Film Review: THE PUBLIC (USA) ***

The Public Poster

An act of civil disobedience turns into a standoff with police when homeless people in Cincinnati take over the public library to seek shelter from the bitter cold.


Emilio Estevez

THE PUBLIC is Emilio Estevez’s ambitious little movie that tackles a few key social issues while being commercially entertaining.  Estevez gives himself the title role as a thankless, sensitive but realistic librarian.

After instilling to the audience the oddness and importance of the librarian in the American society with voiceover over archive black and white footage, the film opens with head librarian of downtown Cincinnati, Stuart Goodson (Estevez) heading to work one very cold morning.  He encounters  people who greet him on the way and it becomes obvious he is setting himself up as the sympathetic hero of the piece.  He meets an old lady who accuses Jews of meaningless deeds, while the homeless wait for the library to open so that they can wash up in the toilets.  He is also realistic as he answers back rationally to a female librarian under him who accuses him of leaving his carbon footprint behind.  It is obvious he likes her though she appears a bit too radical for him..  All these incidents are the prologue to a lawsuit undertaken by a public prosecutor (Christian Slater), again a too obvious villain of the piece.  The prosecutor is also running for the office for mayor.  It is seldom one gets to see Slater snarling and growling as a villain.

One quarter through the film, a new character, a police negotiator (Alec Baldwin) whose son is missing because of a drug addiction problem is introduced into the story.

One feels that Estevez is too manipulative in his sardonic humour and tackling of too many issues – from the homeless to mental health to the city’s opiate addiction to the environment and yes, politics.  “Try not to kill any of my friends,” says the female librarian to the cops at one point.

The film opens a few insightful possibilities.  Do the homeless protect and look after other homeless?  The film seems to think so.  Estevez takes the notion one step further when they take down the library after a cold Arctic blast hits the city resulting in -10C. 

To Estevez’s credit, a few bits of his script are quite good.  His film also propagates the main worthy cause of the homeless, despite looking too ambitious.  The film has a twist in the story despite an Hollywood happy ending.

Estevez and Slater are both good but it is Baldwin who steals the show, showing he can play serious as well as comedy (Saturday Night Live’s Donald Trump).

The film was shot in the Public Library of Cincinnati and Hamilton County.  The story was inspired and a little glamourized by the moving 2007 essay “Written Off” by Chip Ward, a now-retired assistant director of the Salt Lake City Public Library System.

This is a film that presents problems with no solutions leaving it somewhat disappointing.  One might argue however, that these problems can never be solved, but Estevez should provide some ray of hope.  THE PUBLIC is a not half bad mix comedy/drama relevant social issues that seems too obvious in pleasing the audience.


Film Review: MARY MAGDALENE (UK/USA/Australia 2018) **

Mary Magdalene Poster

The story of Mary Magdalene.


Garth Davis

Comes Easter usually come a slew of Christianity films.  MARY MAGDALENE is one of them that does not have the Christian faith directly as a theme.  Mary Magdalene is one of the women who encountered Jesus of Nazareth in the Bible.

Besides being set in Biblical times and a film that has Jesus as a subject, there are other reasons that might attract moviegoers to MARY MAGDALENE.  The film features two stars Rooney Mara and Joachim Phoenix who normally play shit disturbers – Mara in THE GIRL WITH THE DRAGON TATTOO and Phoenix in INHERENT VICE and YOU WERE NEVER REALLY HERE, now playing a super good Mary and the Son of God, Jesus.

Though Mary is believed by may to be a reformed prostitute, no such mention of this fact is evident i any part of the film.  When the film begins, Mary is seen delivering a bay saving the mothers life before being offered as a bride to a man she does not love.  She declines to continue the typical mother and wife role set in her village of those times.  Mary and  her village are under the rule of King Herod, which the audience is informed is a puppet ruler of the Roans who has beheaded John the Baptist for preaching the Kingdom of God.  The Mary Magdalene character is present in the  4 Gospels of the new Testament that account for the life of Jesus on Earth.  The life of Jesus is in the background in the film with Mary as the protagonist.

The film’s setting is Galilee.   The cinematography is impressive and most of the scenes are spectacular to look at – with the lake in the background (according to the press notes) or sea (according to the Bible).  

