It feels as something has been missing from big studio films in recent memory, at least when you ask general audiences. The kind of archaic, action-heavy and pathos-ridden blockbusters that usually draw many to the theatre, seem to have lost their appeal. In the exact moment where the cinema as an institution has gained a major rival in the form of streaming services, the films that usually gel so well on the big screen, with their opulent production design and their often CG-supported visual grandeur, seem have lost contact to their potential audiences, no matter how visually inventive or audacious they are. Some of these films get a push in the case of a positive critical reception or massive marketing campaigns, but in general, new franchises are hit hard at the box office. Recent examples are plenty and to be fair, many of these films are forgettable. But even films that truly stand out have to take major losses in their cinema runs.
One example is Doug Liman’s Edge of Tomorrow (2014), an action film with a star-studded cast, a talented crew and stellar reviews. It concisely mixed genre conventions into big entertainment — but despite the quality on display and the accessibility in the film’s storytelling, the general public wasn’t interested in seeing it. And while they didn’t get away with a positive critic’s consensus, flopped films such as the Wachowskis’ Jupiter Ascending (2015) and Luc Besson’s Valerian and the City of a Thousand Planets (2017) have gained a community of fans, who admire them for their courage to be original in their vision of spectacle and who prevent their names from being forgotten in the flash flood of the contemporary blockbuster landscape. It’s a slightly different story with Mortal Engines — but not all too different.
Mortal Engines (2018) – directed by Christian Rivers, all right reserved to © Universal Pictures
The base setup of the film is one that seems to be, in theory, a safe bet: produced and co-written by Peter Jackson, who used to be the biggest name of the industry in relation to the type of filmmaking in question, Mortal Engines somehow managed to completely bomb at the box office. It is actually quite a shame, because the film keeps its promise of – big – and manages to possess much more vigor and excitement than the average blockbuster film.
Continue reading “‘Mortal Engines’ Slaps — But No One Wants to See It”
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.
Continue reading ““I’m Not Interested in Successful People” — An Interview with ‘Jumpman’ Director Ivan I. Tverdovsky”
This piece is part of a series called Jewels Under the Kitchen Sink. Here we try to bring films, that have been overlooked during their time or were (despite their distinctive and timely nature) somehow forgotten, back onto the radar. It’s an attempt at reaching into the dusty niches of time and fishing some true gems out of there. We hope to peak your interest towards some of these films, so they can be reintroduced into today’s film discussion.
I stumbled over Jean-Claude Brisseau’s Céline per accident on Youtube, soon realizing that its presence online borders on non-existence. The rather small amount of voices that I could find, seemed to show an unusually big admiration for the utterly forgotten 1992 Berlin Film Festival competition entry. Descriptions of the film struck a chord with me and how I felt at the moment, and I took a chance on it.
Cèline (1992) – directed by Jean-Claude Brisseau. All Right Reserved.
There is a rather simple base narrative at play here: A nurse named Geneviéve offers Céline – a young, distraught woman – a drive home. When they arrive there, Céline tries to take the first chance to kill herself. Geneviéve prevents her suicide and starts to take care of Céline. They start a healing process – together, as Geneviéve struggles herself.
Continue reading “Jewels Under the Kitchen Sink – The Rocky Path to Healing in ‘Céline’”
This review is by our guest writer, Redmond Bacon.
The Germans have a word for acknowledging their Nazi past. Known as “Vergangenheitsbewältigung,” it literally means “coming to terms with the past,” describing the process by which the country tries to learn from the mistakes it made during the 30s and 40s, most significantly the Holocaust. This process makes Germany quite a unique country, as no other major nation-state can claim to have gone through quite the same amount of personal soul-searching.
This dream of awakening her home country of Romania is the mission of Mariana, an artist who wants to put on a reenactment of the Odessa Massacre of 1941 in which between 25,000 to 34,000 Jews were either shot or burned to death by Romanian troops. I Do Not Care If We Go Down in History as Barbarians, is named after a quote that was used to justify the process. According to her, its a part of history glossed over by Romanians, who prefer to remember the time they joined the Allies three years into War. A pertinent clip from the Romanian film The Mirror, released in 1994, shows just how deep the distortion of history goes, displaying Ion Antonescu — the Romanian leader — as a sympathetic character who only “deported” non-Romanian Jews, instead of killing them. This is a blatant lie and something that Mariana is determined to deconstruct.
Continue reading “Karlovy Vary 2018: ‘I Do Not Care If We Go Down in History as Barbarians,’ Brilliantly Speaks Truth to Power”
In Latin America, there is no event more important for young girls than the quinceañera. Families will save up every extra penny to make sure that the celebration is a lavish affair, welcoming the girl’s progression into adulthood with a whole lot of pomp and circumstance. For Miriam (Dulce Esther Rodríguez Castillo), however, her 15th birthday is loaded with dread, as she has a secret that she doesn’t want the rest of her family to know about.
She has a boyfriend named Jean-Louis, who she only knows from chatting online. One day, she goes to meet him at a natural history museum, but upon seeing his face, something holds her back. She doesn’t talk to him, and runs away, explaining to her mom that he didn’t turn up. At first, this seems like natural shyness, but it slowly becomes clear that it’s because he’s black. The resulting film is a piercing tale that functioned both as a well-worked character drama and a seething critique of a racist society.
Continue reading “Karlovy Vary 2018: ‘Miriam Lies’ Is a Harsh yet Necessary Coming of Age Story”
The corrupt heart of contemporary Russia is mercilessly exposed in Jumpman, a savage look at a society that has lost its way. Telling the story of a boy who uses his rare ability to feel no pain to jump in front of cars in order to blackmail their owners, Ivan I. Tverdovsky has created a savage exposé of a world in which nothing matters other than the pursuit of capital.
It starts with Denis (Denis Vlasenko) being dumped at an orphanage. As he grows older, he gets diagnosed with congenital analgesia, which means that he doesn’t feel pain in the same way other people do. This ability to withstand intense physical pressure makes him a favourite with the fellow boys, who tie him up with a hose and pull it on from either side to see how long he can last. Then one day, his mother (Anna Slyu) returns to the orphanage and takes him back to Moscow. Once there, they devise their dastardly money-making scheme.
Continue reading “Karlovy Vary 2018: ‘Jumpman’ is a Very Different Kind of Superhero Movie”
This review is by our guest writer, Redmond Bacon.
Tradition is meant to bind us together, but when those customs are based in violence, those binds can be a noose, choking us into a cycle of bloodshed. This is certainly the case in Turkish drama Brothers, which displays the devastating effects of living by ancient customs.
It starts with the seventeen-year-old Yusuf (Yiğit Ege Yazar) in a juvenile detention centre near the tail-end of his sentence. He is a quiet and brooding boy, with a constant chip on his shoulder. He seems always on the verge of anger, almost starting a fight over a mistimed football tackle. One day he is released on probation and picked up by his brother Ramazan (Caner Şahin), who believes a good way of celebrating is by buying him a prostitute. This pretty much sums up the perpetual misunderstanding between the two, who cannot find a way to truly relate to one another.
Continue reading “Karlovy Vary 2018: Tradition is Fatal in Turkish Drama ‘Brothers’”