Jeremy’s Review: Kim Seong-Hun’s ‘A Hard Day’ Is an Adrenaline-Fueled Thrill Ride Worthy of Your Attention

hard dayLet’s just say this – Korean film is on a roll. From the works of Chan Wook Park to Bong Joon Ho, South Korean is churning out some of the most inventive and interesting films since the turn of the millennium. Kim Seong-Hun‘s A Hard Day is definitely welcome in this same group. A white-knuckler for sure, A Hard Day doesn’t waste any time getting into the action, raising the pulse of the action steadily from the opening scene to the perfect last shot.  That it is able to sustain a level of high intensity for almost two hours is commendable, if not exhausting for the viewer. But it is highly rewarding. This is a film that many thrillers aspire to but rarely achieve.

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The story is simple – Detective Ko (Sun-kyun Lee) is in mourning for his mother, who has just passed. As he sits with his family as he receives a call that something has happened at the police station where he works that requires his attention. As he is driving to the station, he accidentally hits and kills a man in the road. This leaves him in a dilemma – does he turn himself in or does he cover it up? Take a guess which one he chooses. This decision continues to haunt him for the remainder of the film. When he gets to the office, he finds out that they have been raided by Internal Affairs for taking bribes and now his job is at risk…and he has a dead body in his trunk. He disposes of the body in a perfect way, which leads us to think that we haven’t seen or heard the last of it. When Ko gets a phone call from a man purporting to know that he has killed the pedestrian, a whole host of new problems open up for Ko pushing him (and his family) to the brink.

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This movie is so kinetic, so heart-pounding that you rarely get a chance to come up and breathe before Ko falls into one more twist that draws him (and us) back into some deeper shit.  Jin-woong Jo, who plays Ko’s formidable opponent Park, looks every bit of a villain. Park’s cunning and planning push Ko to stay on his toes and adapt quickly. So often villains telegraph their moves making it easy for the protagonist to succeed. Not in this film, though. Park is one step ahead of Ko at seemingly all times and just keeps coming back for more.

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While the ending sequence between Park and Ko dragged on for a bit too long, it had such a satisfying end and one that the film earned. The final shot of the film is just perfection. Credit goes to Seong-Hun‘s script throughout for really giving the viewer the proxy ride, via Ko, on this adventure. It’s one that you won’t easily shake for a while after it’s done. I could easily see this film getting an American remake (although I hope it doesn’t as it’s perfect as is) a la Scorsese‘s remake of Lau & Mak‘s Infernal Affairs. This is a film that American audiences crave as is evident that there have been three (THREE!!!!) films made in the Taken series and all three combined don’t give anywhere near the amount of thrills and suspense that A Hard Day gives.

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With respect to the great number of blockbuster films that have come out this summer, none that I’ve seen engaged me or thrilled me as much as A Hard Day. That said, you should RUN, not walk, to see this film if you get the chance. It has all you could want in an action film and more.

A Hard Day opens today at Village East Cinemas in New York with a national release to follow and is brought to you by the good people over at Kino Lorber.

Interview: Producer Kevin McCann of the Upcoming Film ‘The Rising’ about Ireland’s Easter Rebellion of 1916

As I’ve just come back from a two-week trip to Ireland, it only seems fitting that I was able to have a conversation with Kevin McCann, producer of the upcoming film The Rising about the 1916 Easter Rising. Fed up with British rule and 800+ years of oppression, a valiant group of patriots started a rebellion which lasted 6 days before it came to a close. Fifteen of the leaders of the rebellion were tried, convicted and put to death shortly after the rising. One of those leaders was Seán MacDiarmada and he is the focus of The Rising. While the Easter Rising is a subject that has been referenced in other films (Michael Collins and The Wind That Shakes the Barley are two that come to  mind), MacDiarmada is a person who has not made an appearance and doesn’t have the recognition that someone like Collins or Eamon de Valera do. However, that doesn’t mean that he is any less important in a historical context.

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So this is what drove my conversation with McCann. As we trundle towards to the 100th anniversary of the Easter Rising, McCann is trying to capitalize on the attention on this milestone anniversary to produce the first film about arguably Ireland’s most important rebellion. He is currently on a tour of six cities (New York, Boston, Chicago, San Francisco, Los Angeles and Washington DC) in order to find fund the $6 million production budget to get this film made and ready for its expected premiere date of March 17, 2016.

In one hour, McCann passionately described his efforts and motives for making this film. This was one of the most enjoyable conversations I’ve had in quite some time. Being able to talk about some of my own heroes and why their struggle is still worthy of discussion today meant a great deal to me. Here’s what we talked about:

Kevin, Colin Broderick, Ms. Barbara Jones, Consul General of Ireland

How has your tour of America been treating you? What cities have you been to besides NYC and Boston?

I’ve been three times to Chicago and will be going to San Francisco, LA and Washington DC. I’m saying look – I’ve been working on this since 2012 and it won’t be made unless Irish Americans help. There isn’t money or really a sense of urgency in Ireland. Families of the signatories [of the Proclamation of the Irish Republic] are worried there will be no celebration, that a tumbleweed will be rolling through Dublin on April 24, 2016.