MARY MAGDALENE fails for a number of reasons for two main reason – the miscasting and the fact that thesis one boring film.   Whenever Mara appears, despite her angelic face, one can always recall her bad ass roles.  The same can be said for Phoenix only worse.  It is totally laughable when Phoenix as Jesus starts preaching doing good deeds.  Director Davis also sues the film to promote the feminine cause – the role of women in society.  The film drags on with event after event that does not really connect the audience with the narrative.  No one really cares if Mary fall in love or marries her soul mate either.

The film has an eclectic cast that includes Tahar Rah as Judas Iscariot, Tcheky Karyi as Elisha and Chiwetel Ejiofor as Peter, one of Jesus’s disciples (I did not know Peter was black and that Judas was Arab).  One can understand current films striving to be politically correct to further the causes of feminism and racism.

For MARY MAGDALENE – see it for what it is worth, which is not much.  Better to spend your money on Easter eggs!


Film Review: SIR (India/France 2018) ****

Sir Poster
A prosperous young Indian man falls in love with his servant, a widow with the dream of becoming a tailor.


Rohena Gera


Rohena Gera

In the  bustling city of Mumbai, India, Ratna (Tillotama Shome) works as domestic live-in maid for Ashwin (Vivek Gomber), a man from a wealthy family.   When the film opens Ashwin, whom Ratna address as SIR throughout the film, has just returned home after his wedding had been cancelled.  Ratner and the other help are all recalled back to work, all wondering what had happened to their boss.  A glance at a TV show Ashwin is watching reveals some transgender program, implying that Aswin might be gay.  But it turns out that he is straight but not ready for marriage.    Although Ashwin seems to have it all, Ratna can sense that he has given up on his dreams and is somewhat lost… On the other hand, Ratna who seems to have nothing, is full of hope and works determinedly towards her dream.  Ratner’s dream is to become a fashion designer.   Ashwin’s is to be a writer.  Ashwin has written half a novel when he was in America studying.   As these two worlds collide and the two individuals connect, the barriers between them seem only more insurmountable.

SIR is a film about chasing once dreams with a dash of romanticism added.  But the film, though a crowd pleaser unfolds in an unconventional way in an unconventional setting that is at times astounding as audiences are often unaware of the cultural differences of people in India.  The film is shot simultaneously in Hindi and a bit of English.

The film’s best moment occurs in the scene where SIR tells his maid, Ratna to go follow her dreams.  It is a moment of transformation in the life of SIR or Ashwin where the defeated man suddenly sees hope in life to the point that he is now encouraging the one who had always been following her dreams.

The film also reveals the difference in class systems, especially for India where there is a different caste system.  A maid can never marry her employer not only for difference in wealth or social standing but because it is totally forbidden.  The secretly budding romance thus takes a completely different turn in this Indian story.

SIR is a film that ends in ways both predictable and unpredictable.  At least it does not turn up the traditional happy Hollywood ending.  It ends at a point where the two protagonists each enter a new stage in life where anything can happen.  And this is the wonder of life – and with all its surprises.

SIR turns out to be a beautifully told feel-good Cinderella story set in Mumbai that is enhanced by its culturally rich atmosphere.  An entertaining and surprise gem opening this week!

The film has won two major awards at Cannes including the prestigious Critics Week Grand Prize and numerous Audience Awards in film festivals around the world where it was shown including Amsterdam, Oslo, Portland, Minsk and Cabourg.


Film Review: LONG DAY’S JOUNEY INTO NIGHT (China 2018) ***

Long Day's Journey Into Night Poster

A man went back to Guizhou, found the tracks of a mysterious woman. He recalls the summer he spent with her twenty years ago.


Gan Bi


Gan Bi

LONG DAY’S JOURNEY INTO NIGHT is the title of the famous Eugene O’Neill play that takes place in a day of family squabbling – the day being just like any other day in the life of that family.  There is nothing in common with director Ban Li’s film and the Eugene O’Neill play, except for the title and that the days are long and hard for the film’s protagonist.

The film has an hour long 3-D version, so be reminded to pick up the 3D glasses.  The 3-D sequence, which made the film more well-known occurs when Luo, the central character enters a movie theatre and puts on his 3-D glasses.   When this happens, Luo enters a different world where progress in life can be attained.

