2016 movie reviews

Movie Review: PEOPLE OF NOWHERE (2016)

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MOVIE POSTERPEOPLE OF NOWHERE, 2min, Israel, Documentary/Music Video
Directed by Lior Sperando

Music Video about the wave of Syrian refugees who try to make their way into Europe.

Seen at the July 2016 Under 5min. FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Gripping, vivid and gut-punchingly real People Of Nowhere, directed by Lior Sperandeo (with huge credits to the Drone Operator Joel Davis and Music Design by Ravid Kahalani) is a sharp, powerful look at the Syrian refugee crisis. Coming in at just under two minutes, it is a testament to the skill of the filmmaker that such incredible emotion can be rendered by such a short piece. Shot with no dialogue but with exceptional sound design, the piece People Of Nowhere  showcases the seemingly endless masses of human life that arrives on coastlines when fleeing Syria.

Many times with clearly nothing but the clothing they are wearing, families clammer of their boats to safety. The viewers do not know their names, their stories, or from what specific hell they are fleeing from. We do not know what languages they speak, what their education level is, or if they know where they are going. We we can see is a rapid series of terrifying moments. Men pulling women (their wives?) off of beached rafts to safety, women reaching for and clutching children, babies screaming and being wrapped in thermal blankets, people of all ages being treated for shock, covered in scrapes and bruises, collapsing from exhausting, clinging to each other.

With the rapid-fire editing style and the quick succession of cuts, followed by the powerfully moving sound design, what stands out about Vito’s piece is the raw humanity of it. The viewer knows nothing about the people they are seeing, yet they are seeing everything about these people- their desperation, their motivation and their pain. The need for sheer, basic survival and the willingness to live and the lengths we are all able to go to in order to ensure the safety of ourselves and those we love.

Vividly colorful, powerfully edited and heartbreakingly beautiful, People Of Nowhere is a profound statement. One which ultimately begs us to remember that despite the chaos of our politics, we are all part of the same humanity.

Watch the Audience FEEDBACK Video of the short film:

Movie Review: I LIKE YOU, 2min, Italy, Drama/Romance (2016)

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MOVIE POSTERI LIKE YOU, 2min, Italy, Drama/Romance
Directed by Vito D’Agostino

A child falls in love with a girl, he is at an age where he does not know what love is, but he tries to explain what he feels with his heart.

Seen at the July 2016 Under 5min. FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Directed by  Vito D’Agostino with music by Chad Lewis I Like You is a childhood love story, a vivid imaginative account of the classic boy-meets-girl trope. Set against the poetic backdrop of winter, filled with mittens, ice skates, and winter nights set aglow with thousands of lights, a montage of loving moments are played out between boy and girl. The whole film, (save for the last scene) is enacted over the boy reading aloud his love letter to his love- words that are charming in the youthful innocence, yet poetically deep despite their simplicity.

I Like You is cinematic transportation to a world of romantic dreams. It exists in a place out of time- its space is inhabited by a world where we have not yet been touched by technology, not yet distorted by the bumps and scraps of life. It is the confidence of love when children are loving and in this way, deeply moving.

The film is beautifully executed with keen attention to detail. The casting was excellent. While the final image poses questions and leaves the viewer to answer them, the film is a study in beauty and the elusive love we all dream of knowing.

Critics of this piece may point to its resemblance to a Hallmark commercial, may comment on its singular male voice (for the female love interest has no lines) or even comment on its lack of diversity in casting. All of these things have accuracy in their own right. However, I will credit the production with this: from the initial image onward, I lived in the world of love the hero made. I was encapsulated and transported to a place where I believed love could conquer the impossible, and follow two people through their entire lives and beyond. In this way, despite its criticism, I Like You, holds the elements our dreams are made of.

Watch the Audience FEEDBACK Video of the short film:

GLEASON (USA 2016) *** Directed by Clay Tweel

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

gleasonGLEASON (USA 2016) ***
Directed by Clay Tweel

Starring: Steve Gleason, Mike Gleason, Scott Fujita

Review by Gilbert Seah

Clay Tweel’s GLEASON is a documentary that chronicles the journey of former New Orleans Saints football star Steve Gleason after being diagnosed with ALS at age 34. The doc was assembled from footage taken by Steve’s family, friends and caregivers.

Gleason became a local hero after he blocked a punt during the team’s first game at the Superdome following Hurricane Katrina – a play that resulted in a touchdown for the Saints and became a symbol of recovery for the city. He retired in 2008 and married New Orleans artist Michel Varisco. Three years later, the ALS news came, just as they discovered that Michel was expecting their first child. Given two to five years to live, he begins recording a video diary for his son.

