August 20th 2026
The Rivals of Amziah King
The Chronology of Water
The Love that Remains
I've gone all-in with praise for this week's three films. One from Iceland, one from the backwoods of the USA, and one based on a true memoir of an abusive childhood. All wonderful viewing and so diverse.
The Rivals of Amziah King
Dir: Andrew Patterson
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© Madman - music meets bee-keeping
along with ruthlessness and revenge |
It's a weird-sounding title for a wonderful film that is so unusual, and is testament to the art of independent filmmaking. One can't really classify it in any one genre, as it blends music with themes of community, family ties, business skulduggery and revenge. Amziah (Matthew McConaughey) lives in the Oklahoma backwoods, loves to play bluegrass music with his local pals, and runs the top bee-keeping, honey-making business in town. One day he u
nexpectedly runs into Kateri (Angelina LookingGlass), who was once his foster daughter and who has returned to town. Amziah jumps at the opportunity to pass his knowledge to this young woman who is eager to learn. But fate is cruel, and business rivals are lurking in the form of a shady tycoon (Kurt Russell). Having grown up in Oklahoma, and worked on projects with the local Choctaw Nation, director Patterson has a deep sympatico for his characters and for the lifestyle portrayed in the film. He captures the closeness of the small community, their love of music and its importance to them, and how much they are there for for each other. There's so much heart (and a goodly dose of humour) in this film, and the clever blending of genres keeps one guessing throughout exactly where the plot is heading. McConaughey gives one of his best performances to date, while Young LookingGlass totally convinces us of the arc of her character, from sweet young girl, to a woman with steely resolve, the queen bee of her world.
4.5 - wholeheartedly recommended
The Chronology of Water
Dir: Kristen Stewart
Length: 126 mins
Exclusive to Cinema Nova
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© Losange/Nova - an unforgettable performance
in an unflinchingly raw true story |
Lidia Yuknavitch wrote the memoir upon which this film is based. And what a harrowing story it is. Lidia (Imogen Poots) and her sister Claudia (Thora Birch) grew up with a father who physically, sexually and verbally abused them, while their alcoholic mother stood by and did nothing. Lidia turned to swimming as an escape from her torment, but any hopes of making a competitive team were dashed as she descended into a self-destructive, wild lifestyle of alcohol and drugs, and sexual entanglements with both men and women. Later, studying writing and literature under Ken Kesey, she began to find her voice. Who'd have thought that Stewart, best known for her role as Bella in the vampire movie
Twilight, would become such an incredible director? Everything about this film is heart-stoppingly visceral, starting with its fragmented style of narrative, non-linear timeline, (as Lidia constantly flashes back to her childhood), and grainy 16mm cinematography which evokes the blurring of past and present. Then there is the endless tension of the implied horrors the girls went through, followed by the insanity of Lidia's subsequent lifestyle, leaving me feeling "what the hell will happen next?" I seldom feel this sort of tension through a film - a total nervousness, yet intertwined with a deep, sorrowful compassion for what this woman was going through, as a result of her past. Imogen Poots is beyond description in how she channels Lidia's disturbed psychology and her vulnerabilty, but also steely determination to write. This is couragous and unflinching filmmaking, that never shies away for a moment from what it means to be a female preyed upon in a man's world. Just as some people in the film couldn't listen to Lidia's recitation of her raw poetry, some viewers may find this film too disturbing. But I say, steel yourself, and be rewarding with a magnificent movie-going experience.
4.5 - wholeheartedly recommended
The Love That Remains
Dir: Hlynur Palmasson
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© Palace - despite parental rifts,
family love doesn't die |
There's a sensibility about Scandinavian films that is often light-years away from mainstream cinema. No fancy tricks; just a capturing of slices of life, people's emotions, and, in in this case, stunning cinematography. Anna (Saga Garoarsdottir) is a struggling artist and mother. She has separated from Marcus, (Sverir Gudnason), the father of their three kids, who are played by the director's actual three children. This makes for a highly organic authentic feel to the family. Marcus is struggling to find his place in life - he works on a fishing boat, but still spends time with Anna and the kids. The rhythms of the seasons and life drift past, and not a lot happens, but we sense, keenly, the deep pull of love between all members of the now fractured family. I immersed in this aspect of the film - love reflected in the small daily tasks, the light banter, the family expeditions still shared. Where I struggle a little is with the heavy use of metaphor, symbolism and magic realism: a scarecrow/knight figure at which the kids shoot arrows, a giant rooster which haunts Marcus' dreams, and the almost clashing atmosphere of Anna's artistic toils with Marcus' prosaic sea-bound daily work. Despite not wishing to decipher what so many of these images represent, I loved immersing in the understated emotions being played out in the family. Mention must be made of the lovely music soundtrack, and also of the Palme Dog-winning performance by Panda, the border collie. Talking of awards, the film has taken all the top ones in the Icelandic film awards, with a host of nominations and other festivals throughout the world.
4 - highly recommended
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