Sundance Hit 'The Land' Runs Rampant with Sex, Drugs, and Skateboarding
Last week, Cleveland, Ohio was the stage for the Republican National Convention. As many perceive, it was a gathering of mostly wealthy white men spewing forth ideas about how to make this country "great again." This image of Cleveland is a juxtaposition to the hard knock life that the city represents in "The Land," a film that tackles the brutality of growing up in the lower class and the struggle to make it out in pursuit of one's dream.
In "The Land," four inner-city teenage boys all have their hopes pinned on the same dream, which is clearly not being realized at the auto mechanic trade school they attend. Inspiration for the future is the furthest thing from their minds while at school, but as soon as the bell rings, Cisco (Jorge Lendeborg Jr.), Junior (Moises Arias), Boobie (Ezri Walker), and Patty Cake (Rafi Gavron) find their passion in skateboarding. They are known in Cleveland's hip-hop underground as the rag-tag skater posse, and they all truly believe that skateboarding will lead the way to a better life.
They make their living, providing for their broken families and baby mamas, by tactfully stealing cars and selling them off for a few bucks. Everything changes one night after they discover something valuable in the trunk of one of their stolen cars– a large bag of MDMA pills. Cisco, the ringleader of the group, persuades his hesitant friends to take and sell the pills, excitedly promising that the money earned will go towards entrance fees for skate competitions, new gear, etc. However, the boys' newfound luck soon runs out when the drug kingpin, or should I say queenpin, known as Momma (Linda Emond) comes looking for her loot and it quickly becomes apparent that she is deathly serious about reclaiming what's hers.
Right off the bat, "The Land" hits a few marks on the "Been there, Seen that" scoreboard. Skateboarding teens end up with a ton of drugs? See: "Dope." Coming of age story about kids treading through a rough home life amidst gang violence and drug wars? See: "The Wire." However, writer/director Steven Caple Jr. takes what should be unoriginal storylines and creates magical moments that are crucial to the film's ultimate artistic sensibilities. The long, sweeping cinematic shots of boarded up buildings where the kids skate reflect both style and substance. One moment in the film shows the kids doing kickflips with colored powder in such a way that it plays as more of a love scene between a man and his passion, rather than a basic skateboarding sequence.
While the performances are top-notch and emotionally charged (including appearances from Michael Kenneth Williams of "The Wire" and rapper Machine Gun Kelly), what really drives the cohesive vibe home is the soundtrack. Contributing to this musical masterpiece are heavyweight hitters Nas (who also executive-produced the film) and Erykah Badu (who also co-stars as a local prostitute Turquoise). The atmospheric and almost trance-like score breathes unexpected life into every scene, making it almost a character in and of itself.
Aside from being just a term of endearment, the phrase "The Land" also evokes images of a jungle, in a sort of dog-eat-dog world. The observation of inner city living, especially the street/skater subculture is complete with 12 o'clock boys, familial strife, and brotherly love. What could have been just another one of those typical, coming of age dramas can now be considered one of the summer's most influential films from one talented up and coming director, Steven Caple Jr.
'The Land' is not rated. 104 minutes. Opens this Friday, July 29, in theaters and VOD.
'La La Land' Trailer Looks La La Lovely
Today, Lionsgate released the trailer and cover art for the highly anticipated film "La La Land," a contemporary musical starring Ryan Gosling and Emma Stone, written and directed by Academy Award nominee Damien Chazelle. Gosling and Stone dance their way through this whimsical wonderland to the sounds of plunky piano keys and the sweet brooding voice of Mr. Gosling himself.
To download the song "City of Stars" on iTunes, click here*
*Repeat listening expected
"La La Land" tells the story of Mia (Stone), an aspiring actress, and Sebastian (Gosling), a dedicated jazz musician, who are struggling to make ends meet in a city known for crushing hopes and breaking hearts. Set in modern day Los Angeles, this original musical about everyday life explores the joy and pain of pursuing your dreams.
Pregnant Nuns Based on True Events in 'The Innocents'
Things come to a crossroads when religious beliefs interfere with medical attention, however, they must learn to trust each other in order to protect the nuns' secret and their lives.
