What The People Want: LES MISERABLES and BACURAU - Part 1
Part 1: LES MISERABLES
What the people want when they are not plotting of “eating the rich”? Fight the power obviously!
Ironically as opposed to what might be happening IRL, this year we have quite the crop of film about people taking over systems, fighting for their rights or whats their - and more!- One might say these films often appeal to a certain communal “Rebellion fantasy“ and whether they are set here or in far away lands, they expose the universality of living in this unjust world as someone on the oppressed, usually powerless or basically the non-1% or 99%...
Of course, it is not a new trend as filmmakers around the world have always made great films -often masterpieces - with important messages or denouncing injustices or presented as movies made for the people by the people. Some fall more in the “ Peoplexploitation“ category, while others usually are raw social realist kitchen sink type project that makes you want to rebel!
And so, these two films could have easily come with the people march slogan “WHAT DO WE WANT [insert at your convenience: fighting the power, eating the rich, taking over, not taking it anymore, protesting, rebelling] WHEN DO WE WAN IT. NOW” because, we, the people, are indeed mad as hell and we are gonna take it anymore!
LES MISERABLES
Sure now we know the 93 films selected for best, not foreign but International feature, are known and, of course, all eyes are on another Cannes winner ( the big one!) PARASITES. It is quite marvelous for us, but it is unfortunate that, like last year, we have a case of a strong and popular film like ROMA from an international director known and renown worldwide for his previous films in English or American productions, eclipsing brilliant innovative films with filmmakers, casts or stories breaking barriers. These other worthy films usually have very little chance of being recognized outside of festivals or niche. (Eg CAPERNAUM from Nadine Labaki who could have been the first woman of color, and from the Middle-East to win a prize for a feature...) Anyway even if it seems like a tough road ahead, and unlike last year, PARASITES is also quite an incredible movie that defies many conventions (not to be naughty, but ROMA's journey to best film was indeed quite historical but, as a foreign language film, it was definitely a masterpiece BUT not unlike other "black and white inspired by director's life" movies... At least it did indigenous representation proud :) )
Now, we have Ladj Ly a black director from France (we can't say many of them are also recognized or have enough clouts to have their films distributed alike their US or even UK black filmmakers counterparts = almost none....) He is also born in Mali, so points for African representation that is super underrepresented during award-season or in the global Cinema world...
But we are not here to give points to projects based on who made them BUT we shall never forget that the story people tell might differ depending on their pov and all story SHOULD matter, particularly those we do not get to hear from as often as other... So, here comes 2019 LES MISERABLES
Time has never been more ripe for these kinds of stories to be heard. Although it ended up being sadly not as thoroughly intense as some would have hoped for, it is still POIGNANT movie that felt like a punch in the gut (or face of entitled, abusers of power and/or bigoted!), and one that has audience at the edge of their seats of few times.
The project has been in the work for a long time as Ly, who grew up in the area where the film takes place, Montfermeil, has always been vocal or interested in telling the world about the situation and worsening condition happening there. He spends years documenting police patrols or "copwatch" in this suburb outside Paris, and in 2017 made an award-winning short film inspired by his findings. He then decided to create the full-length feature version incorporating elements from the recent Parisian riots and the French win at the 2018 World Cup in the street of the capital which made for one of the most galvanizing openings ever.
In a nutshell, LES MISERABLES follows an out-of-town rookie cop on his eventful first day in a tough, multicultural and poor urban suburb. He and two shady colleagues. are doing rounds trying to solve a local crime, keep the peace among various groups, and cover a grave blunder.
LES MISERABLES is part of this new generation (or "new New Wave") of French films with a social message set in urban areas, or banlieues, along with DHEEPAN, DIVINES, GIRLHOOD all the way since the cult classic LA HAINE. The script is gold, the direction is riveting but what elevates it if the cast and their synergy. Of course, the young officer played by Damien Bonnard, Brigadier Stéphane Ruiz/Pento, is the one with who the movie starts and ends. And in a way, it is his story, but LES MISERABLES, is very much an ensemble piece, and what an ensemble! It is one where everybody looks as if there are playing an alternative version of themselves, so the actin is, to say the least phenomenal - especially the kids making all seem so real with "some of that CAPERNAUM vibe"!.
Of course, this could displease the purists. and/or the "real French" - read racists- or the tourists! (whether cinematic ones or actual tourist disappointed by how diverse this Paris is - we sadly all heard them complaining and bitching about this fact in touristic places or store...sad sad sad :( So this would be a very disappointing experience for all expecting to see a France full of "beige-ness" because, LES MISERABLE does one thing extremely well, it represents the reality of what "the real people" are. And it is so well made that if you are French, from the cities, or live or in or around Paris you will feel that, maybe, you "know" or have met some of these people at some point!