I’ve been coming to the US in regards to the film since October 2013. The response in the US has largely been very positive. Financing in Ireland is tough these days. I’m here to promote the movie and have one-to-one meetings. To inform people.

We did a Kickstarter late last year that netted 50,000 euros in 35 different countries. This is proof it’s not just an Irish story. We have a $6 million budget that needs to be raised almost exclusively privately. We got some production funding from the Irish Film Board. I was recently in Cannes, but distribution funding is scarce.

Why do you think it took so long for a film about the Easter Rising to come out? I know it was touched on briefly in [Neil] Jordan’s Michael Collins film.

I started to write a document about this. There seems to many reasons to ignore ’16. Next year is an election year and in Ireland a film this can be seen as advantageous to Sinn Fein only. All parties have the right to this, Fine Gael. Fianna Fáil. Why has it not been?…I don’t know. It will take an hour to explain. Political capital, not wanting to rattle  [England and Northern Ireland]. We aren’t quite a  fully formed nation yet. It’s almost a philosophical question – if we recognize someone as an Irish hero that responds to their conscience, it’s up to us to recognize us as an Irish people. If this happened in another country, they would have certainly looked into it.

I was interviewed by the Irish Times – first question they asked me, you’re making a film about ’16…are you a supporter of violence? What they’re saying is you’re an IRA man.

It’s very difficult to have a discussion about it. Irish politics have tainted it. Survivors guilt.

I genuinely feel that I MUST make a film about 1916. I started from a point of complete ignorance. I didn’t know 1916, the proclamation, who Sean MacDiarmada was. I see other men & women crying because we haven’t celebrated ’16 enough.

Kevin, Consul General, Josh Lucas, Colin(1)

MacDiarmada is a relatively unknown player in the historical context of the Easter Rising. What was the motivation to use him as the lead in this film as opposed to [Patrick] Pearse or [James] Connolly?

To be honest, I called to the library in County Leitrim, to ask if there a grant available to look into MacDiarmada as a subject of the film. There were films being shopped, but the scripts weren’t very good and they’ve all fallen by the wayside. This is a film that can compete. The people are going to be talking about 1916.

I didn’t know anything about MacDiarmada until I did a documentary called Leitrim During the Troubles. I wanted to research more about and the library gave me a grant of 1,000 Euros and it started there and snowballed. I moved to Belfast to learn more about him and work with Dr. Gerard MacAtasney [writer of The Mind of the Revolution]. He was a farmer’s son who cracked the world’s largest empire. You can’t get any better of a story than that of Sean MacDiarmada. Led his country from slavery to freedom. The hero gives up his life for the greater cause.

His mother was dead by age 9, his neighbors were being evicted from the land, so you have all of these perfect mythological things that are TRUE. Make the GOD DAMNED FILM. I have a particular interest in how the Irish treated those who participated in the Rebellion. The nation changed forever when the 16 were killed.

Seamus Heaney helped motivate me from that poem ‘From the Canton of Expectations – “what looks the strongest has outlived its term.”  Keep their faith and keep on the road and they would succeed. We will not go off this path, we will see it through. It was Goethe that said “Our duty is the demands of our day.” MacDiarmada followed this.

I think of Robert Emmet’s speech From the Dock from the  1803 Rebellion. MacDiarmada was motivated by this speech. It was part of his conscience.

Rebellion and violence isn’t an answer for every disagreement, but at the time, it was necessary.

They were looking for a democratic republic just like what happened in the US.

Has there been any pushback about making this film? Any threats against the production?

Every day. More pushback from folks in the South than the North. There is a lot of reluctance there. The whole question of the North hasn’t really been reconciled in the South. It hasn’t been properly discussed. There is fear that the film will make some moderate revisionist apology. Some people are content with their Irishness and are concerned that we are going to make a pro-violent and pro-IRA film, which is blather from both sides. So I carry on regardless. My responsibility is to the men and women of 1916 and to the people who want to know the history of Ireland.   It’s happening on our watch. It’s your responsibility as well [as an Irish-American]. What will you tell me in five years that you did to help remember this event?

The Easter Rising was funded through Irish America therefore 100 years later, we are following in the footsteps of MacDiarmada and [Patrick] Pearse as we are trying to get funding for this film.

I’ve seen that Liam Neeson likes the script. What role would he play if he joins the project?

That was two weeks ago. We want to see him help us make the movie through his contacts, not have a role. We are enthused with the fact that he’s read it and loves it. I think we’ll be able to make an announcement about this in two weeks. I hope.

[UPDATE: an announcement was made July 1 that Michael Neeson, Liam’s son, will be playing the young Michael Collins in The Rising, reprising the role Liam played in Neil Jordan‘s 1996 film.

I LOVE that Shane MacGowan is doing the theme song. Perfect. How did you come by that decision?

I know the former manager of The Pogues and he asked him for me. Connections. He’s just doing the theme song to feature at the end.

