: I gave a talk at the London Film Festival about the importance of being ignorant. Had I known what the transformation process was [for Eva], I would've been so stressed and thought so much about it. It would have affected everything. And this isn't just the prosthetics, this is all the components it takes when making a movie. Of course, if everybody's ignorant that would be a problem, but I think it's good to limit the scope of what you worry about.
Eva: It was so important for me to just be in the moment. If I was thinking about what I was about to go through, I probably wouldn't have been able to do it. Throughout this process, I actually surprised myself.
Courtesy of Ali Abbasi/Still 21
The transformation process didn't scare Eva away
Eva: Absolutely! If I had the flexible schedule, I would take on another role like this one.
Ali: I remember we were in San Francisco, and Eva was talking about Alicia Vikander and how she gained 10lbs of muscle and cut her hair [to play Lara Croft] in Tomb Raider and that was big news in Variety or something. And Eva was like, 'Ha! I gained 40lbs!' Haha
You're only as good as your last movie
Eva: You never know what's going to come out of what you do. That's part of the pleasure. I was just so happy that we were going to have the World Premiere at Cannes because I knew people would be interested it in. From then until now, yes, it has been a great success.
Ali: My biggest wish for you, Eva, is that now you've gotten this boost of visibility and from now until you die, you have the opportunity to do 1,001 crazy characters.
Eva: Awww, that's awesome.
Ali: As for me, this is an old, tired saying, but I think it's very true: You're only as good as your last movie. Right now, I feel good. But in a few years' time that can change very easily. What I really want from this is that I'm able to continue working in my little corner. I feel like I'm at a point where people who need to know me, know me. People who don't need to know me, don't know me. I'm not afraid of going into the street and having people stop me for my autograph. If I can keep working like this, then I'm really happy.
'Donnybrook' Review: Unapologetically Fierce
It's Fight Club meets The Place Beyond the Pines in director Tim Sutton's heavy drama, Donnybrook. Set in the outskirts of middle America, the film is a rough examination of living among poverty, crime, and risking it all for a fresh start. Here's what you need to know.
Eyes on the prize
Based on the novel by Frank Bill, Donnybrook tells the story of Jarhead Earl (Jamie Bell), a former Marine who is passionate about bare-knuckle boxing and willing to do whatever it takes to compete in one of the most infamous underground fights in the country. The $100,000 jackpot offers Jarhead the opportunity to better his life and that of his family, like being able to afford treatment for his drug-addicted wife, Tammy (Dara Tiller). With his eyes on the prize, Jarhead uproots his family from their disheveled motorhome and they make their way toward the Donnybrook, but little do they realize that Tammy's drug dealers, Chainsaw Angus (Frank Grillo) and his sister Delia (Margaret Qualley) won't let them skip town that easily.
At this point, Jarhead doesn't know that Chainsaw is hot on his trail and in a twisted turn of events, an additional party is added to Chainsaw's pursuit. Police officer James Badge Dale, whose past is as dirty as his typical drunken state, is on a mission to track down Chainsaw and catch this drug-selling felon once and for all.
Blame it on the peacoat's popped collar
As if the picture hasn't been painted clearly enough thus far, Donnybrook is a heavy film- lots of blood, death, and booze. Violence runs wild in middle America and in the world of Donnybrook, the outcome is bleak. While this intensity can feel overly showy at times, there was one moment that completely took me out of the movie and, I'll admit, it's a silly annoyance: I couldn't stop staring at Chainsaw Angus' popped collar on his peacoat. It is so out of place and intentionally stylized in an otherwise disheveled and highly desperate community. Not only that, but I highly doubt that a man who is almost 100% pure muscle, practically machine-built, with a name like "Chainsaw" would be wearing a peacoat.
From the Dark Night to Donnybrook, a bleak portrait of America
In his last feature, Dark Night, Tim Sutton took inspiration from the horrific true events of the Aurora, CO movie theater shooting, where a midnight screening of The Dark Knight turned into a midnight massacre. This docu-drama blurred the lines between reality and fiction, due in large part to the freestyle camerawork and effortless performances. Donnybrook is a much larger production than Dark Night, both in story and scope, but its overarching themes of despair and sadness ring similar. The moody and beautiful color palette create rich images of poverty and desperation, a cinematic juxtaposition at its finest. There is no doubt that Donnybrook is a transfixing film, even if the subject matter is a difficult watch.
Unapologetic and fierce
The physical endurance and emotional depth Jamie Bell reaches throughout the course of the film is truly remarkable. He transforms his body into that of an amateur boxer, his muscles being a point of awe all on their own. For as heavy-handed as Donnybrook is, Bell is the backbone that gives the film a glimmer of hope in the darkest of situations. He is proof that not all of humanity has evil intentions. Unapologetically fierce with an abundance of striking visceral mayhem, Donnybrook is an intense watch that will certainly leave you feeling like you endured nine rounds of emotional gut punches.
Donnybrook is 101 minutes. Opening today at Laemmle Monica Film Center, Arena Cinelounge, and more.
Daniel Scheinert Gets Weird in 'The Death of Dick Long' [WATCH]
We catch up with director Daniel Scheinert (Swiss Army Man), screenwriter Billy Chew, and actors Andre Hyland and Virginia Newcomb before the World Premiere of 'The Death of Dick Long' at the 2019 Sundance Film Festival.
Premise: Dick died last night, and Zeke and Earl don't want anybody finding out how. That's too bad though, cause news travels fast in small-town Alabama.