Even if all of the characters are extremely flawed in their own way - even the kids - they are highly relatable, contagiously entertainment and appealing. Some of them really make the film feel like a real comedy, even tho there is actually only one plot development - involving a circus lion cub! - that is kind of funny ... But really quickly, things always take a dramatic turn; that how LES MISERABLES deal with life!
Besides, the most dubious or evil persons in the film, like mayor Le Maire and his acolytes, are bringing some levity and fun (when they are not about to bring terror) as they are created almost like Disney villains. there is a cartoonish - or maybe even "Les Miserables Hugo-esque" - aspect about the whole situation with the mayor and his confrontation with the kids (and the circus gypsies!)
LES MISERABLE got his name because it is set in the town where the famous literary masterpiece was written but there is also a Les Mis' theatrical/musical vibe coming from it, with the rebellion and the barricades you can almost 'hear the people sing!' (truly 'singing a song of angry men, it is the music of a people Who will not be Slaves again!' quite apt considering most of the local are people of color or minorities, and the authority consists of mainly white people...)
There is obviously a cop procedural aspect to the story with the good cop-bad cop theme at the center that can also be somehow be also inspired by the eponymous story or basically any literary or modern /pop culture reference.
But one should never forget while watching the film that it is based on true stories and many scenes are directly taken from real scenarios that Ladj Ly observed went he went around town filming police work for different projects that helps to bring this masterpiece to life.
MORAL OF THE STORY: 9/10 *****
There are many highlights and climaxes in LES MISERABLE but it excels at showcasing "all hell breaks loose" and delirious mayhems, working as a "pressure cooker" movie, from the grand opening, to the energetic drone-filmed chases, intense stand-outs, and somehow, again, not as intense but still quite exhilarating last act.
LES MISERABLES story, and maybe execution, might not be radical or novel, yet it is a truly a unique and terrific film like we only get once in a blue moon. It is not only an accomplished project, entertaining and of the highest quality, but it is a timely and important film. It is a Masterpiece of Cinema in part and as a whole, so watch it with passion!
“I left the church over 15 years ago but I continue to look back. O HOLY GHOST is a fable both side-splitting and soul-shaking; a tale that playfully and perceptively explores concepts of belief and transformation.” Director Mark Bradshaw on O HOLY GHOST which screens at the 2019 edition of the Vancouver International Film Festival. …
2019 Must-see: WAVES, A True Contemporary Masterpiece.
From the very beginning of WAVES, you know you are in for "something else" as the film engages all senses, with its incomparable visual accompanied with on-point audio. That first scene conveys so much and many emotions. Because, perhaps, WAVES by Trey Edward Shults is a film not necessarily about relationships and connections between family members and lovers, but more importantly is the emotions. It features and shows us all emotions coming in and out in our human lives like waves, either a calm gentle water movement soothing like a sister embrace, a promising wave tube you might or might not be able to surf all the way like young love, or a terrifying crashing wave in the storm like the wrath of an angry father or your own self-doubt.
What is about: WAVES is a film divided into two distinctive parts focusing on a brother and a sister from a suburban African-American family. The first part is about Tyler (Kelvin Harrison Jr.), a seemingly popular student with a bright future being clever and a collegiate wrestling competitor. Even though he looks all set and ready for success with supporting parents (an attentive and caring mother played by Renée Elise Goldsberry, and a very authoritative but devoted father who sadly has trouble communication his affection for his children, played by Sterling K. Brown) and a sexy and loving girlfriend (Alexa Demie), he has a lot of pressure on his shoulder (figuratively and literally as he suffers from a painfully excruciating shoulder injury...) and he has personal issues navigating a tough period of his life. Like a wave, his "bad luck" and inability to get help with his problems, will ripple disastrously and things will quickly take a dark turn for his family and everyone around him.
While the first part is all about extreme highs and lows starting with a bang and is banging all the way! The second part, focusing on the sister younger Emily (Taylor Russell) is very mellow with a musing gaze. Emily is already a shy and introverted teenager but after some life-changing event she appears ever so lonely and misunderstood, but all will change for the better when she meets a socially awkward dude played by Lucas Hedges. As their romance blossoms in cute vignettes, the two teens will learn about each other and themselves while dealing with their own very tragic family drama.
It is hard to talk about WAVES without spoiling its effect too much but as much as it is about what happens it is truly a film about the sibling journeys.
Why you must watch it (tonight or asap ;) ):
WAVES is a film that accomplishes the feat of having audiences on the edge of their seats as if it were an intense action movie and being a movie that makes viewers think, staying with them long after as poetic tale that with a splash of real-life philosophy.
WAVES first part is well, INTENSE! The director brought that KRISHNA INTENSITY with him and the cast did the rest.
Everybody involved is truly at 100% and there are award-winning performances all around.