Kevin1

I just got back from a trip to Ireland where I met with President Higgins. I know he’s a big film guy (we spoke about Julia Roberts’ accent in Michael Collins and had a laugh). As a former Culture Minister, I would expect that this is something he would love to see made. Have you had any conversations with him or his staff about this?

You have to remember that filmmaking is perceived as profit-making venture so political leaders’ hands are tied when the project has commercial value. I’ve discussed it with his staff and asked for a meeting with him and hope to get one. There’s hesitancy in the Irish political establishment to discuss ’16. Next year is going to be our time.

Locations?

Dublin, studio, Leitrim, Irish countryside. MacDiarmada’s estate is still there and in perfect condition. That’s where he was born, raised, learned about nature, his place on the earth. You need only stand on the front doorstep and you’re looking into County Fermanagh, Northern Ireland. And you see an example of the division. It’s not just divided North & South, but all axioms.

So that’s that. I want to give a huge thanks to Kevin for taking time out of his busy schedule to speak with me about this film. I contributed to the Kickstarter for this film and wish Kevin and his team nothing but luck. I think that this film is a terribly important step to recognize a series of leaders who put country before self and is incredibly important with respect to us as Irish-Americans. That we are only days after celebrating the 239th anniversary of the declaration of our own independence from the same colonialist country, the parallels between the rebellions are closely tied.

Should you wish to stay up to date with what’s going on with this film, check out their website. And more importantly, if you wish to contribute to the cause, you can also do that there. Here is their Facebook page as well as their Twitter. I will do my best to keep posting about the film especially as it careens towards production this November.

 

Liz’s Review: Vengeance and Religion drive the fight in ‘REDEEMER’

Redeemer posterGuilt is a loud devil on your shoulder. The past can drive you mad or drive you to change… sometimes a little bit of both. In Ernesto Diaz Espinoza‘s new film REDEEMER, a man known only by this title is a mysterious figure, righting wrongs among his small Chilean community. Tortured by an unthinkable past that is slowly revealed as the film progresses, The Redeemer must conquer his own ghosts in order to battle the biggest evil he has ever known. Can he protect those left behind? redeemer 2Marko Zaror, martial arts action star extraordinaire, takes on the lead with ease and ownership. Not only is his acting pretty damn stellar, he is also the fight coordinator for the film’s vast array of sequences that are enhanced by key moments of slow motion. These sequences are extremely long and well shot. It was mostly refreshing to see an organic quality about the battles. They are interesting and definitely full of surprises. My favorite aspect would definitely be the use of graphic blood splatter. Reading like a first person shooter game, the blood use is colorful, impactful, and sometimes just over-the-top enough to make you cringe at the perfect moments. redeemer 1The dialogue is creative and comic relief comes in the form of our only English speaking character, drug lord Bradock, Noah Segan, who I recognized from Deadgirl, is so natural in his comedy it should be against the law.  He was actually my favorite part of the film. Segan has 8 projects this year alone, including Tales of Halloween with Lin Shaye (Insidious) and Booboo Stewart (The Twilight Saga), as well as The Mind’s Eye with Larry Fessenden (We Are Still Here). This guy is around for the long hall. Bottom line, if you liked Netflix’s Daredevil season 1, Redeemer will resonate with you. While it could be about 10-15 minutes tighter, due to the extended fight scenes, this film is definitely worth a shot.

Acclaimed Chilean director Ernesto Diaz Espinoza (Mandrill, The ABCs of Death, Kiltro) teams up again with martial arts action star Marko Zaror (Undisputed III, Machete Kills) in the theatrical and VOD release of REDEEMER. The epic action film, which made its debut at the 2014 Fantastic Film Festival, hits theaters and VOD on June 12 from Dark Sky Films.

Trailer of the Day: Everyday life in the Romanian drama ‘So Bright Is the View’

So Bright Is the View3

The Debut of Filmmaking BrothersMichaël and Joël Florescu, this Official Selection of the 36th Moscow International Film Festival Will Be Released to DVD And all Leading Digital Platforms

Stay tuned for Jeremy’s review!

An Official Selection of the 36th Moscow International Film Festival, SO BRIGHT IS THE VIEW is a Romanian drama, the feature-length debut of filmmaking brothers Michaël and Joël Florescu.  The film follows Estera (Bianca Valea), a middle class Jewish girl in modern-day Bucharest, who’s at a crossroads, forced to choose between pursuing a job in Atlanta working for a nouveau riche business thug, or joining her mother in Israel.  With her father in prison for unspecified crimes and her mother about to be evicted, the pregnant Estera — trying hard to work out some sort of future with her boyfriend, Vlad (Robi Ers) – has only one hope: a “friend-interview” with Mike (Ovidiu Niculescu), a Romanian-American businessman, who may or may not have a job offer. “The Florescu brothers have the ability to present the drama of everyday life”, said David Walsh, Arts Editor of the World Socialist Web Site.