GLEASON is not the first film made about football injuries. The 2012 Steve James documentary HEAD GAMES told Chris Nowinski’s story based on Nowinski’s 2006 book by the same name. Nowinski suffered multiple concussions during his career as a football player and professional wrestler, and he has been diagnosed with post-concussion syndrome. Nowinski has dedicated his life to advocating and researching brain trauma. It is no coincidence that Nowinski’s work has coincided with the plethora of lawsuits filed by former players alleging the NFL hid information regarding brain trauma.

GLEASON touches the subject of the course of his ALS and hints that it was likely due to football. But nothing more is said of the subject. One can only guess that Gleason’s father and him had put in more effort to possible faith healing than to go after the culprits.

The two most almost unwatchable scenes, involve him having to take a shit, aided by his loved ons and caregiver and an argument with him and his father. The father argues that if his son, Steve does not believe in faith healing, he will not be saved, while Steve cries his heart out that he truly believes he is saved regardless. Other ones like Steve’s venting on life or his difficulty in breathing are necessary.

But the hero in all this, apart from Steve Gleason achieving Obama’s bill on providing speech machines to ALs patients is his wife, Michel. Caring for both their son and Steve at the same time requires the patience of an angel. The most effective scene in the film is the one where the two lie in bed next to each other. Steve is complaining that she ignores him. But the audience can see that she is just tired and wants to be left alone and Steve will not let her. Her tireless patience is nothing short of angelic.

The film features two celebrities, the lead guitarist of Gleason favourite and, Pearl Jam and a glimpse of physicist Stephen Hawking, another victim of ALs.

As described as a warts and all documentary on Gleason’s life, the film concentrates more on the warts. GLEASON is a brutal watch with many segments almost unbearable.

GLEASON has won many praises including the Audience Award at SXSW 2016. It is the honesty of Gleason’s misery that have captivated the hearts of audiences.

 

 

 

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Film Review: SUICIDE SQUAD (USA 2016)

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suicide_squad.jpgSUICIDE SQUAD (USA 2016) *
Directed by David Ayer

Starring: Will Smith, Jared Leto, Margot Robbie

Review by Gilbert Seah

SUICIDE SQUAD is the third D.C. comics extended universe film, following the awful BATMAN V. SUPERMAN that barely made its money back from its costly production. SUICIDE SQUAD has so far received awful reviews, including this one from your humble reviewer. It has also been reported that Suicide Squad fans have petitioned to shut down Rotten Tomatoes after negative reviews.

The film has been reported to be rushed out to meet time schedules with lots of editing and rushed scripting by David Ayer (FURY). It shows!

The Suicide Squad initiative functions as an unorthodox work release program. The modern incarnation, the Suicide Squad, is an antihero “strike team” of incarcerated, death row supervillains. Acting as deniable, covert assets of the United States government, it undertakes high-risk, black-ops missions in exchange for commuted prison sentences. The group operates out of Belle Reve Penitentiary under the directorship of Amanda Waller (played with dead seriousness by Viola Davis).

The members of the squad in this film is taken from different the different volumes of the comic books. In the aftermath of Superman’s death in BATMAN V. SUPERMAN, intelligence operative Amanda Waller assembles a team of dangerous criminals – the deranged Harleen Quinzel (Margot Robbie), also known as “Harley Quinn”; elite hitman Floyd Lawton (Will Smith getting star billing), who longs to be reunited with his daughter Zoey; pyrokinetic ex-gangster Chato Santana (Jay Fernandez), who refuses to fight after accidentally killing his wife and children and opportunistic thief Digger Harkness (Jai Courtney) who is supposed to use his boomerang among others. Each member is introduced at the start of the film with a famous tine. Harleen is introduced with the song “Super Freak”; Lawton with “Spirit in the Sky” etc. The Suicide Squad are offered reduced sentences in exchange for their services and implanted with nanobombs so Waller can terminate them should they go rogue. Flag (Joel Kinnaman) leads the squad under instruction from Waller.

Though billed as a comedy action film, the film’s comedy lie mainly in the one-liners. THE SUICIDE SQUAD’s comedy is similar to that of GUARDIANS OF THE GALAXY. Margot Robbie and Oscar Winner Jared Leto (as the Joker) steal the movie. Leto is plain creepy delivering a performance of equal stature to Heath Ledger’s.