The film would have possibly not had the same "impactful impact" if it was not for its male lead. Well the acting intensity of LUCE's Harrison Jr. (funny enough is portrayal in the two film share many similarities and shows he like to run or get physical!) But this guy sure must like acting stressed AF because he truly excels portraying anxiety-giving character ... In WAVES he demonstrates an incredible range and makes viewers believe he is Tyler. He is on a streak appealing carefully selected meaningful and important films since the last few years and he is definitely becoming one of the few go-to actors of in his generation.
His chemistry with its partner and sister was great but wit its dad it was FIRE!!!
Which brings us to K. Brown. Give that dude an Oscar for his extremely accurate "dad chilling stares that say it all..." Many of us will relate to this "do better look" (because as POC we must...) which perfectly captured the imposing fatherly love with expectation and/or disappointment...
But still fatherly love y'all!!! He knows his child must actually do better for its own sake and his only goal is to make sure of that no matter the cost.
Sterling work in all scenes was glorious he gave us a fully lived-in performance that will be impossible to forget.
Then, there is newcomer Taylor Russell. She gave a breakout performance genuinely portraying Emily's tenderness and pensive traits. She has been around for a few years but after WAVES everyone will agree that she is surely one to watch material and even deserve some praises and recondition for this role.
Her chemistry with perfectly socially clumsy Hedges was also quite admirable and he too gave us something great bringing very welcomed comical elements to the films.
WAVES was a more than competent films on a technical aspects, but the music, soundtrack, and score by Trent Reznor and Atticus Ross (probably one of their best too!) was a truly surprising highlight, we expected good and some us knew this would be "right up our alley" but THIS was soooo goooddd!
The audio component (songs, score, sounds) was such a crucial part of WAVES. It not only complements each scene creating appropriate or conflicting mood, but it defines each character in a very specific manner as a musical of sorts.
Equally the skilled and luminous cinematography by Drew Daniel was astonishing! At times, stunningly sleek, images looked like the ultimate quality available allowing for great night shots with captivating used of artificial light sparkling like fireworks or beach sequence making you feel like you are standing in the water with the actors. At other times, when the film changes gears the visual tone adapts to with that grainy and yellowish old school film (on actual film!) appeal, with softer color and images looking filtered trough veil of melancholy suited to the mellowness of the second act.
WAVES balances various elements and styles admirably, but it is also a radically disruptive movie, breaking so many rules. Alternating between abrupt editing and contemplative tableau, dizzying claustrophobic scenes following characters frantically and ethereal scenes where the camera floated like a ghost in empty spaces. It did not care about that 180 rule (not at all!) during a scene that would usually demand it and it almost conventionally but with "fresh style" transported us in the air or underwater for brief moments. For some it might be "a lot", but for others, it made for a glorious viewing in parts and as a whole.
WAVES also surprises alternating ratio more in powerful moves like in Dolan MOMMY, but in its case, it truly seems to echo or reflect characters states or mood.
This actual combination of a certain ultra-modern approach and subjects at the center, being focused on youngsters (while still leaving room for the parent to "express their feelings" in the most "effective way "), will make one reminisces about Euphoria. Well, the cinematographer worked on a show Demie is playing near-identical characters! Since we mention it, although the first act focusing on Harrison Jr.'s character is perfect in all way, intense and bewitching, one would only wish that it would also feature the other side of the relationship like the second act does. We never really get to know who she is and it would have been an interesting take, but alas we only got enough to keep us intrigued! (some of us would have been happy to watch a 6 hours 4 part films! Even though it would have probably lessened the whole purpose of the film!)
The guess is, it is all part of a new "vibe" and for those who delight in those types of projects, they will unquestionably embrace WAVES, and those who don't will be greatly surprised by how alluring the film is.
MORAL OF THE STORY: ***** 9/10
Like its ending credit song Sound & Color by Alabama Shakes, WAVES is a film of beautiful sounds and colors indeed... 🌈📢 So Watch👏IT(on a big screen if u can 😉)
WAVES is such a fantastically GREAT film blending unorthodox and conventional in a way that could, again, make it appealing to more people than they realize like its fellow Sunshine State masterpieces MOONLIGHT and THE FLORIDA PROJECT. Many would say WAVES has some MOONLIGHT magic in it, there are absolutely not wrong, as they both successfully singularly convey raw human emotions, and show American families or a ways of life rarely seen under these lights, but it might be a misleading as they are very different movies at heart.
In any case, WAVES is a must-see for all reasons stated above and more, it is, without a doubt, one the best film of 2019 and one can only hope there are many movies of its quality coming in this last quarter!