As if the image of nuns being raped by soldiers during World War II isn't enough to make one's stomach churn, the most shocking takeaway from director Anne Fontaine's "The Innocents" is that the horrific acts depicted in the film are based on true events in the life of French doctor and Resistance fighter Madeleine Pauliac. "The Innocents" screened at Sundance earlier this year and earned praise for its interpretation of the aftermath of WWII told from the perspective of women, and has now made it's way into theaters.
December 1945. A young Polish nun in distress arrives at a hospital begging for help. Her situation is unknown, and the Polish-French language barrier doesn't help her or the doctors trying to decipher what she is saying. A French Red Cross doctor, Mathilde (Lou de Laâge), steps in and takes it upon herself to help the sister. Soon, she discovers that the woman is not the one in need of help, rather it is her entire cloistered Benedictine convent. Mathilde discovers that many of the sisters, seven to be exact, have fallen pregnant from a series of brutal sexual assaults by Russian soldiers of the Red Army.
Shamed, embarrassed, and terrified, Mathilde becomes their only confidant. Herself a non-believer, she is met with resistance by the Reverend Mother (Agata Kulesza) who questions Mathilde's every move. Things come to a crossroads when religious beliefs interfere with medical attention, however, they must learn to trust each other in order to protect the nuns' secret and their lives.
Anne Fontaine, whose credits include "Adore", "Gemma Bovery" and "Coco Before Chanel" creates palpable tension in this situational drama of people from two worlds trying to unify as one for the greater good. Considered one of France's most distinguished writer/directors, Fontaine brings to light the struggle between faith and emotional uncertainty. These nuns took a vow of lifelong devotion to Jesus Christ, chastity included, and due to no fault of their own, have found themselves victims of a horrendous crime. They question if this is God's plan, and if so– why? They deal with internal struggles in their own ways, some more rational than others.
As the subject matter would suggest, "The Innocents" is a dark drama that has the power to evoke palpable emotions. However, one of the film's greatest gifts is that we do not pity these women; they are strong, independent characters who face their situation head-on and deal with it. They are innocent victims, yet do not act as such. Fontaine creates not only a feminist protagonist in Mathilde, but also the nuns she helps. "The Innocents" is a sensitive and powerful film that is compelling both visually and emotionally, another success for Anne Fontaine and female-centric films as a whole.
"The Innocents" is rated PG-13 for disturbing thematic material including sexual assault, and for some bloody images and brief suggestive content. 115 minutes. Now playing at the Landmark Theater.
'My Love, Don't Cross That River,' Defines the Term 'Soul Mate' But Comes at a Cost
I have a soft spot for a couple of things…dogs and elderly people. So I was immediately drawn to Moyoung Jin's documentary "My Love, Don't Cross That River," a Korean independent film which portrays the relationship of one couple after 76 years of marital bliss. What starts out as a beautiful story about a true love that defines the term "soul mate,” suddenly had me feeling quite guilty; for it's hard not to feel as if this fragile couple is being exploited during the most life-altering moment of their lives. But more on that later.
The film opens with a shot of a woman sitting in the falling snow, her back towards the camera. She is crying, alone. A clear foreshadowing of things to come, we then flashback to about a year earlier and we are introduced to Byong-man Jo and Gye-yeul Kang, nicknamed the "100-year-old Lovebirds." They radiate joy, playfully and slowly, tossing leaves in the air and at each other. He sings her songs, she calls him hubby. They are the picture of what true love looks like.
We learn more about the couple, their lifestyle, and history. They live in a remote village in Korea, next to a running river. She gave birth to 12 children and lost 6 of them due to the war, measles, and other tragic circumstances. They met when she was 14, and he was 19 as part of an arranged marriage. Initially appalled by the age difference, she did not even hug him until she was 17-years-old. Overcome by emotion, she explains that he waited for her to feel comfortable, something that she has been grateful for ever since. Now, they cannot fall asleep without holding each other's hand.
His health declines very rapidly, which is captured on camera. The coughing and wheezing get worse, and all we can do is watch helplessly as he suffers. A man who was once so playful and fun loving literally turns into a walking skeleton, barely able to mutter a word. The couple is put through even more difficult circumstances when one of their two dogs passes away. Director Moyoung Jin’s choice to show the dead dog in the arms of the dying man changes what could have been seen as a poetic, circle of life moment, to one that just feels sad.