One of Waller’s recruits is Flag’s girlfriend, Dr. June Moone, an archaeologist who has become possessed by a malevolent spirit witch known as “The Enchantress” after touching a cursed idol. She and her brother form the villains of the film that have to be taken out by the squad in an extended action sequence in which a barely recognizable downtown Toronto (where the film is shot) is destroyed. (Dundas Square can still be recognized at least.)

Beware. Characters that die midway in the film can suddenly appear live and well in later parts of the film. There is a 2-minute meeting between Waller and Bruce Wayne (Ben Effleck) midway during the end credits, indicating that it might serve as an entry point to a sequel.

Like BATMAN V. SUPERMAN, SUICIDE SQUAD is plain awful. The 2 films contain the similar traits of being incoherent and a complete mess. If there are 10 D.C. comics films slated till 2020, heaven help the D.C. Universe!

Film Review: OPERATION CHROMITE (South Korea 2016)

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operation_chromite.jpgOPERATION CHROMITE (South Korea 2016) **
Directed by Lee Jae-han (John H. Lee)

Starring: Liam Neeson, Sean Dulake, Jung-jae Lee

Review by Gilbert Seah

In order to appreciate the film, a bit of Korean/American history is required. The first is a knowledge of the Battle of Inchon.

The Battle of Inchon was an amphibious invasion and battle of the Korean War that resulted in a decisive victory and strategic reversal in favour of the United Nations. The operation involved some 75,000 troops and 261 naval vessels, and led to the recapture of the South Korean capital of Seoul two weeks later. The code name for the operation was OPERATION CHROMITE, the title of this film. Though not seen in the film, the epic battle began on 15 September 1950 and ended on 19 September.

The battle ended a string of victories by the invading North Korean People’s Army (NKPA). The United Nations and South Korean forces were commanded by General of the Army Douglas MacArthur (Liam Neeson) of the United States Army. MacArthur was the driving force (heavily emphasized in the film) behind the operation, overcoming the strong misgivings of more cautious generals to a risky assault over extremely unfavorable terrain.

The plot of the film has General Douglas MacArthur and 8 South Korean troop members led by a South Korean Navy Lieutenant (Lee Jung-Jae) carry out a covert “X-ray” operation. The “X-ray” must succeed in order to carry out “Inchon” Landing Operation. The film concentrates of the X-ray operation and not the Battle of Inchon.

Nothing much is said of this covet X-ray operation in the history books, so a lot of the action going on in the film is likely made-up by the script which takes liberties to create a big budget action film. Extra sentiment is provided whenever possible for example in one scene, by one of the soldiers in the X-Ray operation meeting up with his wife and baby son. General MacArthur also adds his spill on how it is to grow old and hold on to ones principles.

The action segments (chases through the city amidst machine gun fire) are exciting enough but they tend to undermine the reality of a film based on historical events. The segment set on the eve of September 15 to secure a lighthouse, however, is clumsily done as it is hard to see what is going on in the dark of night.

OPERATION CHROMITE is more an action movie than a film based on historical events. The background of the film is the history lesson. Other than that, the group of men that have gone on fighting to make the Battle of Inchon and their exploits are hardly plausible. A parallel can be drawn of the about to be released ANTHROPOID on the real assassination of Rienhard Heydrich.

North Korea would be flabbergasted with premise, story and delivery of this South Korean propaganda piece. The film has already broken South Korean box-office records with an opening weekend box-office gross of $18.5 million on its $15 million production. South Koreans love the film. But the North Korean state-run outlet Uriminzokkiri called the film a product of “ridiculous bravado from ignorant lunatics”.

That said, OPERATION CHROMITE is a pretty bad war film. But for less discerning moviegoers who like that action heroes to be true to life, this film will be a hit, as already proven by the film’s box-office success.

INDIGNATION (USA 2015) ***** TOP 10

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indignation.jpg

INDIGNATION (USA 2015) ***** TOP 10
Directed by James Schamus

Starring: Logan Lerman, Sarah Gadon, Tracy Letts

Review by Gilbert Seah

INDIGNATION is the first feature of James Schamus, founder of Good Machine production company, and the CEO of Focus Features. He has championed classics like CROUCHING TIGER, HIDDEN DRAGON, FAR FROM HEAVEN and BROKEBACK MOUNTAIN. The film is based on Philip Roth’s novel of the same name, a powerful one based on the writer’s college days.

The plot of the film is simple. But the pleasure of the film is not in the plot but in the writing. Based on the Philip Roth novel, excellence can only be expected. A working class Jewish student, Marcus (Logan Lerman), leaves Newark, New Jersey to attend a small college in Ohio. There, he experiences a sexual awakening after meeting the elegant and wealthy Olivia (Sarah Gadon). Later he ends up confronting the school’s dean (Tracy Letts) over the role of religion in academic life.