The movie plays an important part of the film.  Life is mixed with truths and lies but movies, as Luo mentions (in voiceover) is all fiction.

Bi’s film flits through dreams, reality and imagination, often with blurry images thought the past, present and dreams.  It is occasionally hard to follow as the main character Luo shifts through through different times and reality.  Bi’s film has a loose storyline in which nothing much happens. 

The story follows Luo, a n aimless drifter who moves around the Chinese city of Kaili (Director Gan Bi’s first film was called KAILI BLUES).  Different people cross paths with him.  There is the dead friend who likely got murdered for his gambling debt, the dead friend’s mother (a cameo appearance by Sylvia Chang), a dog, a boy (Hong-chi Lee) he plays ping pong with and a girl, Kaizhen who he chases.

The film’s blurred and saturated images immediately reminds one of the films by Wong Kar-wei. though not as good, since Wong often had Christopher Doyle to do his cinematography.

For strict cineastes who enjoy moody atmospheric films in which nothing much happens, LONG DAY’S JOUNEY INTO NIGHT will satisfy.

The film has a special limited engagement at the TIFF Bell Lightbox and other cinemas around the city.


Film Review: THE GRIZZLIES (Canada 2018) ***1/2

The Grizzlies Poster

In a small Arctic town struggling with the highest suicide rate in North America, a group of Inuit students’ lives are transformed when they are introduced to the sport of lacrosse.

The film opens with the stunning wintry landscape of the Arctic North.  A good-looking indigenous teen is seen with his dog.  He shoos the dog away and points the barrel the rifle that he is carrying at the base of his mouth.  The shots fired.  The words on the screen then informs the audience that in 2004, Nunavut has the highest suicide rate in North America.  The film itself contains three youth suicides.

Director Miranda de Pencier proves in this beginning sequence she knows how to engage her audience.  The result is an engaging film based on a true story that serves as a feel-good night out at the movies.

THE GRIZZLIES (the name of the school’s lacrosse team) is an inspirational drama about a group of Inuit students in the Arctic where, in 2004, suicide rates were the highest in North America.  The main protagonist is rookie teacher Russ Sheppard (Ben Schnetzer).  He is shown naive as hell, arriving in the small Nunavut town of Kugluktuk, totally culturally unaware of the Inuit ways.  The students are also suspicious of him.  Russ does not give up.  But, upon embracing the sport of lacrosse, the teens evoke change in the teacher, themselves and the community.  The film feels like  TO SIR WITH LOVE with the lacrosse sport set in the Arctic instead of the United Kingdom.

The story includes problems faced in general by indigenous youth.  The drinking, drug taking and physical abuse are all topics that are included in the story.

  The film is true to its indigenous roots.  Over 600 kids from the Arctic auditioned for roles, including two 2019 CSA nominees (lead actor Paul Nutarariaq and supporting actress Anna Lambe) and up-and-comer Emerald MacDonald, all of whom play students.  The actors have experienced many of the same challenges as their characters, bringing a level of authenticity and sensitivity to the screen.   A good point to admire is the fact that one third of the film’s crew is Inuit. 

Tantoo Cardinal plays Janice the beleaguered school principal, with all the malice she can hold.  “The students might not show up in class as they might have other priorities.  We try to accommodate them as far as we can”  “I will whip them into shape,” says the new teacher to which her reply is: “You don’t have to talk up to me, just do your job.  The other local non actors also do a fine job especially the young actress playing a student, Miranda.

The film features original music by Indigenous hip hop artists, including 2019 CSA winners Dan General (DJ Shub), Thomas Lambe (666God), Adam Tanuyak (Hyper-T) for their song “Trials”.

Though critics might sneer at the film trying so hard at pushing the right buttons to be a feel-good movie, THE GRIZZLIES works well as a feel good film.  Unsurprisingly, it picked up audience awards at Calgary 2018 and Palm Springs 2019.  De Pencier also won the 2018 DGC award for directorial achievement of a feature.


Film Review: RAFIKI (Kenya 2018) ***

Rafiki Poster

“Good Kenyan girls become good Kenyan wives,” but Kena and Ziki long for something more. When love blossoms between them, the two girls will be forced to choose between happiness and safety.