That’s a #Rap for panels. @oliolioliwang @jenmalone666 @rudyardchungus give us the #HipHop in film lowdown @viffest #viffamp #viff2019 @factorcanada @creativebcs @music_bc #support relatives #supportVIFF #supportartists #creativeartists (at Pyatt Hall) https://www.instagram.com/p/B3Qb2dbAll5/?igshid=1jcvn2nhcoepg
#firstselfie 4real via (#viff #viff2019 no less!), can you believe that!? On IG for how long!? Big ups to @viffest for another year of #rockstar #filmlife, thanks for the #inclusion ! Am I there as me, as an #actor ? As a #writer or #producer ? Or is @bridgevale there? Who knows, come say hi and find out! Had a real blast as well at @popupmagazine tonight, grstuff @lego (!!!), which is connected to VIFF, or something? Did this pass work there? Did we need tickets after all? Who knows. That was a real blast, and a revisiting to a lot of my #socal days, if not inadvertently. Finishing the weekend with another magic night at @openstudiosvan , damn look at this spicey lineup of #music and #culture. Actually, I guess the weekend winds down tomorrow with a special screening, or something like that. I try to limit #selfie posts though, so I'll see you in #meatspace I guess! #creativebc #vancityhype @viawesome #yvr #bcfilm #techno #newforms #indie #indieactor #indiefilm #indiemusic #popupmagazine #myotherfriendsdontuseinstagram #picoftheday #instagood #love (at Vancouver International Film Festival) https://www.instagram.com/p/B2-63Y7hU36/?igshid=15j51o3bledr4
Una oda al ritual del té y a la elección de vocación.
Una adolescente que no tiene idea de su vocación, está confundida y, entre tantas opciones, descubre “el sutil arte de hacer té” con su maestra/sensei y, así como va aprendiendo por temporadas, va madurando como persona hasta encontrarle sentido a la vida, probar sus sabores y sus amarguras, a escuchar el sonido de la lluvia, a digerir que en esta vida hay ciclos, temporadas y que “cada día es un buen día” que hay que vivirlo al máximo porque es irrepetible.
Filmada al puro estilo oriental, con un ritmo pausado y tranquilo, contada con muchas elipsis de tiempo, donde cada estación de temporada está marcada por un cambio, hasta llegar a la madurez de la protagonista.
Así como una niña de 10 años no puede entender cabalmente la esencia de LA STRADA de Fellini, pero, esa misma persona a los 30 años, con la madurez necesaria, sí podría; muchas cosas en esta vida son cuestión de tiempo y madurez.
La importancia de la ceremonia del ritual del té, es un acto especial en oriente donde se valora cada una de las especies y cada una de ellas cura un órgano específico de nuestro organismo. Este famoso ritual, que está de moda, ha llegado inclusive a la ópera con TÉ, UN ESPEJO DEL ALMA (Tea, a Mirror of Soul, 2002) del famoso compositor chino Tan Dun creó como encargo, donde se enfrentan, luchan y valoran el sagrado “Libro del té” como un verdadero tesoro.
Un retrato biográfico de M. C. Escher ágil, interesante e hipnótico.
Biopic, collage audio/visual bien balanceado entre el trabajo visual del artista holandés Maurits Cornelis Escher (1898-1972), encapsulado en una gran banda sonora con una selección de música programática clásica ad hoc que incluye música de Bach, Mozart, Chopin Holst, Pärt, Ravel & Zimmer.
La única persona que podría hacer un gran documental de Escher era el propio Escher; así que, con astucia y certero acierto, el director documentalista holandés Robin Lutz, re-crea su historia con base a sus obras maestras más importantes, ideas conceptuales/filosóficas, inspiraciones e influencias, respaldado con testimoniales de sus familiares cercanos y fotos familiares.
Narrado con fluidez, las imágenes de sus obras y las canciones seleccionadas se van entretejiendo y formando un tramado geométrico complejo intercalado con los periodos históricos trascendentales de la vida del artista holandés. Entre sus innovadores grabados, ilusiones ópticas, litografías, tallado en madera, dibujos en acuarela, lápiz, pluma & gis nos traslada a otra dimensión que nos deleita la vista y el oído.
Un artista completo que transformó la forma de ver una obra bidimensional en tridimensional. Inclusive es moda a la hora de elegir un tatuaje permanente en el cuerpo por el valor y contundencia del diseño. La voz en off que simula la voz de Escher está magistralmente narrada por el británico Stephen Fry.
La aseveración que más llama la atención es que M.C. Esher se consideraba “más un matemático que un artista visual”, la referencia cinéfila que se me vino a la mente fue DONALD EN EL PAÍS DE LAS MATEMÁTICAS (Donald in Mathmagic Land, EE.UU 🇺🇸; 1959) ya que ambas cintas hablan de diseños geométricos y formas orgánicas basadas en el pensamiento matemático. Un buen combo, si se tiene la oportunidad ambos documentales.
