'Disorder' Successfully Fuses High-Stakes Thrills With Emotional Tension
This review originally ran on 11/10/15 during the AFI Film Festival
Among the films in the “New Auteurs” category is the French film "Disorder," a full sensory experience that successfully fuses a high-tension thriller with an engaging dramatic story that creates lasting uneasiness long past the hour and a half runtime.
Written and directed by Alice Winocour, "Disorder" tells the story of Vincent (Matthias Schoenaerts, "Rust and Bone"), an ex-soldier suffering from PTSD, who has been assigned to provide personal security to a high-profile and possibly-shady businessman’s wife, Jessie (Diane Kruger, "Inglorious Basterds") and her young son, Ali. Struggling to keep his traumatic past behind him, and despite piercing bouts of panic attacks, Vincent’s paranoia serves as foresight when masked men forcibly put his and the lives he’s promised to protect in danger.
Schoenaerts and Kruger create a quiet sense of unrest, adding personal and emotional tension between the two against the backdrop of the suspense of the film. With the sharp sound design from electronic music-maker Gesaffelstein, "Disorder" falls into the same vein as other traditional Hitchcockian films: progressively stylized and a great character study into the mental landscape of a man unhinged.
"Disorder" is not rated. 98 minutes. Opening at the Laemmle Royal Theater in Santa Monica this Friday.
'On Meditation' is 60 Minutes of Enlightened Watching
As a disciple of meditation would agree, "The purpose of our life is to help others through it because, at the end of the day, we are all connected". One doesn't have to be a practicing Buddist to feel a sense of enlightenment from the new documentary "On Meditation", a brisk 65-minute film from director Rebecca Dreyfus that explores how the practice of daily meditation affects the lives of people in very different ways. The film opens at Laemmle’s Ahrya Fine Arts in Los Angeles today.
"On Meditation" is comprised of a series of mini-documentaries that profile various people, some famous and some not. Actor Giancarlo Esposito explains that setting aside time to meditate has not only helped him heal from the emotional scars of his poverty-stricken childhood, but also aids in his performance as an actor. In playing his most memorable role as Gustavo 'Gus' Fring in AMC's "Breaking Bad," he channeled his practice to make his character more of an observer, despite being evil, there is a quiet peace to his performance and personality as Gus that no one can deny.
Gabrielle Bernstein, a motivational speaker, talks of her early days struggling with horrible anxiety as a drug and alcohol addict. It wasn't until she hit rock bottom that she turned to meditation in the form of chanting mantras, a repetition of words and phrases that help center and calm the mind. Today she preaches the benefits that this practice has had on her life. Similarly, mogul Russell Simmons practices mindfulness to quiet his "noisy mind" a total of 2.5 hours a day. Despite having his hands in many projects, including film and tv, a record label, internet businesses, a financial services company, and five charities, he credits his priority of meditation as giving him the strength to stay strong.
Perhaps the most recognizable face in the documentary, especially if you are aware of this specific spiritual practice like I am, is David Lynch's talk of Transcendental Meditation. Before finding inner peace, Lynch thought of happiness as a dance on the surface– fleeting and empty. After finding TM, he has had a more optimistic view of the world and a feeling of unification in the notion that all living beings are in this together. Being David Lynch, most of what he has to say in the film is quoteworthy, and I personally found this specific phrase to be memorable: "An artist doesn't have to suffer to show suffering, just understand it."
"In Meditation" does not teach one how to meditate, for everyone will practice in different ways, rather it shows just how meaningful it is in people's lives. Many in the film believe that, if Americans were to set aside just five minutes a day to focus on their breath and their inner being, the world would be a better place. To end things on a positive note, as the film does, I leave you with another phrase that resonated with me: "We are all enlightened– maybe the lights just haven't been turned on yet."
"On Meditation" is not rated. 65 minutes. Now playing at Laemmle’s Ahrya Fine Arts in Los Angeles.
Sarah Hagan Shines in 'Sun Choke'
Now playing for a limited run at Arena Cinema, "Sun Choke" is nothing like I expected, and I mean that in a good way. Director Ben Cresciman taps into the psyche of a mentally unstable woman whose obsession over another girl turns deadly in the City of Angels. Taking a commanding lead as the naive yet delusional title character Janie, is Sarah Hagan– those who know her best as Millie from 'Freaks and Geeks' are definitely in for a wild rediscovery.