Director Schmaus also adds his artistic touch. He frames the story with the killing of a soldier during the Korean War. (Roth served two years in the U.S. Army.)

Though the year is not mentioned, the film later reveals the time period through the college banner of ‘Class of 55’ when Marcus enrols on the college. As most of the film are interior shots, he places his camera often stationary, concentrating on the performances on his actors, with close ups and pullbacks.

SPOILERS: In the Philip Roth novel it is explained early in the book that Marcus is dead and telling his story from the afterlife. In the beginning of the film an American soldier is shot dead in the Korean war. The next scene has Marcus attending a funeral of a friend. The audience assumes that the dead soldier is Marcus’ friend. It is only at the end of the film that it becomes clear that the dead soldier was not Marcus’ friend but Marcus himself. Director Schamus achieved this rather brilliantly conceived trick cinematically. The audience had not seen Marcus’ face yet so the assumption is that of any soldier. At the film’s end, Marcus’ face is very familiar so the association become complete. Also the wallpaper in Olivia’s mental home of the vase with flowers is cinematic as the effect of the wallpaper (as seen by an audience) cannot have the same effect as the reading of the book.

The script by Schmaus changes the novel a bit. In the novel, Hawes D. Caudwell, the college’s dean (Tracy Letts) suspends Marcus after he refuses to attend double the chapel services (mandatory in the school) that he had missed. In the film, Marcus is seen serving in the Korean War. The audience is assumed to be smart enough to put two and two together that Marcus had been kicked out of college and therefore been drafted as a result into the U.S. Army.

The success of the film lies a great part to the performance of the lead actor playing Marcus, who is in almost very scene in the film. Logan Lerman (who has proven himself in the PERCY JACKSON films and other dramas like THE PERKS OF BEING A WALLFLOWER) displays acting capability and eloquence as in the film’s best scene with Dean Caudwell debating Bertrand Russell’s Christianity. His character is described by Dean Caudwell as intense. The same adjective can be used to describe Lerman’s performance. Linda Emond is also excellent as Marcus’ mother. Ben Rosenfield has a supporting role as Marcus’ roommate. When Marcus moves out of the room, the roomate’s longing stare at Marcus during the Chapel service could be taken as his closeted homosexuality.

Shamus has now proven himself as a superb writer and director. INDIGNATION is a thinking man’s film that is smart, entertaining and funny. It is cinematically excellent in all departments from wardrobe, art and production design and acting. I would highly recommend this film and would also gladly see it a second time.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
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NERVE (USA 2016) ****

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nerveNERVE (USA 2016) ****
Directed by Ariel Schulman and Henry Joos

Starring: Emma Roberts, Dave Franco, Emily Meade |

Review by Gilbert Seah

NERVE is a video game comedy/thriller/horror written by Jessica Sharzer based on her 2012 novel. Directors Schulman and Joos have previously made a documentary called CATFISH based on similar material. The video game NERVE is online reality based focusing on the dare part of ‘truth or dare’. Going on line with the underground app, one can click on ‘watchers’ or ‘players’. Players make money as they complete dares suggested by the watchers who pay to watch their players.

Enter into the game high school senior Venus Delmonic aka Vee (Emma Roberts). Fed up of being her best friend’s (Emily Meade) sidekick, Vee becomes a player for VERVE. She is caught up in the game with fellow-player Ian (Dave Franco) who has a secret. The film plunges Vee and Ian deeper and deeper until they become prisoners of the game. The climax of the film where all the watchers gather is somewhat similar to how raves were organized in the past. The film is incredibly real and current in today’s youth scene.

The film begins like a teen comedy with the girls acting like another version of MEAN GIRLS. Once Vee enters the game, directors Schulman and Joos slowly and effectively alter the mood to thriller and finally to horror.

The film contains a few very funny scenes as well as a few really suspenseful ones. The funniest line heard in a film by me this year comes in the hospital scene with Vee’s mother (played by Juliette Lewis, one of my favourite actresses). The suspense scene is high-octane fuelled as Vee and Ian complete a dare riding a bike blindfolded at 60 mph.

Dave Franco, shows here that he is capable as a lead of carrying an entire film. The actor has only done supporting roles in the past. He and Emma Roberts make good romantic chemistry. The kisses are done old movie style with lip smooching rather than with tongue. Here, it is apparent that the directors are aiming at a less restricted rating. The film is also noticeably absent form blood and violence despite the film’s theme. The best thing too is that the film contains a message about video games, though quite obviously stated at the climax of the film and more subtly put forward during a dramatic argument between Vee and Sydney.