So Bright Is the View poster

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So Bright Is the View4 So Bright Is the View2 So Bright Is the View

Jeremy’s Review: Hernán Guerschuny’s ‘The Film Critic’ Is a Satisfying Meta French New Wave Tribute

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Much in the same way that the last film I reviewed, Justin Reardon‘s Playing It Cool (read review here), took on its subject in a manner that can only be described as meta, Hernán Guerschuny takes a similar concept and flips it.It seems that the film world is now fertile ground for movies (frankly none of them hold a candle to Altman‘s The Player). So let’s see how this one shakes out…

Víctor (Rafael Spregelburd) in THE FILM CRITIC. Courtesy of Music Box Films

Instead of screenwriter incapable of falling in love being commissioned to write a romantic comedy, we get a famous, surly film critic, Victor Tellez (Rafael Spregelburd) who is notorious for trashing every movie he sees. Day after day, he goes with a set of other critics to watch unoriginal movies that have no soul (according to him). They go to the same coffee shop afterwards to discuss further the films they have seen and then adjourn to write their respective reviews. Tellez is in an interesting place in his personal, perhaps explaining his bitterness. He has just broken up with his special ladyfriend and is in desperate need of a new apartment as the building he’s living in is undergoing construction and the hammering is driving him crazy. Add to it that his newspaper editor is on his case about how he trashes every movie and is threatening to rewrite his reviews to make the distributors happier with them, he’s got a lot on his plate. And is doesn’t get any less complicated when Sofia (the stunning Dolores Fonzi) enters his life, at first hating one another, then…falling for one another.

The Film Critic - 1

But can it work? She, who is at times is affectionate and others aloof and secretive clashes with his minimalist existence, filled by films and conversation and an unhealthy obsession with the women he’s seen in classic films (namely Jean Seberg in Godard‘s À bout de souffle) and using them as his standard of measure. Clearly something needs to give. But when Tellez needs some extra cash, he ventures into territory in the same vein as the likes of Godard,Truffaut and all of the other Cahiers du Cinema critics did back in the late 50s – making their own films, although in Tellez’s case, he only takes an assignment to write a script. The final complication is that he ends up writing his own life and specifically focusing on his relationship with Sofia, all of which she is unaware.Like Belmondo‘s Michel Poiccard, his goose is cooked. And worst of all…the movie sucks.

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I really enjoyed this film. Where it succeeds, however, it also kind of fails. The familiar cliches that the Tellez character rants against appear in an ironic way in his own story, but they aren’t reconciled in a satisfying way, not turning them enough on their head to make a statement about them. Despite that, however, Guerschuny weaves an interesting enough tale to keep the viewer engaged. In the latter part of the second act and into the third act, the film shifts gears, somewhat jarringly, into unexpected territory in a side plot involving a disgruntled director (Ignacio Rogers) taking revenge for a bad review that Tellez wrote of his film. Somewhat out of place, the film quickly rights itself and gets back on its proper trajectory with somewhat surprising results. Dolores Fonzi is really quite angelic in this film and is expertly cast in the mysterious role of Sofia. Likewise, Spregelburd fits his role as the bearded, overly pretentious film critic to a T. They have wonderful chemistry together on screen as well.

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The Film Critic‘s successes may be varied, but it is still a worthwhile viewing. As someone who obviously reviews movies, it’s interesting to see a role like that woven into a film. Guerschuny shows a deft touch for a first-time writer/director and I hope to see more films from him in the future, especially as the South American film scene sis beginning to make a name for itself.

The Film Critic opens in theaters and hits VOD today.

 

‘The 100 Year Old Man Who Climbed Out The Window and Disappeared’ is finally available in the U.S.!

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This incredibly funny and endearing film is one of the most upbeat things I’ve seen this year. Long story short, not unlike the title suggests, Allan is turning 100 and is stuck in a nursing home. Reminiscing through pictures and stories from his past, Allan decides to jump out of the window and go on an adventure, anywhere. He ends up with a suitcase full of money belonging to some pretty scary people and on his way to freedom he runs into other wayward souls that get entangled in his absurd journey.

Allan (Robert Gustafsson) and Julius (Iwar Wiklander) in THE 100 YEAR OLD MAN. Courtesy of Music Box Films.

Allan (Robert Gustafsson) and Julius (Iwar Wiklander) in THE 100 YEAR OLD MAN. Courtesy of Music Box Films.

Lead actor Robert Gustafsson is an absolute delight. Comic timing and facial expressions of a real genius, he takes this film through time and through encounters with historical figures like Ronald Reagan and Joseph Stalin, just to name a few. With a passion for blowing things up and an innate ability to talk to anyone, Allan becomes a double agent, a soldier, and perhaps the actual creator of the atomic bomb.

THE 100 YEAR OLD MAN. Courtesy of Music Box Films.

THE 100 YEAR OLD MAN. Courtesy of Music Box Films.

The film is a mixture of scenes from Allan’s youth and the shenanigans he’s gotten himself into on his birthday. Adapted beautifully from the novel of the same name by author Jonas Jonasson, with the help of screenwriters Felix Herngren & Hans Ingemansson, it is definitely full of belly laughs and good times. Herndren, also the director, gives us a colorful, lush, and impeccable comedic foreign film, unlike the many melodramatic features we’re used to getting from over seas. The theater I was in was in stitches the entire duration, and when you can get a theater full of critics laughing, well that’s a feat unto itself. I highly recommend you catch this movie. It is available in theaters in on demand!

