Film Review: VENUS (Canada 2017) ***1/2

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Venus Poster
Trailer

A dramatic comedy about a transitioning woman who discovers that she’s the father of a 14 year old boy.

Director:

Eisha Marjara

Writer:

Eisha Marjara

 

Transgender subjects are getting more popular in LGBT features now that gay characters have been more and more normalized in mainstream movies.  They have even invaded the gay documentary genre as seen in the recent film TRANSFORMER about a transgendered weight lifter.

VENUS tells the tale of Sid (Debargo Sanyal), a South Asian (Punjabi origin) transitioning woman whose life is turned upside down when Ralph (Jamie Mayers), the “white” 14 year-old biological son she never knew she had, shows up unexpectedly at her door.   And repeatedly at the door daily. “Wreck-It-Ralph” is about to create havoc in Sid’s life.   Shot in Montreal, the upbeat film also deals with the hardship of transition and how it affects family and friends.   

Sid is under pressure to marry a nice Indian girl and raise a family. His East Indian mother (Vancouver’s Zeena Daruwalla) yearns to have grandchildren.  Her dreams are about to come true, but not in the way she ever imagined. When Sid comes out as a woman, a 14 year old boy named Ralph shows up at her door announcing that Sid is his parent.  Although surprised to discover that his biological dad is now a woman, Ralph thinks having a transgender parent is pretty cool (a way director  Eisha Marjara is also saying her film is as cool as her subject).  But Ralph has not told his mother and stepfather that he had tracked down his biological father. 

Another problem is Sid’s boyfriend Daniel (Pierre-Yves Cardinal), who has yet to tell his family of his relationship with Sid.  Daniel is nowhere near ready to accept Ralph as a stepson and complicate his life further.  Sid’s coming out creates a snowball effect that forces everyone out of the closet.

With so many stories, director Marjara surprisingly balances the importance of each effectively culminating the film in a credible yet dramatic climax.

Director Marjara’s spirit and confidence in her subject and movie are catching.  These are evident in a scene in the film’s middle when Sid and Ralph take a walk in a park.  They come across a group dancing in the park.  Ralph joins in as Sid tries to pull him back while feeling uncomfortable.  Sid eventually dances with the group.  The scene shifts into slow motion and the catchy tune and fancy dance moves take the audience up a higher level in entertainment.   The film’s overall soundtrack is pretty good as well.  There is even a song called “Sisters in the Struggle” by a group called Lesbians in Ecstasy.

Sid’s parents provide quite a few of the laugh-of loud moments.  But Sid’s facial expressions are also funny enough to evoke much laughter.

Besides the comedy, the film gets quite serious too, at the end.  Credit to the script (also written by Marjara) for the non-Hollywood ending.

VENUS has won numerous awards on the international film circuit, including most recently two awards at the 2018 Kiel Transgender Film Festival in Germany for Best Trans Performance (Debargo Sanyal) and Best Actor non-trans role (Jamie Mayers), as well as Best Narrative Feature at the 2018 Cinequest Film Festival in San Jose.  The film is an uplifting crowd pleaser.

Trailer: https://vimeo.com/225779362

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Full Review: REVENGE (France 2017) ***1/2

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Revenge Poster
Trailer

Never take your mistress on an annual guys’ getaway, especially one devoted to hunting – a violent lesson for three wealthy married men.

Director:

Coralie Fargeat

Writer:

Coralie Fargeat (screenplay by)

 

REVENGE borrows from many classic films like MAD MAX, THE HUNTING PARTY and female stalker movies to provide another gore fest in which victim becomes hunter with a few more tricks on display.  This is French director Carolie Fargeat’s debut feature shot in both French and English and an impressive one at that.  She presented her film at the 2017 Toronto International Film Festival, proving that she talent as well as beauty.

A rich businessman, Richard (Kevin Janssens) takes his mistress, Jen (Italian model Matilda Lutz) on a getaway in a gorgeous mansion by a desert.  His two hunting friends, Stanley (Vincent Colombe) and Dimitri (Guillaume Bouchède )show up and abuse her while he goes off on a chore for two hours.  Instead of being on her side, Richard takes his friends side.  When she threatens to tell his wife, Richard pushes her off a cliff.  She survives.  They hunt her down while she, turns the table on them.  

The film is the real BATTLE OF THE SEXES and one that is relevant considering how women have ben abused by celebrities like Harvey Weinstein and Bill Crosby.  Fargeat’s strong feminist imprint is present in her frill from start to finish.  She shows that the female is not a plaything and if treated as one with disrespect, will come fighting back for REVENGE.

Fargeat’s film is gorgeous to look at in all respects from the exterior landscape to the interior sets.  The stunning desert landscape that includes one pool of water, as well as the cliffs are well photographed.  The mansion in the middle of the reset with its swimming pool is a marvel in modern architecture.  Around 20% of the film is set in the darkness in the dead of night.  The cinematography by Robrecht Heyvaert is nothing short of magnificent with just enough light to see what is happening in the dead of the desert night.

