It reeks, it lingers. Her Smell invades, it threatens, it’s aggressive and it’s dirty, draining. It’s a riot in full swing. Yet amidst the assumed chaos, it becomes tender and honest, an exploration into addiction and the punk rock scene of the 90s, but even more so into identity. What can be repaired after not only hurting the ones we love, but ourselves in the process?
Alex Ross Perry’s five-act tale of rockstar rampage and recovery is unapologetic and unpredictable, proving to be one of my favorite and one of the most exciting films I’ve seen this year. It was borne out of Perry’s incessant need to not only explore multiple act structure (after being inspired by the three act structure of Danny Boyle’s Steve Jobs and by Shakespeare), but push the envelope on his creative relationship with Elisabeth Moss. The pair had previously worked together on 2015’s Queen of Earth, similarly dark and ruptured. Her Smell raises the bar and sails clean over it.
The role of Becky Something, our enigmatic, perpetually inebriated, crass, and readily dislikable star was written completely for Moss. When she smiles, it’s more with wickedness and less with joy. We know little about her rise to the top. It is only shown in bits and pieces through the home videos played before each act, and all about her ruin.
Continue reading “NYFF 2018 Review: ‘Her Smell’ is a Riot in Full, Glorious Swing with Elisabeth Moss at the Helm”
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.
Continue reading “Interview: ‘Searching’ Writer Sev Ohanian Talks Social Media and the Writing Process”
This essay is by our guest writer, Harrison Hughes.
When it comes to capturing the complexities of human relationships, there are few directors as bold and profound as Christian Petzold. Born in Hilden, Germany in 1960, Petzold graduated from the German Film and Television Academy Berlin in the mid ‘90s with his debut feature Politinnen (1995). Released on German television to critical acclaim, Politinnen depicts the close relationship between two working women as they drive across Germany selling cosmetics. Although distant in age, the two women bond over their mutual exploitation and grow closer as they navigate the German landscape. With Politinnen, Petzold establishes his cinematic approach to human relationships and interactions as they develop and unfold on screen. Jump forward 19 years and nine films later, Petzold directs Phoenix (2014), his most ambitious and successful work to date.
Set in the rubble of post-war Berlin, Phoenix explores similar themes to Petzold’s early films such as the confusion of identity and the uncertainty of love, but with a much more ominous tone. The second film in his self-proclaimed “Love in Times of Oppressive Systems” trilogy, Phoenix, is not so much about love, but the distrust that surrounds it. In the wake of WW2 and its horrors, post-war society was afflicted with a great scepticism that haunted the bombed-out city streets like a spectral reminder. From religion and politics to modern civilisation and the nature of mankind, everything was questioned, and nothing remained the same. Phoenix explores this scepticism on an individual level by questioning the extent to which we can truly know ourselves, the world, and the ones we love.
Continue reading “Searching the Ashes: Post-War Scepticism in Christian Petzold’s ‘Phoenix’”
This essay is by our guest writer, Shea Vassar.
The Manic Pixie Dream Girl is the cute and quirky love interest that skips around in films that feature moody men who long to escape their current mundane lives. This archetype has existed since the beginning of cinematic history, but did not receive a proper title until Nathan Rabin’s 2004 review of Elizabethtown (Rabin, 2007). Rabin says that “The Manic Pixie Dream Girl exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.” Though he later apologized for coining the term, Rabin was critiquing the one-dimensional female characters that are constantly displayed in the movies (Rabin, 2014). Many viewers enjoy the whimsical, fairy-like girls that seem to skip around due to their unexplainable amount of confidence. The Manic Pixie Dream Girl lacks motivation, significant or human-like flaws, and the ability to grow past their state of being simply adorable.
Many female characters that seem a bit out of the ordinary by dressing with a unique sense of style or reading a certain poet wrongly receive the Manic Pixie Dream Girl label. Sadly, viewers have grown used to seeing underdeveloped female characters who are only there to propel forward the male protagonist. This is where Breathless differs. Patricia Franchini, played by Jean Seberg, displays the Manic Pixie Dream Girl aesthetic: her blonde hair is cut in a short pixie style and she studies journalism at the Sorbonne. She also enjoys talking of romanticism and philosophy and her American status just adds to her appeal. But Patricia is not a Manic Pixie Dream Girl.
Continue reading “Criterion Month: Breathless and the Anti-Manic Pixie Dream Girl”