Allan (Robert Gustafsson) in THE 100 YEAR OLD MAN. Courtesy of Music Box Films.

Allan (Robert Gustafsson) in THE 100 YEAR OLD MAN. Courtesy of Music Box Films.

Powered by the antics of a mischievous centenarian on the run, comic fable The 100-Year-Old Man Who Climbed out the Window and Disappeared abounds with irreverent charm.  After a long and colorful life working in munitions and getting entangled in the Spanish Civil War, the Manhattan Project, and other definitive events of the 20th century, Allan Karlsson finds himself stuck in a nursing home.  Determined to escape on his 100th birthday, he leaps out of a window and onto the nearest bus, kicking off an unexpected journey involving, among other surprises, a suitcase stuffed with cash, some wicked criminals, and an elephant named Sonya.  Like an unruly Nordic cousin of Forrest Gump, Allan’s youthful escapades and current adventures weave together into an offbeat treat for anyone who’s young at heart.  Starring beloved comedian Robert Gustafsson, this fanciful spin on world history is based on a best-selling novel and also the highest-grossing Swedish film of all time.

Melissa’s Review: Quentin Dupieux’s latest film is entertainingly far from ‘Reality’

Jon Heder

Jon Heder

You see Jon Heder‘s face above? That’s the one you’ll be making during the entire film. However, if you’re a fan of Dupieux’s previous work (Rubber, Wrong, Wrong Cops), you’ll really enjoy the trippy and dream-within-a-dream wormhole that is Reality.

Eric Wareheim

Eric Wareheim

It’s very safe to say that this movie is not for everyone, as it’s completely absurd and really makes no sense whatsoever. What separates it is the fantastic cinematography and the brilliant score of which Dupieux does himself. It’s no wonder it all works together so well.

Alain Chabat

Alain Chabat

My first introduction to Dupieux was Rubber (currently on Netflix) about a tire (yes, a tire), that’s a serial killer. Obviously ridiculous but completely imaginative and surprising, I was smitten. Reality has the same sort of imaginative writing but this time the story is a man who is pitching a movie and must get the perfect “groan” in order to land the funding. I used story very loosely, as there are many other things happening simultaneously.

Jon Heder

Jon Heder

The score is essential to the movie. At times unnerving, that’s exactly what its meant to be. It complements the story without overshadowing it all. The movie would not be the same without it and it’s not something you’d want to listen to on its own either. Quite extraordinary.

Much like when you’re in a dream, it seems like it’s making sense, then suddenly you wake up and it’s completely incoherent. Only in Reality, you don’t wake up.

Opens today, May 1st exclusively at the IFC Center in NYC and will be available on demand and via digital platforms.

 

Tribeca Film Festival review: ‘Among The Believers’ will test your faith.

Among the Believers-00004 Tribeca

Aziz testing a young student on his “studies”.

AMONG THE BELIEVERS– Documentary

9/11 turned the world on it’s head. What we think we know about religion has been bundled into talking points by one side of the coin. Captured by fear and ignorance we label quickly but never rush to understand. Among the Believers is a riveting documentary that takes the audience inside the infamous Red Mosques and into the mind of Abdul Aziz Ghazi, ISIS supporter, Taliban ally, and teacher of the jihadist movement to children all over Pakistan. Acting a s “dean” Aziz takes children from poor Pakistani families under the guise that he will house, clothe and educate their children for them. What’s really going on is the indoctrination of oftentimes infantile members of a society that doesn’t know any better. These children “study” the Quran from sunrise until 9pm everyday. Not until they are deemed worthy do they even understand the verses they are forced to memorize and chant incessantly. Religion does funny things to people and, no matter which religion, extremists are out there.

Young girls have few choices in Pakistan. If she is not educated, she is often married off.

Young girls have few choices in Pakistan. If she is not educated, she is often married off.

This documentary is beautifully balanced with open minded Muslims living in the surrounding neighborhoods of the madrassah (Islamic seminaries) locations. Advocates like Dr. Pervez Hoodbhoy, speak out in public platforms, such as mass media outlets and lectures. The majority of Pakistan’s population is vehemently against the imposition of Sharia law throughout the country. The question continues to be; How do you fight religion? Among the Believers-00002 Tribeca

As an audience member you will endure a visceral reaction to the ideas onscreen. You will feel a passionate push back in one way or another. Among The Believers is sometimes difficult to watch, but I understand that it is a rather important film.

www.amongthebelieversfilm.com

To Learn More About Screenings of Among The Believers, visit

Tribeca Film Festival Guide 2015

Directed By: Hemal Trivedi and Mohammed Ali Naqvi

An unsettling and eye opening exploration into the spread of the radical Islamic school Red Mosque, which trains legions of children to devote their lives to jihad, or holy war, from a very young age. With incredible access and chilling footage, Among the Believers is a timely and relevant look into the causes that have led to the growth of radical Islam in Pakistan and around the world.