This French horror slasher can be seen to be quite different from the American counterparts.  REVENGE is ultra violent, flashy with less distracting humour and hardly any false alarms and cheap tricks to jolt the audience.  Fargeat’s attention to detail like the blood dripping on the ant in the desert and the one hunting friend chewing a crunchy chocolate bar while a rep is going on is particularly menacing.

A few gory set-ups include one where a man extracts chards of glass from the base of his foot and another with Jen tending to her wounds with the aluminium of a red hot beer can.  The latter segment lasts a full 10 minutes and almost too gruesome to watch, while Jen takes peyote so that she will be unable to feel the pain while tending the wounds.  

The climatic scene is full of inventive cat-and house chasing complete with Richard applying Saran wrap around his wounds.

It will be a very eager wait for Fargeat’s next film.

Trailer: https://www.youtube.com/watch?v=YTJrztVvmx0

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Film Review: SAINT ETIENNE – MAGPIE EYES, (Music Video)

SAINT ETIENNE- MAGPIE EYES, is a three minute music video paying homage to youth. Full to bursting with highly polished and glossy production value, boasting bright beautiful young performers and backdropped against a classic urban setting nostalgic to many. The film follows three teenage friends and their beautiful summer day in a city-suburb, as they walk, talk and explore the world around them- all set against music. The result is the classic cinematic food of an age-old story. It is the story of youth. It is the story that captures the leap between children and adults. For a few magical moment between childhood and adulthood we are  suspended in air as teenagers. And while that suspension is uncertain, and scary- it is also alight with possibilities. SAINT ETIENNE attempts to capture that moment- and it does so admirably. For three magical minutes, we are all teenagers again.

Review by Kierston Drier

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SAINT ETIENNE – MAGPIE EYES, 3min., Music Video
Directed by Tash Tung

Magpie Eyes reimagines the 90s band as teenagers in the modern day and follows them around the sleepy market suburb of Stevenage, UK – the first of the government’s post-war Utopias. The film celebrates a distinct sense place and what it’s like to grow up in a British suburb, mixing stills and moving images of the local kids in and around the New Town architecture.

CLICK HERE – and see full info and more pics of the film!

Film Review: YOU’RE DEAD WRONG, (Canada, Music Video)

A thriller music video with a classic twist,YOU’RE DEAD WRONG is a wonderful Canadian film that will have you on the edge of your seat right until the final frame. Carefully cushioned between a our vocalist from Stellar,  a story unravels of a woman taking violent action against partner- who clearly deserves it. But what looks like long-time coming revenge turns out to be a well orchestrated lover’s game.

Beautifully shot, well composed and packing a tight story into six minutes, YOU’RE DEAD WRONG is a strong and vibrant music video, with great talent behind it!

Review by Kierston Drier

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YOU’RE DEAD WRONG, 6min., Canada, Music Video 
Directed by Craig LoboThe debut single from the band “Stellar”.

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Film Review: ALL FALLS DOWN, (USA, Experimental/Documentary)

Heavily experimental and presented stream-of-consciousness style, ALL FALLS DOWN recounts the thoughts that flood one person’s mind while they engage within themselves and the world around them. Our narrator, who speaks through a computerized modulated voice, recounts their strong emotions for houses, their sense of home, their feelings of being trapped, their issues with gender, body image, fear, isolation, loneliness. Strong, highly interpretive and encapsulating what it truly means to be an “experimental art film” ALL FALLS DOWN is cinematic bravery. The narrator taps into the deepest and darkest thoughts that resonate throughout the human consciousness and lays them fully onto the screen. In watching ALL FALLS DOWN, the viewer must share in the sense of profound discomfort that the narrator appears to convey. A true artistic film, with real artistry behind it, ALL FALLS DOWN is a strong, engaging and emotive cinematic experience.

Review by Kierston Drier

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ALL FALLS DOWN, 6min., USA, Experimental/Documentary
Directed by Oberon StrongALL FALLS DOWN presents a digital hell-loop centering around the idea of the transgender antagonist coming to terms with the ideas of home, anxiety, intimacy, our inevitable death, longing, and the conversation between obsolete and current technologies.

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Film Review: THE LONGING RITUAL, (USA, Experimental/Animation)

An American four minute animation, THE LONGING RITUAL is really a piece about visual design and graphic aesthetics. The film is composed of a basic series of repetitive shots- similar colors, shapes and designs, set against a series of motifs of the natural world, such as flowers or a person running. The effect is graphic design turned cinematic. The creation of, and circulation of the natural world embedded against the geometric world. Visually tantalizing and unique, THE LONGING RITUAL does not leave its meaning blatantly obvious. It is rather, an expression of textures, designs and colors intermingled with elements of the natural world. A  contemplative piece about the world we live in, and the space our art takes up within it.

