July 16th 2023
Reality
Daliland
New Boy
Carmen
The Scandinavian Film Festival
Here's another week of strong films to choose from, plus a festival that always offers the best of Nordic releases.
Dir: Tina Satter
Length: 83 mins
 |
© Kismet - brilliant acting in a whistleblower
story that is confined but compelling |
In 2017, Reality Winner (Sydney Sweeney), fresh from the US Air Force, worked as a translator for the National Security Agency. She was arrested for leaking classified information about Russia's attempts to influence the 2016 election. This film is based verbatim upon transcripts from the FBI interview with Ms Winner. The casual start to the film, shorts-clad Reality returning from grocery shopping and bailed up by two chatty FBI bods, lulls us into a sense that nothing is really wrong. But as Agent Garrick (Josh Hamilton) and Agent Taylor (Marchant Davis) turn their conversation from banal topics to a deeper grilling of the young woman, we realise trouble is afoot. The setting is confined to Reality's home, almost like a theatrical play, and yet the tension ramps up in a way that inexorably draws us in. The film is a knock-out master class in acting, with Sweeney giving us an extraordinary emotional arc as her carefully constructed denials are broken down. Precisely crafted camera angles add to the menacing power the two men bring to the young woman. In the present era of politicians battling truth with prosecution, this is an important film, that will reward patient viewers.3.5 - well recommended
Daliland
Dir: Mary Harron
Length: 97 mins
 |
© Kismet - Ben Kingsley is perfect as
the eccentric musachioed artist, Dali |
Salvador Dali (Ben Kingsley) is preparing for a big show in New York. It is 1973 and he is somewhat past the height of his notoriety. His relationship with his increasingly money-hungry wife Gala (Barbara Sukowa) is fraught. Dali hires a young assistant James Linton (Christopher Briney), from whose perspective the story is told. This is a film where critics are cruel, but audiences favourable; I thoroughly enjoyed it, and who can resist such a star turn from Kingsley, in full flight as the egotistical, eccentric, dare I say, crazy painter. Dali may well have invented the word extravagance, and the film's production values capture well his lavish parties and over-the-top costumery, his attempt to make his life itself a performance piece. James, a fictional amalgam of Dali's many young assistants, is nicely acted by Briney, a man whose good looks and youth help get him into a world he discovers is not all he thought it to be. The film doesn't purport to be an in depth examination of Dali's work; more a peek into the world of eccentric artistry, relationship power struggles, and mindless acolytes riding in the wake of real, if fading, talent.3.5 - well recommended
Carmen
Dir: Benjamin Millepied
Length: 116 mins
 |
© Madman - visually stunning, full of
passion, rhythm and dance |
Carmen (Melissa Barrera) is fleeing from the ruthless Mexican cartel. Her beloved mother has just been murdered protecting her daughter's whereabouts, and Carmen attempts an illegal border crossing into the USA. When a member of the border patrol catches her and is about to kill her, she is rescued by ex-marine Aidan, running from his own demons. The two flee, and head to Los Angeles where Masilda (Rossy de Palma), Carmen's godmother, runs a nightclub dedicated to dance and freedom of spirit. Director Millepied was a dancer and choreographer with the New York City Ballet. His love of dance is the driving force within this film, which he says is inspired by the traditional Carmen story, though not derivative of it. From the opening flamenco piece performed defiantly by Carmen's mother, through dreamy, steamy surrealistic performances in the nightclub, pas de deux between Carmen and Aidan, and an unexpected boxing match choreographed to a rap/hip-hop beat, dance just oozes out of the film. A stand-out hypnotic performance comes from de Palma, that amazingly beautiful/ugly woman who dominates the screen in her every scene. Barrera's beauty is also overwhelming, while Mescal, (award-nominated for Aftersun) delivers a subtle but emotional performance as the traumatised soldier. Surprisingly, shot in Australia, this is a film that must be seen on the big screen, as the beauty of the cinematography, along with its bold soaring score and creative settings, deserves nothing less. 4 - highly recommended
Dir: Warwick Thornton
Length: 116 mins
 |
© Roadshow - unusual and thought-provoking
look at the clash of two cultures |
Director Thornton spent time as a child in a Christian boarding school and this experience has obviously inspired and informed the narrative of his latest film, which is both impressive and baffling. An unnamed young Aboriginal boy (Aswan Reid) is delivered to an orphanage in the middle of nowhere. Hard-drinking but pragmatic and kind Sister Eileen (Cate Blanchett), caring Sister Mum (Deborah Mailman) and helping hand George (Wayne Blair) run the place (no-one else knows the head honcho priest died a year ago). The new child, with an exceptionally angelic face, has some mysterious supernatural powers, creating light from his fingers, and possibly even healing people. When a wooden Christ statue is delivered, strange things happen. Thornton doesn't seem to be trying to deliver any overt message; just showing us a world where kindness, faith and spirituality intersect, not always for the betterment of everyone. Also behind the camera, the director has a mighty sharp eye for beauty and creating a sense of place, while in the music department Nick Cave and Warren Ellis serve up a brilliant score. Not a lot actually happens, but so many scenes, with their stark beauty and mystical quality had me enthralled. While Blanchett is very understated in her role, young Reid is a revelation, lighting up the screen with his presence. This is a film that keeps you guessing as to its deeper meanings - maybe it's an allegory, maybe it claims white people took the power from Indigenous people, maybe it's an examination of what spirituality means to different cultures. And while not for the popcorn brigade, it is definitely a wonderful addition to the Aussie film catalogue.4 - highly recommended
Saxo Scandinavian Fim Festival
Melbourne until 2nd August
Palace Cinemas
As always, the best and latest in Nordic cinema is showcased in this festival. And for those craving a retro hit, the festival brings you six films under the banner Scandi Screams, focusing upon past films that examine mysterious folklore traditions and mythology. A few I've reviewed come highly recommended.
Darkland: The Return: This Danish action thriller is very dark. It follows the earlier film Darkland, in which heart surgeon Zaid was imprisoned for a violent revenge rampage. Here, he is co-opted by a police investigator in a deal that gets him out of prison, enables him to see his son, in return for going undercover to infiltrate the local gangs. Despite moments of shocking violence, this is an impressive film, with a powerful and surprisingly emotional central performance from Dar Salim, as a father caught between two worlds.
Camino: Thirty-something Regitze and her father Jan have never got along well, the daughter having always felt marginalised by her parents. Now her mother has just died of cancer and left a dying wish that the two walk the Camino to try to reconnect. What starts off as a low-key film, with some amusing moments, develops into something deeply moving, as the two gradually begin to reveal more of themselves to the other. Adding to an insightful narrative of family ties, is the fabulous backdrop of the Camino, with its quirky hostels, and the characters they meet along the way.
Midsommar: This 2019 Swedish horror classic is the winner of no less than 27 major awards (plus another 70-odd nominations!) Florence Pugh plays Dani, who travels with her boyfriend Christian to a Swedish midsummer festival. What starts off seeming to be an innocent and flower-strewn event, turns into a nightmare involving ghastly cultish rituals. No supernatural horror is involved here - just the horror of humans inflicting their beliefs and customs on others, and the terror of being caught up in something you can't escape. At 171 minutes, you need to steel yourself for this one, but for lovers of the genre it is richly rewarding.
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