There are moments early on in the film where I found myself choking back tears, especially during the tender touches to her face as they fall asleep. However, the more his health declines, the more Moyoung Jin seems to fixate on her breaking heart, almost capitalizing on the cinematic draw that it will bring. I found this not only difficult to watch but incredibly sad to see one family's private moments of anguish become so public.
What started out as a celebration of humanity, unfortunately, became what felt like an exploitation of a fragile woman's grieving process. This isn't just my "soft spot" talking either (although I did have to witness both a dog and an elderly person die on screen). To me, this brings up the bigger question of morality in filmmaking. I'm not saying that Moyoung Jin should have censored or in any way omitted the fact that death is, of course, part of life, but the way it is portrayed just didn’t sit well with me. Focusing on pain and loss above the beauty of what created this relationship,"My Love, Don't Cross That River" leaves viewers feeling blue.
"My Love, Don't Cross That River" is not rated. Now playing in select theaters.
Nicolas Winding Refn, Elle Fanning on How Witnessing Death Lead to Inspiration in 'The Neon Demon' [LISTEN]
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Soon after I take my seat in the front row for "The Neon Demon" press day at the SLS Hotel in Beverly Hills, Bella Heathcote, Christina Hendricks, Jena Malone, Elle Fanning and Nicolas Winding Refn make their way to their chairs. Having just premiered the film at Hollywood Forever Cemetery the night before (with a crazy after party consisting of a Q & A with Ryan Gosling and eyeball cake pops), everyone seemed so energized, especially Elle Fanning who told us proudly, she is "officially" a high school graduate. Our conversation is interesting, to say the least; director Nicolas Winding Refn talks about seeing a man die during filming, Jena Malone talks women vs women stereotypes, and Elle talks about finally feeling free to create on set for the first time. We begin:
Where was the idea for "The Neon Demon" birthed from? On some level, is it parental anxiety because you have daughters and this is something they could encounter in L.A.?
Nicolas Winding Refn: Sure, being a father to two daughters is... interesting, especially now that my eldest is 13. I can see how technology [affects her] and how she reacts to it. The origin of the film was actually a few years ago. I woke up one morning and realized that I wasn't born beautiful, but my wife was. I wondered what it would be like to be more beautiful. There's also this fantasy that I think every man has, being desired for one specific reason, which is beauty. Of course, it's very superficial. I wanted to make this a horror film. I didn't want to educate or make a political statement on beauty.
Elle, can you talk about playing Jesse and embracing her nuances?
Elle Fanning: The funny thing is, is that I think my character was the most evil. I thought of her like Dorothy coming to Oz, but she is the evil one. Jesse is the toxic poison that corrupts everybody else. I like this film because, yes, it's like a classic "A Star is Born," a little girl comes to a big city, but she has a plan the whole time. She uses her youth and innocence as a mask to disguise it. We also filmed in chronological order, so things were changing all the time. I really trusted everyone in the entire cast, we were all in this together. I'd get to set and Nic would ask me what I wanted to do. I never felt so free on a set to really just create things.
"I thought of [Jesse] like Dorothy coming to Oz, but she is the evil one." -Elle Fanning
Have any of you ever felt exploited like Jesse being an actress in L.A.?
Jena Malone: I would almost turn it around and say it's not just about Los Angeles, I would ask every woman and man in this room if you've ever felt exploited, or undersold by your own beauty, or devalued because of your facial structure. I don't think it's just "Los Angeles" or the "fashion industry," I think this is something all of society is being affected by.
What about working with other young women in the industry, do you feel pressure or support from your female peers?
Bella Heathcote: I feel like I'm being helped more and more [by women]. Although there is one girl specifically who I based Gigi off of, she's the kind of girl who will do anything she can to destabilize you in any situation, professional or otherwise, to make herself feel better. But the last film I did was with all girls and I was a bit nervous going in because I didn't know what to expect but it was a really supportive vibe, a beautiful sisterhood.
