He had written this
Many times before
The one about the
And the memory fakes
The need to look through
To see it for what it is
To do anything
Anything at all
MyFrenchFilmFestival is online now and features lots of interesting stuff from the Francophone world (ie, not only France but the whole French speaking world).
Here are a couple of my reviews over at Flickering Myth…
The superb psychological thriller Into the Forest
It’s a pretty interesting idea to have a whole film festival exclusively online, and it probably points towards the future. Much as I love cinemas, I guess it’s pretty good to see new and original exclusives at home sometimes too…
MyFrenchFilmFestival is available across the world on multiple streaming platforms. For more information
visit the official site here.
My review of Mary and The Witch’s Flower, the first anime from Studio Ponoc, is over at Filmink and below…
Mary, an imaginative and inquisitive young girl, is spending the last week of the summer break with her great aunt Charlotte at the village of Redmanor. Bored at home with no working TV set or friends of her own to play with, she tries to help out around the house, but constantly drops things due to her clumsiness. This boredom, plus anxiety over her self-image and red hair, brings out a multitude of worry and stress ahead of the new school year. After not immediately seeing eye to eye with local boy Peter, she meets his two cats Tib and Gib wandering through the misty woods. Following the cats directly leads to the discovery of a bunch of eerie fly-by-night flowers growing in the wild. She takes them home and before knowing too much about it, Mary and Tib are whisked away into the sky on a broomstick.
Eventually crashing into Endor college (no relation to the Forest Moon in Return of the Jedi, Star Wars fans), a training camp for would-be witches and magic users, Mary (voiced by Ruby Barnhill) is immediately enrolled as a student on the strength of her impressive powers. Unbeknowst to headmistress Madam Mumblechook (voiced by Kate Winslet) and head scientist/mage Doctor Dee (voiced by Jim Broadbent), all of Mary’s magic comes directly from the fly-by-night flowers. With some quick thinking and a little deception, she manages to keep the unexpected untruth going for an entire day, impressing the college with not only her magic skills, but also her red hair, which is a sign of tremendous power. However, when the untruths begin to mount up, Mary indirectly puts her new friend Peter in danger. She begins to discover exactly what kind of experiments Doctor Dee is undertaking, and just why he and Madam Mumblechook are so obsessed with the so-called witch’s flower.
The first movie from Studio Ponoc, this new anime is directed by Hirmoasa Yonebayashi, an acclaimed graduate of the famous Studio Ghibli. Known for When Marnie Was There and Arriety. Released in both the original Japanese with English subtitles and a dubbed version featuring well-known actors, the film creates a spellbinding atmosphere of classic wonder with a lively script that zips along at a fast pace. While not veering off so far into the fantasy (there is only one non-human with a speaking part, the fox or dog-like Flanagan, the caretaker of the College’s broomstable) of Spirited Away style-surrealism, the world is exceptionally well-drawn and creates an energetic and transporting fairy tale.
Based on Mary Stewart’s children’s novel The Little Broomstick, the film takes rural England as its setting and conjures up the country landscape vividly. Drawing comparisons with Ghibli favourite Kiki’s Delivery Service as well as the Harry Potterseries of books and films, Mary and The Witch’s Flower can hold its head above the magic lava with the best of stories about young witches. With a powerful message of trusting animals and the natural world above and beyond science and technology – sometimes referred to as ‘magic’ – this is a delightful film that kids – and adults – of all ages will enjoy and remember fondly.
My review of ‘A Woman’s Life’, an adaptation of de Maupassant’s Une Vie, is over at Flickering Myth and below…
Life is never as good or as bad as one thinks, wrote Guy de Maupassant in his novel Une Vie, the source material for this sombre and touching film from Stéphane Brizé (The Measure of a Man, Mademoiselle Chambon).
Essentially this is a story of expectations. Jeanne (Judith Chema), the daughter of nobility in mid 19th-century France has led a sheltered existence for most of her early life. Days spent tending the garden and learning about the natural growth of things with her father the Baron Simon (Jean-Pierre Darroussin) fill the innocent convent school educated Jeanne with happy delight.
This life rapidly changes following a semi-arranged marriage to Julien de Lamare (Swann Arlaud), an unpleasant young man whose family are not as affluent as Jeanne’s. Emasculated by this fact, he takes every opportunity to stake whatever claims on authority he has – from pettily controlling the temperature of the farm house by restricting the use of fire wood, to far more sinister and abusive actions. The unsuitable young man forces himself upon the maid Rosalie (Nina Meurisse) and also conducts an affair with another member of the aristocracy Gilberte de Fouville (Clotilde Hesme).
A melancholy tone thus descends upon Jeanne’s life. A young woman, once so innocent and in love with nature becomes progressively depressed and dejected by the cruel twists of the events that evolve around her. Her own motherhood offers little hope, merely bringing out the divisions between men and women even more clearly. Constantly brought down by the realities of life, the audience is left hoping for Jeanne to take decisive action. When this does not appear to be likely, the hope switches towards the future and the possibility for change.
A mostly handheld-shot work of dreamlike ambience, the story is partially told through remembered scenes and fractured interpretations of past events. Occasionally scenes, such as Jeanne and lost best friend Gilberte dancing around the garden in their Sunday best are played out more than once, heightening the intensity and Jeanne’s dwelling on previous happier times.
Music is used sparingly in the film, with just one piano piece from Oliver Baumont used throughout. Jeanne’s poetic narration segments are metaphoric diary entries, adding another layer of what is a film of despairing fragility. Finding emotional depth in long scenes with little action or no dialogue, Brizé’s film brings out markings of the anxiety and complex details of the everyday of Jeanne’s life. And it is unmistakably her life – for there is no other perspective on the actual events that have so damaged her and brought her into such despair. This experimental style of approach is a courageous one, telling a tale of personal tragedy with no other witness than the central player herself. A deeply expressive and thoughtful film.