Janie (Hagan) sits expressionless at a table across from her stepmother/ psychological caretaker Irma (Barbara Crampton). Her long dark hair hangs from her frail frame, in complete contrast to Irma's rigid blonde bob and the pristine white decor of the large house they live in. Ever since her psychotic break that put her under the care of Irma, Janie has been a prisoner in her own home, forced to practice a strictly holistic lifestyle including a diet of green drinks, outdoor yoga, and coloring sessions, among other bizarre health regimens. Without disclosing the cause of her previous mental episode, we see that Janie is still clearly unwell.
An obsession with a local girl, Savannah (Sara Malakul Lane) becomes the object of Janie's affection. In this case, it is not a passion of love, rather a passion of control. The closer she gets to Savannah, literally by stalking and breaking into her house, the closer she gets to mentally unraveling once again.
Hagan's portrayal of Janie is a perfect character study of scene control; a lot of her battles are fought internally (mentally) but expressed very methodically. She moves in calculated ways that show off her true talent as an actor who not only plays the character but becomes
For all of its dreamy visuals and seemingly innocent art house persona, "Sun Choke" is a brutally psychological head trip that pushes viewers to the brink of their comfort zone. We not only witness Janie be subjected to various health rituals at the hands of her resentful stepmother, we are along for the ride as well. Most notably, the tuning fork used as aversion therapy and disguised as a torture device, whose sound design is meant to reach a decibel just short of unbearable, and definitely does its job. Just when we can't take it anymore, we cut to the next scene. It goes without saying that this wouldn't be a horror film without violence and nudity, which there is quite a lot of, yet ultimately, all things add up to the creation of one evocative, trippy film that is sure to run chills down your spine. You've been warned.
"Sun Choke" is not rated. 83 minutes. Now playing at Arena Cinema.
'Lace Crater' Review: A Dark, Twisted, and Creatively Campy Fantasy
A weekend getaway to heal a lovesick heart ends up creating problems that are out of this world in the creatively campy drama, "Lace Crater." Taking inspiration from such films as "The Invitation," "Donnie Darko," and most notably "It Follows,” writer/director Harrison Atkins conjures up an unlikely love story in a world that is equal parts humorous and horrifying…sweet and sinister.
After a bad break-up, Ruth (Lindsay Burdge) and a group of her friends escape to the Hamptons for a much-needed getaway weekend. The beach house they are staying in is owned by Andrew (Andrew Ryder), one of the guys in the group and also the subject of Ruth’s innocent crush. Upon deciding on the sleeping arrangements, Andrew warns that one of the rooms, "the "Coach House," is haunted, but unfazed, Ruth volunteers to take the room anyway with little regard to Andrew's claims.
After a night of drinking, Ruth returns to her room, alone. An uneasiness sweeps over her body as a door slowly opens in front of her. Suddenly, a ghostly figure wrapped in a burlap sack appears in the doorway, standing nonchalantly. What seems like a silly low-budget monster-like character turns forgivingly sweet because of his sincerity. He calls himself Michael (Peter Vack) and, as it turns out, he is not so scary after all. He lays on the bed next to Ruth as if he is in a therapy session, sharing his views about life on earth being an endless cycle, referring to life as "the thing" he is "part of," but does not "exist inside of."
Ruth and Michael feel the connection between them and begin to get intimate. The music intensifies to the sound of a space jungle/lasers as they consummate their only hours-long relationship. However, the blissful moment is just that, a moment, sparking the beginning of Ruth's downward spiral. This includes waking up covered in goop every morning, vomiting black liquid, and overall paranoia. She can't escape the dark cloud she finds herself under, and no matter what anyone does to try to help, Ruth is ultimately left to cope on her own.
If you are familiar with Lindsay Burdge's past work ("The Invitation," "The Midnight Swim"), you'll have a pretty good idea as to what to expect in "Lace Crater" which is pretty much this: what starts out as inviting and warm one moment, turns unexpectedly terrifying the next. There is a sense of ease portrayed in the interactions between characters, thanks to this mumblecore-style direction from Atkins, which makes them more relatable and sympathetic.
"Lace Crater," produced in part by veteran independent film director Joe Swanberg, should find its niche nicely in the art house/horror community. Ultimately, if you are able to accept the absurdity of it all and not demand answers to the question, Why? - you'll get the maximum enjoyment out of this gem.
"Lace Crater" is not rated. 83 minutes. Now playing at Arena Cinema and available exclusively on FlixFling with a national rollout to follow.