JM: I think the stereotype of women battling [each other] in the workplace is a stereotype I was fed when I was a child, but I've never actually seen it. Except for high school. I think that women coming together in a group and creating something will instantly feel that it's something special. I think that energy alone is healing.
"There is one girl specifically who I based Gigi off of, she's the kind of girl who will do anything she can to destabilize you in any situation..." -Bella Heathcote
Has your sister (Dakota) influenced you as an actor?
EF: Yeah, my sister started acting before I did so she paved the way in that sense, little sister wants to do what the big sister does and try it out. But we're very separate with our scripts and things. She actually saw "The Neon Demon" for the first time last night, she loved it. One of the scenes made her sick, but I was like, "Good!"
(Laughter)
"The Neon Demon" is like a rollercoaster ride, thrilling and unpredictable. I'm wondering, what was your favorite scene to shoot?
NWR: When you find something new or you did something you didn't know was going to happen, you get pumped. I remember when we were doing the runway show, I had gone to Musso & Frank because we were shooting there the following day. I had just dropped my daughter off at school in the morning and arrived to look at the location, and when I went into the parking lot someone had been stabbed. There was a guy holding his wound and screaming for help. He was all alone. I hurried over to this poor man who was lying on the floor, blood was just gushing out. I had (a jacket) on, but took it off because we needed something to put pressure on the wound. Unfortunately, the ambulance arrived too late and he died. The parking lot turned into a crime scene and we weren't allowed to leave. I was supposed to be shooting in the valley, and I was like, "Oh my God, how are we going to do this?" The insurance company wouldn't care if I was stuck at a murder crime scene. As I was standing around, answering questions, I suddenly got an amazing idea. And that idea changed the film. So even though it was such a horrifying experience, I had never seen anyone die before, it gave me one of the best ideas for the movie.
"So even though it was such a horrifying experience, I had never seen anyone die before, it gave me one of the best ideas for the movie." -Nicolas Winding Refn
What was the editorial process like?
NWR: I've worked with my editor Matthew Newman for the last 5 movies. Matt cuts the movie at night at my pool house, so I can come and watch cuts. If Matt ever says we need this or that, like an extra close up of something, I always listen. It great to have those few people around you on the technical side who you know all share the same vision.
[Music composer] Cliff Martinez became the third part of the team on "Drive," and he is the first person to see the thing. We talk about the music, and he always has 100 questions. Then he goes away in his laboratory and comes back with this music that just makes the movies better.
The film is very quiet, not a lot of extraneous noise.
NWR: I love silence because silence is the loudest sound in the room. The first time you really pay attention to a sound is when you don't hear anything. At first, it's very uncomfortable because we're not used to silence, we're used to noise and definition of noise. Not talking is actually scarier than talking.
Christina Hendricks: I saw the film for the first time last night and I loved it. I found that with the silence or just a beautiful image that Nic had us sit in for a bit, you found yourself having to confront your relationship with what was going on [on screen]. Elle played Jesse so beautifully, she's supposed to be so innocent but then we see at the end of a scene she gives this little smirk of enjoying being adored so much, the narcissistic and dangerous side of her comes out. In those quiet moments, I found myself thinking how beautiful, sexual, ridiculous, and goofy taking fashion to those extremes can be. I liked that I got to sit in those moments and have to feel those things.
"I found myself thinking how beautiful, sexual, ridiculous, and goofy taking fashion to those extremes can be." -Christina Hendricks
How do you feel about living in Los Angeles?
EF: I was pretty young when I moved to L.A. from Georgia, but it's definitely very different from the small town my family and I grew up in. L.A.'s my home, I go to school there– well not anymore, I just graduated two days ago...
Congratulations!
NWR: (jokingly) Fuck school.
EF: Hahaha!
For our review of "The Neon Demon," click here
Beauty is, Literally, in the Eye of the Beholder in Stylish, Hypnotic 'The Neon Demon'
After the credits roll and the lights come up, the older man sitting next to me says "So what's for dinner?" and had we not just seen "The Neon Demon,” I may have said something like spaghetti and meatballs, but all I can muster up now is a slight chuckle while trying not be sick.