Wanuri Kahiu

From the opening shots and song played during the opening credits, the audience can tell what will be following will be a very rhythmic film.  The spritely song and the colourful images (drops of water, skateboarding in the street, the animated colours) are all flashing as if in synchronization to the beats of the soundtrack.

RAFIKI offers lessons to learn about Kenya.  Not many North Americans are familiar with the customs, food, language, clothes, music, dance and life in general in Kenya.  On display is a totally foreign way of life though certain similarities like jealousies, romance and enmities exist.

Kena (Samantha Mugatsia) helps her father John Mwaura (Jimmy Garthu) run a small convenience store in Nairobi as he campaigns for a local election.  Kena lives with her mother, who is not on speaking terms with John.  Kena starts flirting with Ziki (Sheila Munyiva), a neighbourhood girl with colourful braided hair, who also happens to be the daughter of Peter Okemi (Dennis Musyoka), John’s political rival.  Kena and Ziki have a number of romantic dates, and quickly become very close, but there are tensions about displaying their affection in public because homosexuality is illegal in Kenya. 

This Kenyan film also also celebrates feminism.  The two girls make a pact never to be like the typical Kenyan women – a housewife bearing kids.

The film tackles quite the few issues including coming-out, same sex relationship, romance, and family drama.

There is one scene where Kena’s father tells her that she is going to lose his political seat because she is dating the oppositions’s daughter.  The argument does not make sense as the same could be said for the opposition having the same problems with his daughter.

Homosexuality is still not accepted in Kenya as is clear from the film.  The girls get beaten up by the villagers when they are discovered.  Kena’s mother believes that Kena is possessed by demons and she should be cured.  The father is a little more sympathetic.  There is also a male gay character in the film – and he is often made fun of and degraded in public by everyone.

The gay romance works.  Director Kahiu has got the audience connected with the plight of the two girls.  There are no same sex sex scenes except for kissing, which is just as well as graphic nude scenes would not have done anything different for the story.

The tacked on Hollywood happy ending goes against the flow of the otherwise sombre film.  But audiences should not complain as everyone wishes the best for these two girls for what they have endured.

What stands out and is most memorable about RAKIFI is the film’s rhythm that exists from the opening credits right to the film’s end, creating a smooth flow seldom noticed in other features.  

RAFIKI which premiered this year in the Un Certain Regard section in Cannes (the first film from Kenya to be screened at Cannes) will be playing at the TIFF Bell Lightbox for a special special engagement. Without the Bell Lightbox, small foreign films will never get a chance for distribution.


Film Review: HIGH LIFE (UK/France/Germany/Poland/USA) ****

High Life Poster

A father and his daughter struggle to survive in deep space where they live in isolation.


Claire Denis

Claire Denis’s films take on the recurring them of human conflict in different scenarios.  In her first and in my opinion best film CHOCOLAT, Denis looked at what happens to black and whites in a confined space in Africa.  In BEAU TRAVAIL, the foreign legionaries were examined for their actions and behaviours and in her latest, HIGH LIFE, the audience takes a look at astronauts (some of whom are hardened criminals) confined in a spaceship as they interact with each other.

The results of her latest film is a mix between genres, Denis’ style which makes for one of the most intriguing films of the year.  And Denis delivers in HIGH LIFE – a mix of horror sci-fi and human drama where anything can happen and does.  The film can be described as a mix between Stanley Kubrick and Andrei Tarkovsky and perhaps a little Ridley Scott.

The film is set in the near future.   A spaceship proceeds on a mission to find a new energy source.  Its destination: the black hole within closest reach of Earth. The ship’s crew is a collection of dangerous prisoners with nothing left to lose.  The first scene has Monte (Robert Pattinson), the only crew member awake, rigorously tending to the computer and life-support system to keep everyone alive as they hurtle through deep space.  Monte is also caring for a baby daughter who was born on board — an anomaly that is just the first sign of the chaos to come.  As Monte’s self-discipline slips, the crew awakens and conflicts erupt.  

The crew are as unpredictable as their travels through space.  The horrors are the unknown – both in  space and of the crew’s personalities.  The curiosity of the travel through the black hole works.  The molecular cloud that kills one crew member is particularly horrifying to watch.  As for the action of the prisoners, the film includes two rape scenes and a very violent beating.