Tribeca Film Festival reviews: ‘DEMOCRATS’ and ‘VIAJE’. Both are sweet and sour for drastically different reasons

Democrats stillDemocrats- Documentary

In a place where the people are being silenced by the old regime, free speech is punished, in a country that has produced a landscape of mindless and terrified sheep, this absorbing documentary takes us behind the curtain of the political system in Zimbabwe. Politics is full of pretenders. They fully admit to glazing over the truth and using bullying tactics to coral followers like cattle. A broken system attempts to fix itself with the formation of a dual party constitutional committee. We are privy to embattled showdowns with one party busing on “locals” for support and the opposition party fighting for it’s people’s lives, literally. Can two men guide an entire country through peaceful transition?

This is a drastic portrait of how money and power control politics. Talking points, denial, broken promises are all things we understand in the United States, but in Zimbabwe, in the shadow of Mugabe, this is something altogether next level for these people. The lies and the violence are all on camera. Despite this, it is two steps forward and 20 steps back. Whichever side you happen to be, DEMOCRATS is a brave and brilliantly cut together piece of art. The filmmakers and all those involved must be saluted for standing for something in a place where nothing is the norm.

Directed and written by Camilla Nielsson
(Denmark)—North American Premiere

In the wake of Robert Mugabe’s highly criticized 2008 presidential win, a constitutional committee was created in an effort to transition Zimbabwe away from authoritarian leadership. With unprecedented access to the two political rivals overseeing the committee, this riveting, firsthand account of a country’s fraught first steps towards democracy plays at once like an intimate political thriller and unlikely buddy film. In English, Shona with subtitles.

VIAJE_Press_1 Tribeca

Viaje- Narrative, Comedy

Lust at first sight is relatively common. Taking a chance on a stranger, these days, is pretty uncommon. Luciana and Pedro meet at a costume party and decide to leave together on a whim. Alcohol fueled inhibition leads to the prolonged weekend together camping. This film is about two people learning about each other, trusting each other, going with the flow. Relationships are complicated, but maybe, this one doesn’t have to be.

Viaje has some of the most genuine and funny dialogue I have heard in long time. When two people click, this is how they communicate. The chemistry between lead actors Kattia Gonzalez and Fernando Bolaños is palpable and delicious. They are passionate and natural and I could have watched them play off one another for ages. The film’s score is lively and fun. The camera work has a superb energy that keeps up with our vivacious leads. Shot is beautiful black and white and at a tight 70 minutes, Viaje is an honest picture of mature feelings and elegant understandings we face as we grow together and apart.

Directed By: Paz Fábrega  

Country: Costa Rica

After meeting at a party, Luciana and Pedro spark up a spontaneous rendezvous when Luciana accompanies Pedro to a national forest on a work trip. Eschewing the fraudulent nature of traditional relationships, the pair explores the beauty in the nature that surrounds them as they indulge in the passions of their encounter and navigate the various meanings of commitment.

Find out more about these two films at Tribeca Film Festival Guide 2015

Jeremy’s Review: 2015 Oscar Nominated Shorts – Live Action

US_2015_OSCAR_SHORTS_Web_Poster_1500px_highI’m happy to say that most of the Live-Action shorts are more upbeat than their documentary predecessors. This crop of films come from a variety of countries (Tibet/France, Ireland, Israel, England and Switzerland) and cover a variety of topics. Most of them do a great job of pulling the cinematic equivalent of sleight of hand, leading us down one road only to pull the rug out from under us using our expectations against us. So let’s check them out.

Aya

AYA_stillA quirky little film, Aya grabs an idea that many feature films have explored before – happenstance. As Aya (Sarah Adler) waits for her boyfriend to arrive at the airport, a valet who is waiting for his client has to move his car and asks Aya to hold his sign until he comes back. The client, Mr. Overby (Ulrich Thomsen), arrives before the valet returns. Aya is left with a choice – tell him the truth, that she is just holding the sign for someone else, or actually drive Mr. Overby where he needs to go and see where the trip takes her. She obviously decides on the latter or there would be no movie. What transpires between the two is a back and forth in which each character gains knowledge about the other and perhaps themselves. I really enjoyed this one. While it had some fairly bizarre moments in it, the characters’ arcs were earned rather than forced. Directors Oded Binnun and Mihal Brezis brought this one home. This is a film that deserved its nomination.

Boogaloo and Graham

BOOGALOO_AND_GRAHAM_stillFrom the outset of Boogaloo and Graham, you get the sense that something bad is going to happen. The film opens in Belfast in 1971. The camera follows British troops as they creep through an alleyway, residents of the flats that line watching them intently. If you know anything about Irish history, you’ll know that ’71 was a particular rough time during the Troubles in Northern Ireland. When the camera moves over a stone wall and we see a man (Martin McCann) huddled over a box, we expect the worst. We’ve been programmed this way as so many films point to an attack by the IRA or some other Republican paramilitary group on the British soldiers not five feet away. As the camera zooms in on the man, he pulls something from the box and we await the devastation to come…until it doesn’t. I craned my neck as if that would help me see what he held. What was it you ask? Not bombs, but two baby ducks for his sons, Jamesy (Riley Hamilton) and Malachy (Aaron Lynch). What unfolds after this tense moment is the story of how these two boys bond with their chickens, how they integrate them into the family despite the protestations of the boys’ mother (Charlene McKenna). This film is full of trickery on the part of director Michael Lennox, whose camera shots are witty and add great depth to an already fun story, as well as the script by scribe Ronan Blaney, which twists and turns your expectations. I loved this film and I hope the Academy does, too.

