'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.
'The Fits' Proves That Creativity in the Film Industry is Not Dead
In 2015, director Anna Rose Holmer was declared one of Filmmaker Magazine's "25 New Faces of Independent Film," and after watching her feature directorial debut, "The Fits," it's obvious to see why. Holmer doesn't only manage to capture the entire world of her story in a brisk 70-minute running time, she has the ability to evoke palpable emotion without the use of much dialogue, which culminates in a chills-inducing final scene (as this reviewer can attest to).
Eleven-year-old Toni (newcomer Royalty Hightower), a young girl of color, stands out from the rest of the youths around her. In a recreational boxing gym, with long boxer braids hanging off of her tiny frame, Toni stands apart from the rest of the boys, working through a set of sit-ups as her protective brother Jermaine (Da'Sean Minor) practices jabs.
Yet she also stands out from the other girls, a group of whom spend time just down the hall from the gym as part of a hip-hop dance troupe, which is where Toni, after hearing the transfixing reverb of deep bass music, is drawn to and sees an energetic, hypnotizing dance battle between them. Without telling Jermaine, Toni joins the girls, thrusting herself into a new world of forging female friendships and self-discovery in adulthood.
Things turn strange when some of the older girls on the team begin experiencing unexplained "fits," including loss of breath, convulsions, and passing out. This puts the fear of the unknown in all of the girls, Toni and her new friend Beezy (Alexis Neblett) can only explain it as "boyfriend disease." This is where the film turns unexpectedly dark, the score begins to reflect a psychological thriller and everyone, the audience included, is on the edge of our seat trying to figure out just what is wrong and how to stop it.
What captivated audiences in Sia's "Chandelier" music video has the potential to do the same thing here, the dancing mixed with the innocence of the girls and the art house feel of the film is a winning combination. Royalty Hightower puts on a tour de force performance, she carries the film on her back so effortlessly. Her strengths don't just come out in the pull ups she does, they are hidden within her face and explode during high-intensity scenes. Remember her name, Royalty Hightower is just getting started.
While she may be a first time director, Holmer definitely has behind the camera experience. Her past work in the industry includes camera department on films such as "Twilight" and "Tiny Furniture," two very different films tonally, but both standouts to me personally. It is no wonder then that some of the film's strongest qualities are the beautifully composed shots; from ethereal one takes of Toni practicing her dance routine outside on the stairs to the energized repetition of the group's call and answer moves, Holmer makes every frame look like a work of art. Not a lot of dialogue is spoken, nor does it need to be, because the visuals easily carry the film to great heights.
"The Fits" is equal parts dramatic and surreal, and on a larger scale, proves that creativity in the film industry is not dead. After seeing this film, how can one even stand the thought of another sequel or superhero blockbuster? If directors like Holmer are just given a chance, I believe the whole industry would be changed for the better. "The Fits" is an astounding job all around, stylistically composed with the substance and heart to back it up.
"The Fits" is not rated. Opens in select theatres tomorrow, 6/10.
Documentary 'Free CeCe!' Shows Fight for Justice Within LGBTQ Community
It's been a little over 5 years to the day (June 5, 2011) since the altercation took place. Walking with a group of friends and minding her own business, 23-year-old Chrishaun Reed “CeCe” McDonald was brutally attacked outside of a bar. In self-defense, she fatally stabbed her attacker, Dean Schmitz, in the heart. While a situation like this one may not typically warrant a full-length documentary, what makes CeCe's case stand out is the fact that she is a young trans woman of color and the way she was treated throughout her court case proves that the United States still has a long way to go in the fight for equality in the LGBTQ community as documented in the film "Free Cece!"
In what was perceived as a blatant hate crime to many, the judicial system didn't reflect the same opinions and therefore treated CeCe more like a perpetrator than a victim. She was ordered to serve time in a men's prison, a dangerous liability for any trans woman, after spending over three months in solitary confinement. This injustice inspired activists to rally to her defense and, with the help of acclaimed "Orange is the New Black" actress Laverne Cox, friends and family fought to bring awareness to Cece and to the larger issue of justice for all, despite one's gender identity, race, or ethnicity.
