The fantastic Brazilian film Aquarius is out on DVD/Blu-ray now…
Here’s my review over at FM and below…
Aquarius is a resolutely intelligent work detailing a whole lifetime of experience, passion and commitment to the things that matter most in life (not in any particular order): art, family, love and community.
Sonia Braga gives an intensely radiant performance as Clara, a 65-year-old retired music critic and widow born and raised into a well to do family in Recife, Brazil. While enjoying a comfortable life of leisure amongst friends and neighbours, it becomes apparent that a development group has its eyes on the home that has been an integral part of her life for so long – the original 1940’s building the Aquarius. All of her neighbours apartments have been rapidly bought up, leaving her as the only resident left. The unscrupulous modern developers – personified by the young graduate of an American business college Diego (Humberto Carrão) – are dead set on acquiring the whole building and will stoop to any means in order to do so. Clara soon realises she has a fight on her hands, and must incorporate her considerable powers of determination in order to see that a semblance of justice prevails.
As a detailed pinpointing in miniature of many of the demands facing communities across the world, regardless of class, nationality or background, on a social level Aquarius provides an assortment of talking points. Most obviously is the modern fact of neighbourhoods and areas becoming redeveloped creating tensions amongst neighbours and families, often coupled with greed, opportunism or both. The film constantly portrays this threat and the paranoia inducing tension it has on Clara in a creepy ways. This psychological thriller aspect of slamming doors, mysterious noises from upstairs and strangers or workmen encroaching on the privacy of home all leave their mark. Clara has to display a steely toughness in order to stay put and the film is great at chronicling her trials and tribulations while displaying the daily activity of her interactions with family and neighbours. This plus a healthy sexual appetite only strengthen Clara’s formidable realness and humanity.
The passionate encounters – in Clara’s case one very successful and one not-so – serve as a reminder of her aunt Lucia (who we meet in the first chapter set in 1980) who linked a dresser piece of furniture with intense and memorable love-making. Part of the success of Aquarius as a film is this ability to traverse different times through memory and feeling. It is a singularly powerful and poetic film, and has quite rightly already won itself top plaudits in the minds of anyone interested in place, memory and identity.
My review of the incredible Remainder by Omer Fast is over at Flickering Myth and below…
1. The faculty by which the mind stores and remembers information.
2. Something remembered from the past.
3. A potentially faltering and problematic thing with the capacity to occlude and confuse.
In Remainder, the feature film debut from Omer Fast, an intricately woven web of ideas and codes is constructed, both on-screen and off. The viewer is lured into a perplexing thriller that brings philosophical vision into a detailed run through of noir-ish themes and psychological horror plays. Adapted from Tom McCarthy’s cult novel, the movie shares the disturbing nature of films as diverse as Memento, Mulholland Drive, Pi and Spellbound.
Fast is an acclaimed visual artist well versed in the mind’s potential for playing tricks on an individual. Much of his work has focused on the subjective nature of reality, with video pieces asking questions of conventional storytelling and the erratic blurring of appearances. A picture never lies, we once learned. Fast has always been intrigued by showing how they frequently do, and providing insight into exactly how this can be.
In Remainder he uses a random event to explore how identity and reality is created. When an unnamed man (Tom Sturridge, Far From the Madding Crowd) is hit on the head by a falling object he awakens from a coma to find his memory erased and a compensation package for £8.5m. His lawyer instructs him that the money is his on the condition that he says nothing about the accident. This isn’t a problem; he recalls nothing. The only thing he can remember are tiny snapshots of images which he obsessively reconstructs into physical form, hoping to unlock further clues about his past life. As he delves deeper into the mystery surrounding him, he becomes embroiled in intrigue, suspense and immediate danger.
Remainder is a fascinating film, full of the real personal horror of losing one’s footing in the reality of life. Fundamentally it is concerned with trauma, an area that Sturridge brings out wonderfully well in his portrayal of the unknown protagonist. He manages to play the lead as a victim who is facing a profound internal struggle – while also imbuing him with a grim determination. There’s a strange sense of optimism in this, that the human spirit is so proud it will fight against debilitating events, looking for understanding and meaning.
The protagonist – an anti-hero really – is certainly not there to invite sympathy. At times he comes across as a rich kid spending his new found wealth on frivolous and speculative activities. There is method in his memory problems, though as he expends more and more effort – and cash – on bringing his memories back to life. In the reconstruction of various homes and property, Fast appears to be making a side comment on the gentrification of urban city areas (the film is based in London but the filming locations are as hared with the German capital Berlin).
