This review/interview is by our guest writer, Redmond Bacon.
Leto (Summertime)is a combination of the traditional rock biopic and arthouse film; an auteuristic tale of love, optimism, melancholy, and loss told against the backdrop of a rapidly developing musical scene. It’s as if Almost Famous met Walking The Streets of Moscow. Set in the early ’80s, the star of the show is Viktor Tsoi (played by Teo Yoo), who would later become Russia’s most iconic rock star. Dying at the young age of 30 in a car crash in 1990, he carries in Russia the same kind of counter-cultural weight as Kurt Cobain does in America.
Roman Bilyk plays his mentor Mike Naumenko, the lead singer of the less famous Zoopark, while Irina Starshenbaum plays Mike’s wife Natasha. Based upon the memoirs of the real Natasha Naumenko, Leto is a story characterised by its naivety, optimism, and the very real belief that, for one brief moment, music could change the world. This message of rebellion comes at a time in Russia in which many artists feel their artistic freedoms imposed upon. This is especially true in the case of the director of Leto himself.
German film has been suffering from an utter lack of strong genre films during the past years. With the exception from a few, rare surprises like independent filmmaker AKIZ’s brilliant film Der Nachtmahr (which became a flop that ultimately left the director in debt), there is no real courage to delve back into certain narrative patterns, and when they do, they play it incredibly safe, which dampens the hope for possible investors of such films even more. It’s very strange, especially since turning back time reveals that the brightest lights were of German cinema, where genre films such as Metropolis, Vampyr, and M shaped their successors worldwide into what they are today.
While Ulrich Köhler’s In My Room, a film heavily influenced by the filmmaking style of the Berliner Schule–a german filmmaking movement that originated in the 90’s, whose representatives are often formed by a depressive, stakeless atmosphere mirroring both social and humanist grievances–is not a genre film per se, but it shows a surprising amount of flirtation with post-apocalyptic motifs and images. It’s a refreshing change of pace on a visual plane, not only for the Berliner Schule, but the entirety of contemporary german film.
This interview is by our guest writer, Redmond Bacon.
The Cannes film festival made history this year with the inclusion of Rafiki, the first Kenyan film to premiere along The Croisette. Playing as part of Un Certain Regard, it is also a ground-breaking piece of Kenyan filmmaking for its loving depiction of a same-sex relationship. I sat down with the director Wanuri Kahiu to discuss the ban on the film, the importance of religion in Kenyan culture, and why homophobia is un-African.
Redmond Bacon: Can you explain the situation regarding the decision to ban the film in your country?
Wanuri Kahiu: The film was banned. This means it can’t be broadcasted, exhibited, distributed or be in anybody’s possession within the Republic of Kenya. That includes the poster and the trailer, although the trailer cannot be suppressed because it’s on the internet. But if we were to get a poster here and take it back home [then] we would be breaking the law. And it is possible to appeal, but you have to appeal to the same board that banned the film. So right now, what we’re doing is just concentrating on being here and being present in Cannes to represent the film. Once we get home we’ll figure out what the way forward is.
If there’s any film that defines the paranoid, conspiracy theory-obsessed times we live in — where groups of thousands of faceless identities believe Kubrick faked the Moon landing, the Illuminati controls the world, and Beyonce is a lizard — it may just be David Robert Mitchell’s Under the Silver Lake. The follow-up to the wildly successful It Follows is a delirious head-spin into the seedy underground of Los Angeles; a baffling acid-trip of imagery attacking you from all angles. It emulates the LA-set noirs that are more successful in their execution like Mulholland Drive, but the film still has something new to add the table — some would say too much, but you can’t fault it for its ambition.
*The following piece is by our guest writer Vikram Zutshi
On Jan 20th, David Lynch, unquestionably the foremost surrealist artist of our times, turns 72. It is as good a time as any to take stock of his eclectic and wide-ranging oeuvre, which includes film, music, art, literature, photography and architecture.
His films take us deep beneath the quotidian surface of small town America, a space he knows intimately, where sublime truths and dark fantasies play out, unhindered by the strictures of consensual reality. Early impressions and memories of an all-American childhood in rural Montana in the 50’s inform much of the artist’s work.