"Free CeCe!" is not only timely in a political sense, with the gender neutral bathrooms still a hot topic of conversation, but the style in which director Jacqueline Gares captures CeCe's story is reminiscent of the popular podcast Serial in which one is left to question the ruling of a convicted person in general. The majority of the film doesn't spend too much time talking specifically about the case, but is dedicated to CeCe's life after prison and how she has become a figurehead for trans women everywhere. This documentary and the work that both Laverne and CeCe have put into educating others is truly an inspiring watch. CeCe had struggled with identity issues throughout her childhood and grew up thinking that violence and aggression from others was to be expected, but now she proves that it is possible to overcome persecution. Even though at times, the hatred seems overwhelming, her story reminds us that if her story and stories like hers continue to be part of the conversation, it can and does get better.
Director Amber Sealey and Gemma Brockis of 'No Light and No Land Anywhere' Talk Working With a Predominantly Female Cast and Crew [LISTEN]
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I meet Amber Sealey and Gemma Brockis at the Culver Hotel a day after the world premiere of their film, "No Light and No Land Anywhere," showing at the 2016 L.A. Film Festival. These two women radiate confidence and creativity, and what I felt in that moment in person translates beautifully in their film. During our conversation, we talk about the difference for artists working in London vs Los Angeles, a majority of their cast and crew being made up of women, and the strong artists that inspire them. We begin:
When was the first time you met, and what drew you to each other?
Gemma Brockis: We met back in London, at an art space/museum.
Amber Sealey: We were 21 and we were working there. [The space] had these 21-year-old kids as ushers, basically supposed to be guarding this art, but instead we would just give each other backrubs!
(Laughter)
That's so funny–when I was in middle school my best friend and I would give each other hand massages, so I get it!
AS: We still do that. I'm always like, 'Can you please give me a back rub Gemma.'
GB: Haha! I also had a theater company, we were in a show together and became really good friends. We really wanted to do something together again, at least I did anyway! I didn't care what it was I just wanted to work with Amber!
"Here, in Hollywood particularly, there is this emphasis on fame and blockbusters. A lot of Brits I know that are doing really well are kind of embarrassed, 'Oh shit, I'm famous...that's really embarrassing.'" –Amber Sealey
What would you say is the difference between being an artist in LA vs London?
AS: I worked in London for seven years in what's called devised theater, although I did a lot of television, a little bit of film, and a lot of voice-over work over there too. I think the difference is, culturally, Britain's government supports the arts. There's just a lot more freedom to be flexible and try new things. There is not this pressure to succeed in the way we have it here.
Here, in Hollywood particularly, there is this emphasis on fame and blockbusters. A lot of Brits I know that are doing really well are kind of embarrassed, 'Oh shit, I'm famous...that's really embarrassing.' Here in Los Angeles, there are a lot of people where that's their only goal. Obviously, when you have a little bit of fame, you get a little bit more power and can get a little bit more money, so it does help you make the art you want to make. So I think people's heart desires come from a worthy place, but I think in LA it's easy to get really distracted by the celebrity side.
Let's talk "No Light and No Land Anywhere"; how was the script-writing process?
AS: Gemma's father died when she was young, and we are good friends, so over the course of our 20-year friendship we've had conversations. I know Gemma has mentioned what her life would've been like had her dad been around in her teens, so I took that teeny grain of an idea and ran with it.
GB: I had some involvement, but it was really on the floor acting more than the idea of the film or shaping the story.
"[Miranda July] is just a great friend and someone who really likes supporting art that she believes is worthy..." –Amber Sealey
Miranda July's name is attached to the film, what was her involvement?
AS: Miranda and I met in college, we were 18 and met working in theater. I can't even remember how I officially asked her to be apart of it, but she's just a great friend and someone who really likes supporting art that she believes is worthy and wants to help shine a brighter spotlight on.
I read a statistic that 83% of your cast and crew were women, was that intentional?
AS: It totally was, for sure. How can we miss the statistics that are coming out about women [in the industry], it's like–wow, we have to change that. We're still climbing up that hill, we're not quite at the top yet, but I think everybody has to do their part to think outside of the box on how to be more inclusive. We had an all-female camera crew. We had one male camera assistant that came on for one or two days.
GB: He was alright.. haha!