Steven Caple Jr. Talks NBA Dreams and Working With Nas in 'The Land' [LISTEN]
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Up and coming director Steven Caple Jr. is one to watch. With his debut feature film, "The Land" ready to open in theaters and VOD tomorrow, he has already been selected into the Sundance Labs to work on his second feature script. Born and raised in Cleveland, Ohio, Steven's film is not only a love letter to his hometown but also a cinematic extension of his own childhood. During our exclusive interview, Steven talks to me about his initial hopes of making it into the NBA, the one character he was overly critical of during the casting process, and the first person he told when Nas came aboard as an executive producer. We begin:
How has this whole experience been for you so far?
It's been surreal. Thinking back about when I developed the script and wrote out some drafts, it basically just being a concept, to now– getting ready to release the film. It's crazy, it's been a surreal experience. As cliche as it sounds, it's been a dream.
What was life like growing up in Cleveland?
Very similar to the movie. All of the relationships in the film are relationships I had growing up. Every location you saw in the film are places we either hung out at, like the factories and abandoned houses. Those were our playgrounds. I played a lot of basketball growing up there. My mom raised my sister and myself, which is like the Evelyn relationship in the film, being a nurse's assistant and still is today actually. I was always active as a kid, looking for adventure. It was a blast.
Do you skate?
I tried multiple times, but it just doesn't click with me, haha. I just appreciate it, every time I see kids doing moves and riding the board part of me is envious, but at the same time, I respect the craft because they have to put so much work and time into doing what they do.
"At one point when I was a kid I wanted to be a cop. A part of me today still does, weirdly."
Did you always want to be a filmmaker?
I always had it in me, I can say that, but I didn't know that was really [possible]. I thought I was going to play in the NBA at one point, that didn't work out.
Laughter
At one point when I was a kid I wanted to be a cop. A part of me today still does, weirdly. But around 10 or 11, I started shooting and making films and later in my teen years I took it seriously and tried to pursue it as a career.
Do you remember the first project you ever worked on at the start of your career?
Yeah, haha, it was so bad. It was a short film called "Closed" that I actually acted in. Basically, a kid goes to rob a store and when he robs the store, it ends up getting locked down and he gets stuck inside with the owner's kid. It's this weird drama inside of a store.
Oh yeah, I like that.
You like that? Oh man it was so short and so bad, mostly because I was acting in it.
"I went to USC and actually developed the script as a thesis project."
Are there any characters that you personally related to?
Boobie [played by , he's actually based off of me, Boobie is my nickname as well. He's the conscious kid in the group and [very thoughtful]. That's my steeze, which has got me to where I am right now.
Cool! When you were casting that character, were you overly critical?
Super overly critical. Which I'm glad we found Ezzy, because Ezzy can relate to that– that's what he raps about. He's also from my same city so he already had the whole thing down pat.
As a writer/director, did you have any help during the screenwriting process?
Yeah, I had some help. I went to USC and actually developed the script as a thesis project. I had teachers there who helped out tremendously. I also had students who sat in on the class and helped give notes and made suggestions. So yeah, there were a lot of people involved.
Were you involved in the Sundance Labs?
Not for "The Land," but I'm in one now called the FilmTwo Initiative, in which they help you develop and create your second film. It's going great, I'm just working out what that second film is going to be. They mostly help in career navigation, how to get to the second film and connecting with the right people.
"The best part... I don't think it's happened because we haven't had our film premiere in Cleveland yet."
Getting Nas and Erykah Badu attached to this project must have been huge. Do you remember the first person you told when Nas agreed to a collaboration/executive produce the film?
I think it was my fiancée, I asked producer first, 'wouldn't it be crazy if Nas did it? Can I ask him?' All of the producers were like, 'Of course, go now!' So I called him and told him I wanted to make this happen and he said it's as good as done. After that, I called my fiancée and we both geeked out, it was crazy. His involvement has been crucial, not only it getting the buzz about the film out but he's very collaborative and hands-on with the project. He was– legit– in post-production with me working on the film.
What was the Sundance premiere like?
That was the first time all of the actors saw the movie. Then there was the concert with Nas, Erykah Badu, Machine Gun Kelly, Ezzy... the energy was insane. We were partly nervous because this is a passion project, we didn't have much money and "The Land" was our little baby, and we all felt the same was at the festival.
What has been the best part of this entire experience?
That is a great question... the best part... I don't think it's happened because we haven't had our film premiere in Cleveland yet. I think that's going to be the best part. The response that we've been getting already is insane. To be totally honest, to play the film in my hometown, on a personal level, [is more fulfilling] than playing Sundance and all of these other festivals. I'm really looking forward to that part.
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.