The film boasts two stars, Robert Pattinson and Juliette Binoche who both play nasty characters.  Binoche plays a doctor who rapes one of the astronauts under sedation while he gets a hard on.  Another character also commits rape and is beaten to a pulp.  This is also one of Denis’ most violent films.

The atmosphere and production sets of the spaceship are stunning and one admires Denis for the marvellous futuristic look in her first futuristic film.

Make sure to stay for the end credits.  The song “Willow” (also the name fo the baby girl in the film) is a haunting and beautiful piece that deserved to be listened to in its entirety.  

Denis moves her film in a non time linear manner so the story flashes forward and back quite often.  The film might be a bit confusing at first till one sits down and pieces the puzzle together.  With that, it must be stated that HIGH LIFE should be seen a second time in order to appreciate the film’s worth.  And the film is well worth it.


Around Films will break the World Record with #Astrallstory


Around Films will break the  World Record with #Astrallstory 

BERLIN, GERMANY, April 18, 2019 – 

” Astrall Story ” is an ambitious international film project that attempts to break the World Record for “Most Directors of a Film”. 44 filmmakers from all around the world will be creating together a feature film to prove that we are all connected by the nature of Mother Earth with Collective Consciousness.

It will be the first film produced by a network of independent filmmakers who are the finalists of the Around International Film Festival.

 ” Astrall Story ” will show the togetherness of the universe driven by collective consciousness through a new interpretation of the four primary elements (Fire, Air, Water and Earth). 

Each filmmaker will write and direct his/her own segment of the movie in his/her country – by getting inspired by the user-generated content shared on Instagram ”Stories”.

To clarify it once again here, Instagram stories that shared by people who’d like to act in the film, will be the inspiration to 44 filmmakers for making their own narratives.

Everyone can take an active part in the creation process of the Astrall Story by being the 5th Element – the life force, by uploading a daily story on Instagram tagging #astrallstory and telling which elements define the individual character or personality the most and why.

The Instagram Stories are selected by the Around Films Network and Visioners, 44 finalist filmmakers will be interpreting the content to produce independently  2-3 minutes segments that are connected by the 4 elements. 

The final result will be a blend of different cultures, languages, influences to create a new visual language of thousands.

ARFF International Filmmakers have to face another exciting challenge by following the rules drawn up via Dogme 95 Manifesto by Lars von Trier, Thomas Vinterberg, Kristian Levring and Søren Kragh-Jacobsen to create the Dogma 2020 Movement altogether.


Astrall Story will set a world record by being the first feature film created by award winners of a film festival and earning the feature for ”Most Directors of a Film” by Around Films.

The finalist filmmakers of Astrall Story will be announced during the ARFF Berlin Event Ceremony through the film industry professionals on 8th of June 2019 at Babylon Mitte in Berlin. 

To get an idea of the works of the AstrallStory-Nominees their trailers can be watched on the Around Films website. The trailers are marked on the globe with the elements according to the birth date of the nominees and their location.

Around Films unites award winner filmmakers from all around the world to create the #Astrallstory by launching a crowdfunding campaign on starting on May 8th  till June 21st 2019 (for 44 days ).

The multi-director, one of it’s kind feature film will be produced in 2019 and will be distributed worldwide in 2020 with the contribution of the selected associate and co-producers, literally from all around the world.

For more information or to find out how you can contribute to #Astrallstory, 


Film Review: GIRLS OF THE SUN (Les Filled du Soleil) (France 2018)

Girls of the Sun Poster

A Kurdish female battalion prepares to take back their town from extremists.


Eva Husson


Jacques Akchoti (collaboration), Eva Husson (screenplay)

GIRLS OF THE SUN is director Eva Husson’s (BANG BANG A MODERN LOVE STORY) second feature, inspired by an actual Yazidi female combat battalion that took weapons in a fight against ISIS.  

The story follows ]an impassioned war correspondent, Mathilde (Emmanuelle Bercot), into the Daesh battleground of northwestern Iraqi Kurdistan, where she is embedded with a unit of female peshmerga fighters.  Led by Bahar (Golshifteh Farahani), the unit is made up of women formerly held captive — many as sex slaves (which the film emphasizes a few times)— by Daesh following the massacre of their husbands and the kidnapping of their children. Seamlessly weaving between the harrowing pasts that brought them together and their perilous present, Husson highlights the shared suffering that strengthens their bond and their will to fight to get their village, and their families, back.