Fast is also clearly concerned with the obsessions of film. There is more than a sense of Kubrick about Sturridge’s character; he tries to rebuild his memories with a huge team of assistants deliberating on exactly how to get the right sound, precise smells and accurate colour to the documenting of internal pictures. As well as his striking central performance, there is fine support from Cush Jumbo (The Good Wife), Ed Speleers (Downton Abbey) and Arsher Ali (Four Lions).
A remarkable movie, Remainder is a spectacular and mind-mangling trip.
Remainder is in UK Cinemas and on demand from June 24th.
The beautiful Our Little Sister is reviewed over at Flickering Myth and below.
An intimate and warm story of sisterhood and familial ties, Our Little Sister explores the drama of sororal relationships in a graceful and sensitive style.
Adapted from the best selling graphic novel Umimachi Diary by Yoshida Akimi, this is a drama that plays with subtlety and intricacy, ultimately creating an uplifting and spirited mood. It does not shy away from pain and darkness, with troubled histories and parental break-ups creating a generational fall-out felt for years afterwards. Yet it remains a bright and hopeful document – an affectionate look at how family of all kinds can help each other through life.
Three young sisters, Chika (Kaho), Yoshi (Masam Nagasawa) and Sachi (Haruka Ayase) all live together in their grandmother’s beautiful old house. Chika is the youngest of the group and works in a sports shop and has a playful relationship with a boyfriend into sports and outdoor activity. Yoshi is a banker who shelters from the stresses of work with a busy social life and more than a passing affection for alcohol. Sachi is the oldest of the sisters who manages a hectic work schedule as a nurse at the hospital alongside an unhappy affair with a married doctor.
The three have been estranged from both parents for years and grudgingly decide to attend their father’s funeral on the news of his death. Just before they are all set for a quick departure, they get to know the 13 year old Suzu, who it transpires is their half-sister. On something of a whim, Sachi invites her to come and stay with them. A few days or weeks later – time is not exact in this dreamlike picture – Suzu arrives and the sisters form a close knit bond of humility, respect and care.
The quartet adapt remarkably well to the situation,with the group creating a powerful barrier against the pain of the past. Ayase’s portrayal of Sachi is key to getting this strength across; her expressions of respectful care communicate the commitment to love that she and the others have made.
Overall this is a moving film, providing a template of sincere and honest reflection that goes beyond mere words. It is telling that the source material is a manga book- the colour and vibrancy of the locations are captured by director Koreeda in stunning detail. There is a flowing of ideas and imagination that bring a sense of soulful enlightenment; from dejection and darkness, hope can rise up anew.
Introducing the Greenland Eyes Film Festival is over at Flickering Myth…
Step into the underground of film at the opening night party of what almost nobody is calling a journey into the Stygian waters of cinema, sound and performance…
As ever, it is an eclectic mix… see below:
Advanced, discounted tickets are available for 5GBP + booking fee from http://www.wegottickets.com/event/193422 or you can get tickets at the door for 8GBP.
Wave, Body, Beat, Acid and beyond, with DJs from East London’s XENOGLOSSY.
DJs from label that brought us TEAM PISS and NURVUSS will be playing the mutant hip hop / drown-tempo.
The Opening Night Party will also be the launch of an exhibition of new works by Justyna Burzynska. A mixed media display of post-humour cyber folk. Unknown memes, neurotic graphics, visual poems and old fashioned illustration.
My review of the kids and karts documentary Racing Dreams is over at Flickering Myth…
KNOW THE SCORE – This Must Be The Place
Due to appear in a forthcoming issue of Clash Magazine, this is a brief look at the soundtrack from This Must Be The Place…
Paolo Sorrentino’s unique tale of a goth-rocker avenging his father’s Nazi era torment is beautifully complemented by a soundtrack dreamt up by Will Oldham and David Byrne. Performing as the amusingly named – and totally untrue – The Pieces of Shit, the duo (along with vocalist Michael Brunnick) contributes some of the film’s most dream-like songs. Also featuring Nino Bruno’s sublime Every Day is a Weary Wait from and classics from Iggy Pop (The Passenger) and Byrne himself, the score is a perfect accompaniment to one of this year’s most haunting releases.
My review of ‘back to ’93 music doc ‘Glastonbury – The Movie In Flashback is over at Clash Magazine…