Butter Lamp (La lampe au beurre de yak)

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Perhaps the most interesting of the five nominated films, Butter Lamp takes place in Tibet and features a revolving set of groups gathering to have their pictures taken using a variety of different backgrounds the photographers have brought with them in what amounts to an interesting pictorial ethnographic study of the different peoples of the area. Infused with a good bit of humor, writer-director Wei Hu is able to create a story where the is seemingly none. Equipped with the best final shot of all of the films nominated in this category, Butter Lamp is incredibly pleasing and a lot of fun. When thinking about feature length films (80+ minute running times), it would seem hard to be able to tell a coherent story in only 20 minutes like this film. Wei Hu, like the rest of the writers and directors in this category, makes it look easy. The final shot in this film is really incredible. Be on the lookout for it.

 

Parvaneh

PARVANEH_stillSo, here’s where the films start get a little less humorous and venture into darker territory. Frankly, last year’s set were much more dark and even the last two films that are edgier in their material and approach still have their uplifting moments. Parvaneh fits that bill. A young Afghan girl (Nissa Kashani) living and working in Switzerland comes to a crossroads when her father needs money for an operation back home. As an illegal who is underage, she is not allowed to send money without proper ID, which she can’t get for obvious reasons. When she enlists the help of a girl, Emely (Cheryl Graf),  she meets on the street to get the money sent, the story hits a crossroads – will it all work out or will it turn into a Dancer in the Dark-like spiral into crushing depression? Luckily for us, it’s the former. Writer-director Talkhon Hamzavi creates a relatively in depth portrait of immigrant life in a foreign land, something that is commonplace these days with so many people displaced by armed conflicts throughout the world.

 

The Phone Call

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Almost from the outset of Mat Kirkby’s The Phone Call, you can tell that it isn’t going to be a cathartic, uplifting piece that leaves you feeling all warm and fuzzy. This film runs you through an entire gauntlet of emotions and it’s easy to see why this film has garnered some serious accolades leading up to the Oscars. Anchored by a truly incredible performance from the always outstanding Sally Hawkins (twice nominate for Oscar) as Heather, a woman who works at a crisis helpline. When she arrives at work, she has trepidation written all over her face. She is skittish, perhaps because of her personality, but perhaps because of the job. Shortly after sitting down, her phone rings. On the other line is a voice, breaking up and crying. After a brief pause, Stan (Oscar-winner Jim Broadbent) begins to tell his story – his wife passed away years ago and he just can’t bear to live any longer without her. He has taken a large dose of pills and doesn’t want to die alone. Heather uses all of the training she’s learned to try and keep him from ending his life, to keep him on the phone until she can find out key information about him so that she can somehow save his life. As their banter continues over the course of the _____ minutes, Heather continues to engage him, learning more about him, his wife and their life together – all things missing from her life. So in her attempts to save Stan’s life, she, in a way, saves her own. This film is gutting and is very tough to watch. It expertly drills into emotional depths that few feature films are able to. Hawkins’ performance is flat out incredible and shows why she is one of the best actresses in the business. Known more for her quirky, funnier roles, Hawkins is absolutely devastating in The Phone Call. I have no doubts that this film will take home the Oscar and it’s hard to argue against it winning. Kudos to Kirkby and his co-writer James Lucas for creating such an emotionally lush and layered film.

 

So there’s the Live Action shorts lowdown. Stay tuned for my reviews of the Animated shorts coming later this week and don’t forget to check here for dates and locations where you can see all of the Oscar nominated shorts.

Jeremy’s Review: 2015 Oscar Nominated Shorts – Documentary

US_2015_OSCAR_SHORTS_Web_Poster_1500px_highI am happy to again have a chance to watch and review the Oscar-nominated shorts. Not typically something I watch a lot of, short films such as these are, according to the Academy, the best the world has to offer and there most certainly is an international flavor to them all. In the coming days, I will be rolling out my reviews of those anointed by the Academy as the top five in the following categories: live-action, animated and documentary. The first crop I will tackle is the documentary shorts. Read More →

Jeremy’s Review: Mami Sunada’s ‘The Kingdom of Dreams and Madness’ Is an Incredible Look Inside Studio Ghibli and More Specifically How Hayao Miyazaki Creates

kingdom of dreams and madness posterNausicaä of the Valley of the Wind, Castle in the Sky, My Neighbor Totoro, Kiki’s Delivery Service, Porco Rosso, Princess Mononoke, Spirited Away, Howl’s Moving Castle, Ponyo and The Wind Rises. Recognize these films? Well, if you don’t, they happen to be the canonical Japanese animated films of the last 50 years. What do they all have in common? Well, they were written and directed by the same man, one who can and should only be referred to as a titan of modern cinema. That man is Hayao Miyazaki, founder of the famed Studio Ghibli. 