AS: I told him he couldn't speak!
(Laughter)
Did you entrust your cinematographer to capture the look and feel of LA, or did you have shots in mind prior to shooting?
AS: I actually framed the [B-roll] shots, sometimes I shot them! I was very specific about that. We don't have a shot list, but we'd have a discussion about what we want and our cinematographer Katie [Goldschmidt] and I would get it together.
"I think that's one of the great things about LA; there is so much beauty everywhere. I'm a huge fan of freeway shots, I think they're so beautiful. Then you've got gorgeous mountain ranges... I mean, it's so easy to just grab a camera and go out and shoot." –Amber Sealey
The camerawork is one of my favorite things about the film. It made everything feel so alive.
The Hollywood Boulevard stuff was very guerrilla style–I mean, as much as you can with an ARRI AMIRA camera. It's pretty big! I think that's one of the great things about LA, there is so much beauty everywhere. I'm a huge fan of freeway shots, I think they're so beautiful. Then you've got gorgeous mountain ranges... I mean, it's so easy to just grab a camera and go out and shoot.
The elderly people in the film were so great! Were they all actors?
AS: The person that plays Lexi's father is my real life dad. I was born in England and left when I was three, so I knew that my dad had the perfect accent of a British person who had been living in the United States for like, 37 years. The very old people who were in their 90s, that was a mix. I did put out a casting call. A friend of mine who I had known, that has nothing to do with film, wrote me saying 'My mother-in-law is 92 and she's always wanted to be an actor.' Apparently she had this fantasy life where she always wanted to study it but her parents refused to let her study it in college. So I drove to meet Phyllis Fisher at a Coco's diner, she's the one who goes up the stairs really fast in the film. She's such a character! What's actually really sad is that two of them have passed away since we shot the movie. Phyllis's husband Ben passed, he was over 90, and the guy who tells her to go to the beach, Bertram, also passed away. So it was bittersweet having the screening last night because their families were there.
"I love women that make weird, strong films." –Amber Sealey
So many aspects of this film are inspiring, including yourselves. Who do you each look to for inspiration, film-related or otherwise?
GB: Oh gosh...
AS: Well, me–right Gemma?
GB: Haha! It's really strange, my boyfriend actually asked me this question yesterday, and in all honesty, I would say a lot of the time it is my friends. I know that sounds like an easy answer,0 but it's true. A lot of the time, there are women I admire and want to work with and make them my friends. They are the people who inspire me. Amber is one of them.
AS: I agree, I think there is something really special about friends. You can see their process because you know them and they can talk about their work with you in a way that can inspire you more because it's not this crazy, unattainable thing. There are so many female filmmakers that I admire too: Lynne Ramsay, Kelly Reichardt, Miranda July, Andrea Arnold, Jane Campion. I love women that make weird, strong films.
'Girl Flu' is An Unabashedly Bold Look at Entering Womanhood
Having recently relocated from the valley to Echo Park, 6th grader Robin (Jade Pettyjohn), who also goes by the name "Bird," is very mature for her age as evident by the daily positive, handwritten affirmations flooding the walls of her room. Immediately, we see that she is way more responsible than her 30-year-old mother Jenny (Katee Sackhoff) who smokes pot in her daughter's presence, sleeps until noon, complains that she hates grocery shopping, and for no apparent reason at all, has Bird take a city bus to a school event while she literally eats breakfast in bed. Jenny's "free spirit" is like that of Gillian Jacobs' character, Mickey in Judd Apatow's TV show "LOVE," and her hipster-ness can be so over the top that at times, it is hard to relate to her.
It is during this school event when, what seems to be every girl's worst nightmare, comes true. Bird gets her first period– wearing white pants no less. What happens next, and for the remainder of the film, is cringe worthy, lingering awkwardness between the characters, the situation, and the film in general. Jenny laughs at her daughter and embarrasses her despite pleas to stop. Mom and daughter even attend a ritual to celebrate her first period, complete with flower crowns and glitter paint. While there are some moments of authenticity, mostly coming from Bird, one can only hear the phrase "blood gushing out of me" so many times.