Review by Kierston Drier

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THE LONGING RITUAL, 4min., USA, Experimental/Animation
Directed by Scott TurriMost recently, in my latest series The Longing Ritual the focus has been on the nature/culture continuum, in particular the search for real experience and a connection to the natural world

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Film Review: BLACK BIRD, (USA, Experimental/Fantasy)

BLACK BIRD, an American four minute mixed media , this is a film that begs you to interpret it. Several animated blackbirds fly through a live action urban setting, with the outside world curiously shown upside down.  Symbolic and metaphoric, this piece may be one person’s journey through an urban metropolis on their way to freedom- or it could be a comment on the lost connection between nature and civilization. Yet still- it may be one person’s metaphorical journey through life and into death. BLACK BIRD won’t tell you- it will ask you to guess. One thing is for certain, between the engaging audio, the stunning visuals and the entrancing concept BLACK BIRD is a piece not just to watch, but to experience.

Review by Kierston Drier

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BLACK BIRD, 4min., USA, Experimental/Fantasy 
Directed by Haonan WangThe journey of a man escaping the concrete jungle of the modern city with help from spiritual black birds.

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Film Review: TRAINS – RADIO CUT, (UK, Music Video)

A three minute UK film, TRAINS is utterly gorgeous to behold. Spectacular natural vistas are animated through the energy of music. As pebbles vibrate off the ground, being acted on by beautiful music, we are hit over and over again with breathtaking moment after breath taking moment- mountains, streams, train tracks against trees…only to discover these vista exist within a piano being played.

What does TRAINS tell us? That music acts as both a journey and a key. It unlocks us  to a world with a deeper appreciation of nature, and it takes us on a journey through it. In this bright and highly polished visual metaphor of a piece, music acts as the DNA of the cinematic story, binding together the visual images and giving them context. The world of the cinematic story is generated by the music and created within it.

TRAINS is simply beautiful to watch. Boasting high production value and beautiful composition, do not miss TRAINS, it is stunning.

Review by Kierston Drier

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TRAINS – RADIO CUT, 3min., UK, Music Video 
Directed by Jola KudelaEverything is a form of vibration,
One needs to hear it and transform it into music
The world is a piano and the piano is the world
The musician becomes the creator of the world

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Film Review: EPINEPHRINE, (USA, Experimental/Music Video)

This six minute American film about music, dance and politics. Intercut between left-wing political issues (marchs, voters rights, reproductive rights) are modernized dance sequences performed by female dancers and a young woman on her computer. As beautiful to look at as it is engaging to think about, the main goal of this piece seems to be drawing attention to the world of the female millennial. The issues affecting women in media and in politics seem to permeate every aspect of one’s life. The dance sequences themselves seem to act as a sort of metaphorical interpretation of that anxiety and introspection that is created by the constant stream of information being hurled at females through screens. Behave this way, behave that way, look like this, act like this, stand for this, fight for that… It is a story rewritten anew with every generation as we dance forward in a world careening in uncertainty: Who am I and what is my place in this world? EPINEPHRINE attempts to answer that, in a film full of sound, movement and compelling modern events.

Review by Kierston Drier

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EPINEPHRINE, 6min., USA, Experimental/Music Video
Directed by Kat ScottA millennial girl influenced by internet age is absorbed in queer beauty, but experiences a visceral response to addiction. After crumbling, she is liberated by various social movements as a source of independence.

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Film Review: SAMFAELINI: BUSBY BERKELEY’S DREAM ABERRATIONS, (UK, Experimental/Music Video)

Busby Berkeley was an American music choreographer and film director famous for his visual work that can be likened to a kaleidoscope on screen. Utilizing showgirls, dancing in unison and creating complex geometric visual patterns- Berkley’s work was a cornerstone of an age. Enter BUSBY BERKLEY’S DREAM ABERRATIONS, a film that tips its hat to Berkley’s aesthetics while exploring a completely different world. Unlike Berkley, who utilized the external body to create shapes and patterns, BUSBY BERKLEYS DREAM ABERRATIONS uses internal images of the body to make the same visual effects. The affect is a piece that draws it’s visual inspiration directly from Berkley’s formative designs and elements, but utilizes a different human palate to create it’s work. Done in black and white and set against lively jazz music, we do not see prancing legs and fanned arms- but internal organs, mountains of teeth and decaying hands. Done is hyper contrasting black and white, the piece has an almost decaying look and feel to it- but is yet lush and so visually arousing and engaging that one cannot help but fear blinking- lest we miss something. The effect creates horror, thrill, and heart-palpitating excitement. It is two minute wonder not to miss.

Review by Kierston Drier

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SAMFAELINI: BUSBY BERKELEY’S DREAM ABERRATIONS, 2min., UK, Experimental/Music Video 
Directed by Ramon BlanquerExplores different phobias in the form of early Hollywood’s extravaganzza, where rejection and attraction for mystery will dance in harmony unveiling a coordinated series of familiar shapes performing the abstract.

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