GIRLS OF THE SUN is too obvious in its attempt to propagate the importance of feminine issues.  The theme of a woman reporter aided by women fighters escaping the brutal ISIS fighters should be enough of a theme to state that women are just as important as men and can do their job just as well if not better.has a child.  The child has to be a daughter.  When a General insists that enough men have been lost in the war, the female leader says corrects him to say that women have also lost their lives.  All them men are shown as either bumbling idiots, sex abusers and ugly brutes.  The females, however, are sympathetic and most of them are really good-looking.  It is all too easy to make the enemy so vulnerable and the women too strong.  The women also break out into song of Women, Life and Liberty. 

The French reporter can speak Kurdish.  The Kurdish leader can speak French.  Yet another case of making the story too convenient fo its own good. 

The fact that French reporter could have retuned home but instead stayed behind makes no sense, especially since she has a daughter back home. She ha already lost an eye (for audience sympathy) due to a war injury.  Has that not taught he a lesson yet?  She an even joke that losing one eye makes it easier to sleep and she volunteers for guard duty.  Really?

One can only feel sorry that this well intentioned female film with a solid plot idea has not achieved its goal.  To Husson’s credit, she had done enormous research for her film.  She  the encompassed work of filmmaker and journalist Xavier Muntz, who she met in October 2015 while he was documenting the Kurdish resistance to the jihadi insurgency.  Husson ultimately conducted roughly thirty hours of interviews with Muntz as part of her research to make the film. Muntz has a cameo playing himself in the movie.  I hate  to say this, but perhaps a male director would have done a better unbiased job.  


Film Review: HER SMELL (USA 2018) ***

Her Smell Poster

A self-destructive punk rocker struggles with sobriety while trying to recapture the creative inspiration that led her band to success.


Alex Ross Perry

Directed by Alex Ross Perry, who also produced the film with its star Elisabeth Moss, HER SMELL the film could also be re-titled HER STINK as this is a warts and all account (mainly warts, actually) of the lead singer, Beck (played by Moss) of a fictitious female punk group called ‘Something She’ – whatever the name means.  HER SMELL is the name of the club Something She is performing during the film’s opening act.

The members of ‘Something New” are Beck herself, and two others, Marielle (Agyness Deyn) and Ali (Gayle Rankin), who Beck constantly abuses and bullies until they finally freak out and give up on her.  Later, they sign of another 3-girl punk rock band.

If Beck does even show up for her band’s show, she will abuse verbally and occasionally physically all those around-her.  These also include her record label owner, Howard (Eric Stolz), her young daughter, a  toddler who she screams she is playing rocket with, tossing her into the air and at one point even falling to the ground and almost dropping her.  

Her husband or ex-husband, Danny (Dan Stevens) shows up with the daughter but clearly there is no chance of a re-conciliation due to Beck’s awful behaviour.  

Her band members are no angels either – snorting coke or screaming foul language.

The punk songs heard on screen are not half bad, and are originally written.

The film runs long at over 120 minutes, and director Perry seems to have given his star Moss Carte Blanche to do whatever she wants to do.  Moss delivers an uninhibited performance if it not electrifying is definitely unforgettable.  It is an Oscar worthy performance, though one would think the members of the Academy would want to give the award for a role so demented.  Moss is brave enough to show her ugly side.  Moss can be beautiful as at the end of the film or just plain ugly when she is nasty.  The camera reveals Moss ugly side – her sweaty palid skin full of zits and pimples.

The film’s plot is simple.  It shows the self destructiveness of Beck in Something She.  She finally gets the act together and achieves redemption which is largely due to the love of her daughter.  But the film has one main glaring flaw – the turning point.  For someone to make such a radical change from evil to super good, there must be a drastic event to cause the one hundred eighty degree change in behaviour.  This is missing.  One can also not understand the reason Beck’s boyfriend or mother (Virginia Madsen) continues to stay at her.

This is not the first movie about a self-destructive recording star – Bradley Cooper’s A STAR IS BORN, BOHEMIAN RHAPSODY and VOX LUX with Natalie Portman portraying an almost identical character being recent examples.  The question is whether anyone would want to pay good money to watch another caustic journey of a self-destructive female punk.  But I must admit that I was moved.