A Western-stye tale of female empowerment that sees two women, Natalie (Nicole Fortuin) and Poppie (Izel Bzuidenhout) ride across the South African Karoo in search of adventure and self-fulfillment, Flatland was chosen to open the Berlinale Panorama Section. We talked to director Jenna Bass all about her landmark feminist film.
Italian documentaries had a field day at Berlinale this year. Whether it was the innovative Selfie, allowing its subjects to become the cameramen themselves, or the harrowing depiction of Cosa Nostra brutality in Shooting The Mafia, the Southern European country asked hard questions of its society this year. The standout was Normal, the latest documentary from Adele Tulli, which takes a fresh and innovative look at gender stereotypes. Allowing its images — whether it’s boys riding motorbikes, or girls dressing up as princesses, or mothers exercising in the park — to truly speak for themselves, Tulli pushes the absurdity of fixed gender norms to their very limit. We sat down with her to discuss her unique documentary.
On Monday night, I was invited to the IMAX Headquarters to attend a screening of Mission: Impossible – Fallout followed by a Q&A with director Christopher McQuarrie, hosted and moderated by Collider’s Steven “Frosty” Weintraub. Fallout has been a major hyper fixation with me this year, so of course, I was dying to make that quick hop to L.A. for my last time viewing the film in a theater. After a quick check-in, the attendees were seated and left alone to witness the halo-jump scene in glorious laser-projection.
There’s no official review of Fallout on the site, but I can personally vouch for it. If you managed to avoid seeing it this whole summer, just know that it’s a rollercoaster ride of a blockbuster that never slows down. For popcorn action flick standards, the direction of this spectacle film is so artful and distinct that it made for one of the most memorable and thrilling cinema experiences all year.
After the screening, Christopher McQuarrie showed up in the flesh to respond to Weintraub’s questions and then opened the floor to our own. A lot was discussed in those two hours. The full transcript can be found on Collider, but I’ve compiled a few of my favorite moments from the Q&A here:
Searching stars John Cho, who makes history as the first Asian-American actor leading a Hollywood thriller. The film is innovatively told purely through screens, as a desperate father attempts to find his missing daughter.
While it could be argued that having a film set through screens is extremely limiting and can create an emotional block, Aneesh Chaganty (co-writer, director) and Sev Ohanian (co-writer, producer) execute certain techniques successfully, that other movies filmed in a traditional format, couldn’t. David Kim (John Cho) often types messages and then deletes them, which successfully bridges the gap between appearance vs reality; what David truly wants to say vs what he actually says.
One thing that continued to surprise me throughout Searching was the extent to which Chaganty and Ohanian understand the relationship teenagers have with social media. I’m not referring to the general “social media is bad” sentiment other filmmakers instill in the audience, but a more nuanced message: social media allows people to be themselves (to an extent) but is also extremely isolating. Margot and David’s relationship from the onset is grounded in tension and unfamiliarity as they try and navigate life without Margot’s mother, Pam. Death brings people closer together, but the sad reality is that sometimes it does the exact opposite.
This interview was done by our guest writer, Redmond Bacon.
Jumpman, the latest film by Ivan I. Tverdovsky, concerns an orphaned boy who suffers from congenital analgesia – meaning that he feels no pain. One day his estranged mother picks him up from the orphanage and together they run a blackmailing scheme whereby he jumps in front of cars and blackmails their owners for money. Set in and around Moscow, it’s a seething indictment of corruption in contemporary Russian society. The third film from the young director shows him in total command of his style, which deploys long takes to fully immerse us into the lives of its characters. Soundtracked by artists such as ЛУНА, and set in popular Moscow locales such as Squat 3/4 club, it maintains a contemporary feel, giving it a strong chance of connecting with young viewers in Russia today.
The movie celebrated its premiere in the competition slot of the Karlovy Vary International Film Festival. I sat down with the director to talk about his inspiration for the film, his attraction to characters who are outsiders, and the significance of national symbols.
I sat down recently with Jamie Jones and Sophie Kennedy Clark, the director and lead actress of what was undoubtedly one of the best films of the Edinburgh International Film Festival this year: the brilliant, brutal Obey. During our chat, we talked extensively about the hotly-debated topic of gentrification in London, in which Jones told me that he, himself, “saw the transition towards gentrification in Hackney” and laments on probably having “been a part of it himself”. As we talked, both he and Kennedy Clark lamented on the culture clash that is often found in London these days and the uniqueness of the city. “You have these huge high-rises, massive estates, right next to the most expensive houses! You get gang crime and you get people sitting drinking champagne and Peach Bellini’s in London fields.” Indeed, Jones even told me of a story of gentrification that he had once been involved in himself: “All these hipsters, I was amongst them, we were all just sat drinking champagne, the sun was shining and then we just heard a gunshot and a helicopter comes down and somebody was shot in the leg, and it just happened right next to us!” These sorts of opposing moments are found all throughout Obey, scattered across the film in various different manners, from individual scenes to the presentation of characters such as Kennedy Clark’s Twiggy and her band of bohemian friends squatting alongside Leon’s estate.
The Critics Interviews is a Much Ado series in which we interview film and cultural critics about the industry, social media, responsibilities of a critic, and their advice for young writers. You can find all of The Critics Interviews here.
Our third interview is with Anna Smith, the president of The Critics’ Circle and film critic for Time Out, Sky, BBC, Metro and The Guardian. Enjoy!