Unfortunately, that is all this film offers- a girl gets her period and her mother doesn't know how to be a mother when she is most needed. The attempt Jenny makes to treat her daughter like a best friend comes off as extremely selfish, going so far as saying that Bird is ruining her life. Jenny does eventually semi-confront her carelessness but by this point, it's too little too late. She has dug a hole so deep that it's asking a lot of the audience to accept the apology and find any redeeming qualities in her.
We leave "Girl Flu" wondering what more the story could have been. Pettyjohn gives a good performance as a strong, independent young woman and it is with her where our trust in the film lies. Luckily, she delivers. Jenny's love interest Arlo (Jeremy Sisto) is another voice of reason that we hold onto to guide us through the chaos of female puberty. However, the script lacks the necessary elements to make "Girl Flu" an emotionally compelling story, therefore falling into our list of easily forgotten festival films.
In 'King Jack,' a Sensitive Misfit Comes of Age
Charlie Plummer is fantastic in his first major role as the titular Jack. His portrayal of a kid with a youthful innocence while simultaneously trying to be the tough guy is commendable. Despite his I-don't-care attitude, we see through that tough outer shell to a sweet interior, and this makes him extremely likeable. The supporting actors, including Yainis Ynoa and Cory Nichols who all give great, natural performances as well, make this narrative feel more like a documentary in the best way possible.
Thompson paints the small, lower class town with a bluish hue- giving it a muggy feeling. The cinematography alone elicits sensations of groggy days and mosquito-infested nights. It's the type of town where kids throw rocks for fun, smoke and drink before noon, and pick fights basically because there is nothing better to do. Displaying such a strong sense of the surroundings practically makes this unnamed town a character of its own.
"King Jack" won the Audience Award at the 2015 Tribeca Film Festival and it's not hard to see why. Jack is the type of hero we like and root for, his pure heart and sensitive soul make him a strong lead. The story is not groundbreaking and, certainly, this type of cliché, coming-of-age film has been told before and will be again, but this one makes for a great addition to the genre. Ultimately, this is a story about friendship and realizing that the best way to navigate through life is to value your connection with others.
"King Jack" is not rated. Opens in theaters at Laemmle's Music Hall 3 and on demand Friday, 6/10.
Loneliness Explored in L.A. Set 'No Light and No Land Anywhere'
Writer/Director Amber Sealey's third feature film "No Light and No Land Anywhere" is a poignant story of one woman's search for the truth while simultaneously trying not to lose herself in the process. Fresh off of a breakup, London native Lexi (Gemma Brockis) risks what little she has left to travel halfway across the world in hopes of finding her estranged father. Once she lands in Los Angeles, with a carefully curated suitcase of clothing in tow, our protagonist is immediately thrust into less than ideal circumstances, putting the city's underbelly of casual sexual hookups, revelations, and its realistic, less-than-glamorous image at the forefront.
Gemma Brockis has an indescribable, enchanting quality that makes Lexi's struggle one we can't turn away from. Her quirkiness is celebrated here, where emotion is not just portrayed through dialogue, but expressed through a version of performance art as well. In an abstract way, Gemma gives Lexi another outlet in which to channel her feelings of loneliness, longing, and love.
Amber Sealey solidifies herself as a director to watch, and not just because she is a woman (that's just the icing on top). Her ability to transcend cliché expectations of her characters and find a little light in otherwise dark situations is a refreshing take on the female-centric genre of "finding oneself." Her protagonists are confident women who do not apologize for being themselves, rather they go to show that one's self is enough.
For foreigners and natives alike, Los Angeles can feel like a lonely place. Despite its large population, endless amounts of distractions, and the everyday hustle and bustle of city life, one can feel so very alone. This is especially felt by Lexi as she searches for the missing link in her family tree. The vibrancy of the city is fully felt through the cinematography (shout out to cinematographer Catherine Goldschmidt); the foggy mornings and seedy free newspapers are captured through handheld camerawork and really make the viewer feels as if we are there. The film's all around authenticity, coupled with incredible performances and execution, makes "No Light and No Land Anywhere" feel both intimate and fearless.
"No Light and No Land Anywhere" is executive produced by indie film heavyweight Miranda July, and premiered at the LA Film Festival on Friday, June 3rd. A second screening on Jun 8 at 6:25 PM has been added by popular demand. Buy tickets here.