Days later, I find that I'm still trying to ‘digest’ the visual rollercoaster that is "The Neon Demon." Elle Fanning plays Jesse, a small town girl with big dreams of making it as a top model in Los Angeles. Her doe-eyed innocence and all around aura seem that of a porcelain doll, and at sixteen, she is quickly becoming the industry's next "It Girl.”
Her sudden rise to fame doesn't come without dangerous consequences. Jesse befriends the well-intentioned makeup artist Ruby (Jena Malone) but is met with thinly veiled jealousy by the other genetically gifted blonde beauties, Gigi (Bella Heathcote) and Sarah (Abbey Lee). Playing into the cattiness of the fashion world and its unattainable ideal of beauty, the girls' relationship with Jesse is a mix between "Heathers" meets "Mean Girls,” but far darker. We're talking necrophilia, physical torture, and other bizarre abstractions.
At one point, Jesse is pressured by the famed yet creepy photographer Jack (Desmond Harrington) to strip naked while he rubs gold paint over her body in the name of “art." Sure it is evocative, but also quite disturbing. Not only is she underage, but instructed by her agent Jan– played by Christina Hendricks– to tell everyone she is 19 “because 18 is too on the nose.” She is fragile, literally a blank canvas slowly being stained by the industry and everything it stands for before our very eyes. It is at this point that we see Jesse’s transformation. Humility turns into confidence, that turns into entitlement, and the light that once illuminated her, fades.
Director Nicolas Winding Refn's latest cinematic experience (just saying 'film' seems to downplay his work) is more twisted and bizarre than others in his repertoire. He does again, however, manage to capture in his characters that unique feeling of emptiness within chaos, which made "Drive" and "Only God Forgives" memorable, for better or for worse.
The performances from everyone involved, including Keanu Reeves as a sketchy motel owner and Alessandro Nivola as a major fashion designer, play well against Refn’s aesthetically ambitious vision. As the title suggests, neon hues are present in almost every scene, often a moving gradient like the screensaver of a 95 Macintosh computer. I also feel obligated to mention that there are also multiple scenes with bright, unrelenting flashing lights that may cause seizures (now you've been warned!). And for as much as fashion and beauty are eroticized by the actions of the characters, Natasha Braier’s artfully realistic cinematography adds sophistication and unpredictability to the film.
While visually inspiring, there is not much of a narrative to follow, so those looking for a story in the traditional sense may find this film as vapid as the fashion industry it sartorially mocks. Any attempt to fully critique or even make sense of what is going on in the narrative can cause even more confusion. The result is that the audience just needs to go along for the ride in order to enjoy it. Perhaps this a case of style over substance? But you've got to hand it to Refn, he is certainly far more than a typical “director," he is a creator of cinematic worlds. Although I’m not speaking from experience, one could safely assume that "The Neon Demon" may best be enjoyed on an empty stomach and with some type of hallucinogenic?
'The Neon Demon' is rated R for disturbing violent content, bloody images, graphic nudity, a scene of aberrant sexuality, and language. In theaters on Friday, 6/24.
'Bang Gang' Review: A Sun-Soaked Navigation Through Teenage Sexuality
Capturing the laissez-faire attitude toward unbridled sexuality that we have come to expect from the French, director Eva Husson creates a sensual and sun-soaked, coming-of-age drama in her directorial debut, "Bang Gang (A Modern Love Story)." Unpolished and authentic, "Bang Gang" centers around a group of high school friends living in a wealthy coastal suburb of France with a lack of parental supervision, and their individual attempts to navigate through their teenage years while dealing with sexuality and the consequential messiness of love and heartbreak.
The film opens with a long one-take tracking shot that leads from outside into a large house where upwards of 40 teenagers are throwing a party. In one room, teens are hooking up with each other, fully naked, while others are clothed, playing video games,and oblivious to what's going on right down the hall. Rewind a couple of months (as the title card reads 'Two Months Earlier') and we meet our protagonists George (Marilyn Lima) and Laetitia (Daisy Broom).