Enter to Win a DVD Copy of ‘The Kingdom of Dreams & Madness’

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Liz’s Review: ‘A Girl Walks Home Alone At Night’ – A love story you can sink your teeth into

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I LOVE horror movies. I love an original script. I love a great soundtrack. Put them all together and you’ve got me on your side from minute one. There are few movies ever made that deliver on all of these aspects. The one I am about to describe blows it out of the water. Read More →

Liz’s Review: ‘THE KING AND THE MOCKINGBIRD’ is a classic brought back to life

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When I was a child I revelled in my mother and father reading bedtime stories.  I grew up on classic Disney fairytales and Tom & Jerry reruns. As an adult, nothing makes me happier than reliving those moments and sharing that joy with the next generation. At this year’s New York Film Festival, I was treated to a film that has been around for ages, but for me was a brand new tale to pass down. Read More →

Jeremy’s Review: Aoife Kelleher’s ‘One Million Dubliners’ an Absolutely Touching Portrait of Ireland’s Glasnevin Cemetery

OMD Portrait 2 1800pxIn the opening sequence of Aoife Kelleher‘s One Million Dubliners a funeral is being set and there is an incredibly pertinent quote from James Joyce‘s Ulysses: “In the midst of death, we are in life,” which is a careful reminder to us that even though we are inching closer to death with each day, there is still life to be lived. While pertinent, it may not make much sense to us in the beginning of the film as we allow ourselves to be taken on the journey that Kelleher takes us on in chronicling the history, the energy, the pulse of Glasnevin Cemetery in Dublin, Ireland. Read More →

Heartland Film Festival 2014 Jeremy’s Review: Paolo Zucca’s ‘The Referee (L’arbitro)’ Is Quirky and Exceedingly Funny with a Touch of Jean-Pierre Jeunet

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I’m a big soccer fan and have always been. I played from the time I was four until I graduated high school and even considered playing in college. Despite its popularity in the world, I’ve seen very few decent films about the sport. Of course there’s Victory and Bend It Like Beckham was quite charming. The German film Das Wunder von Bern is lights out amazing and there are several documentaries including Once in a Lifetime that hit the right notes. However, none really capture the game in the same way as Paolo Zucca‘s The Referee (L’arbitro). While other soccer films, including some of those mentioned above, have captured the spirit of the game on a number of different levels, I’ve not seen one that has captured it on a more personal, local level than The Referee. Chock full of quirkiness, it is unlike any film I’ve seen in the last 10 or so years outside of the films of Jean-Pierre Jeunet. Read More →

Heartland Film Festival 2014 Jeremy’s Review: Ragnar Bragason’s ‘Metalhead’ Is Pure Icelandic Wonder With a Sparkling Performance by Lead Thorbjorg Helga Thorgilsdottir

meatalhead posterFew countries produce as consistently high quality of film as Iceland. In my estimation, that is. The quantity of films that it produces is low, well at least those that somehow cross the pond and make it onto American screens, usually at film festivals such as Heartland. There are four Icelandic films that I’ve seen in this manner – Nói Albínói, The Seagull’s Laughter, Of Horses and farm animals that areatrained and live at this Horse Retirement Farms. All are unique in their own way, most of them are depressing (an aspect of Scandinavian film that I tend to enjoy) but still manage a way to get a laugh or two in just in case, and all have a laser-pointed direction on what makes their characters tick and tock and they do it so well. Ragnar Bragason‘s Metalhead is no exception.
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New Trailer: John Woo’s ‘The Crossing’ Debuts!

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The trailer for John Woo’s epic 3D Chinese historical drama has been released via Empire (click the link to view the trailer) Read More →

Toronto International Film Festival, Vanguard Section – Liz’s Review: ‘They Have Escaped’

Toronto International Film Festival, Vanguard SectionTheyHaveEscapedPoster

Sometimes we run from things; the past, the present, and the lies we tell ourselves. In Writer/Director J-P Valkeapää brings us They Have Escaped, a unique coming of age narrative about two kids on the run. Joni is a young man who goes AWOL on his military service, landing him a mandatory civil service stint at a live-in residency for wayward teens. Raisa is an unruly wild child who has been brandished too difficult to deal with by an uptight mother and ill father. Both are damaged souls. One, an introvert, the other, the very definition of extrovert. Together is run away from their lives and take off in a stolen car on the road to freedom. Along the way, they are met with emotional and physical challenges that were seemingly dismissed when they decided to venture onto the open road. Together they tackle each new day with courage, relentless spirit, and tenacity. Read More →

Liz’s Review: ‘Wetlands’… Gross and Glorious!

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I knew going into this film that the trailer alone was NSFW. I was in for a complete surprise when Wetlands as a whole blew the trailer way out of the water. Never have I ever experienced a movie so utterly disgusting and amazing at all once. Read More →