George is every Pinterest user’s dream girl, her un-kept, long blonde hair compliments her lightly freckled face and slender physique. Laetitia, on the other hand, is overshadowed by George's beauty, but that doesn't seem to bother either girl. One afternoon while hanging out with a couple of guys from school, a bit of sweet talking and peer pressure leads to Alex (Finnegan Oldfield) and George having sex while Laetitia and Nikita (Fred Hotier) just watch.
Bang Gang (A Modern Love Story) - Official trailer from Films Distribution on Vimeo.
Following an afternoon of enjoyment, the teens decide to include others in their fun. George initiates a game of spin the bottle, which ends up being just an excuse to hook up with each other, and soon the sex parties grow in numbers. Multiple teenagers engage in various sexual activities with each other, recording their trysts to watch later. It seems everyone is interested in the Bang Gang except for Gabriel (Lorenzo Lefèbvre), Laetitia's introverted neighbor who would rather create electronic music at home than participate.
Drama ensues once George realizes she's developed feelings for her hookup buddy Alex, and after seeing him get close to Laetitia, she attempts to get revenge by hooking up with as many boys as she can. Things get complicated once more when she falls in love with Gabriel after spending the afternoon together at a Bang Gang. They may be sex-driven, but these teens engage with the fantasy of finding real love and not just to feel pleasure as director Eva Husson gives her characters an innocence in their confusion between love and sex.
"Bang Gang" is more than just attractive French teenagers lounging half-naked and having sex with each other for shock and awe. It is a bold and daring statement about modern teenage culture and self-expression. Drawing comparisons to Larry Clark's "Kids" and Sofia Coppola's "Virgin Suicides", "Bang Gang" is daringly original. Full frontal nudity, both male and female, makes up a majority of scenes. The synth-pop score also gives off the feeling of a Nicolas Winding Refn film in both its impending doom and dreaminess.
"Bang Gang" is definitely not a prude's movie, one should stay away from making this the choice for a family outing. It is, however, a stunning and realistic portrait of finding oneself between the abyss of childhood and adulthood with a future that doesn't necessarily end in happily ever after.
'Bang Gang' is not rated. Opens in select theaters today, 6/17.
'Land and Shade' is a Sensory-Driven Film About Working Class Hardships
This review previously ran on November 12, 2015 during the AFI Film Festival
After being awarded the "Camera d'Or" prize at the 2015 Cannes Film Festival, "Land and Shade" had its US premiere at the AFI FEST this week and was just honored with the festival's highest award, "The New Auteurs Grand Jury Award". The minimalism in the photography of "Land and Shade" speaks volumes; with beautiful sweeping long takes of one family's Columbian home and the hardships they experience to barely make a living, director César Augusto Acevedo has created not just a moving film, but a transcendent viewing experience.
When the patriarch of the family, Gerardo, falls ill, his estranged father, Alfonso, reunites with his ailing son and the family he hasn't seen in seventeen years to offer his help. Gerardo, his wife, their young son, and his mother, Alfonso's ex-wife, live in a rundown home in the Colombian countryside where they work as sugarcane farmers. It's unveiled that Alfonso left the life he knew to escape the unbearable living conditions his family still faces today- the same conditions that caused Gerardo's illness- and so his return home is met with some hesitancy at first, but his budding relationship with his young grandson proves his well-intentions and gives way for the rest of the family to welcome him back into their lives once again.
What Acevedo does so well is he explores a moment in the mundane life of this family with such an attentive and sensitive eye, much to the credit of his cinematographer, Mateo Guzman. Nothing overly "exciting" happens in the film per se, but the attention to detail he achieves onscreen will resonate with those who sympathize with the struggles of the working class. Battling harsh working conditions, like falling ash from the continuous fires that burn as part of the harvesting process, the simple wiping down of dusty ash from a growing plant leaf is potently symbolic.
With a specific cinematic style comprised of long takes and vivid and vibrant aesthetics, "Land and Shade" is a sensory-driven film about the stark reality of one salt of the earth, working class family, and their indelible perseverance for a better life. Remarkably, "Land and Shade" is Acevedo's directorial debut and I know I speak for the audience at large when I say that I anticipate big things in his future. His name is definitely one to remember.
'Land and Shade' is not rated. Opens in select theaters Friday, 6/17.