American rapper MGK does an excellent job in the small but important role of Ty, a psychotic NERVE player who makes it to the finalist.

With all the hype on video games like POKEMON GO, NERVE arrives at the best timing possible. If the film seems far-fetched, it isn’t. There is an app called “Periscope” half similar to NERVE that emerged half way during the filming of NERVE.

NERVE is a very clever film released by Lionsgate famous for THE HUNGER GAMES and TWILIGHT franchises. This is definitely a film that caters to the same target audience and with some luck and good marketing, the desperate-for-a-hit studio will hit the big bucks with this film.

 

 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

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LACE CRATER (USA 2016)

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lace_crater.jpgLACE CRATER (USA 2015) **1/2
Directed by Harrison Atkins

Starring: Lindsay Burdge, Peter Vack, Betsey Brown

Review by Gilbert Seah

LACE CRATER is a low budget indie romantic supernatural comedy/drama/horror about a young woman, Ruth (Lindsay Burdge) having sexual relations with a ghost.

It all begins when Ruth and her pals head out to the scenic Hamptons for a weekend of fun. The fun includes getting drunk, sitting in the hot tub and joking around. Ruth ends up sleeping in the guest house which Andre (the host) claims to be haunted. That night a drunk Ruth has a visitor. Yes, the ghost (Michael Vack) is not too bad looking. (The last time friends sat in a hot tub they went through time in the Hot Tub time machine.) To make matters worse, Ruth contacts STD from the ghost as well.

Atkin’s film plays weird funny. The best way to describe it is the scene where Ruth meets her doctor about to take her blood. “Hope you’ve enough to spare.” When Ruth gives the doctor an odd look, he confesses that it is a joke and that he has tried standup comedy. LACE CRATER plays its comedy whether the audience gets it or to, and mainly plays in the way the story unfolds.

It would help connect the audience to the film if director Atkins made Ruth a more sympathetic character. Ruth is just there, having the ‘roll in the hay’ with the ghost and that is it. Nothing much is also known about Ruth’s background.

Near the end, writer/director turns up the angst with Ruth’s behaviour. It is here that the film slides into creepy horror. Ruth barfs black stuff all over the floor at a party, freaks out and goes back to the guest house to meet the ghost. This is where the film falls apart. Atkins starts to take the film too seriously, complete with explanation what happened to the ghost before he died. The rules are dealt out, the ghost says and he has to take them without question. Really? Atkins implies the same for his film. The only difference is that the audience need not have to take them.

LACE CRATER played last year at the Toronto International Film Festival in the Vanguard section. The Vanguard section is the festival’s oddest section where the weirdest films often uncategorized fall into. LACE CRATER clearly falls in this section. Be prepared for LACE CRATER, whether you get it or not!

What happens when you have sex with a ghost? One can google the answer or watch this film. The former appears the better solution. Atkins also leaves LACE CRATER with a open ending with still questions unanswered.

The film opens this week in NYC and is available now on VOD.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
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Movie Review: Café Society (2016) Directed by Woody Allen

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cafe_societyCAFE SOCIETY (USA 2016) ***1/2
Directed by Woody Allen

Starring: Jesse Eisenberg, Kristen Stewart, Steve Carell, Corey Stoll

Review by Gilbert Seah

In Woody Allen’s new romantic comedy, Allen transforms into Humphrey Bogart through Jesse Eisenberg. The famous CASABLANCA story is retold, Allen style with the hero falling in love with two women but giving his first love up as Bogart gave up his love for Ingrid Bergman in the famous closing scene.

CAFE SOCIETY is Allen’s tribute to old Hollywood, its people and its glamour. The tribute takes the form of the coming-of-rites passage story of young Jewish NYC boy, Bobby Dorfman (Jesse Eisenberg). Bobby leaves his family in NYC hoping to find a new life in Hollywood with the help of his successful Uncle Phill (Steve Carrell) – the hottest talent agent around. In the process he falls in love with his Uncle Phill’s secretary, Vonnie (Kristen Stewart) who is having an affair with Phill. Vonnie finally decides to marry Phill (the older gent always gets the younger girl in Woody’s films, e.g. MANHATTAN and in his real life). Bobby discovers he prefers NYC and returns home, eventually settling down by looking after his gangster uncle Ben’s (Corey Stoll) nightclub. He falls in love and marries Veronica (Blake Lively). An unexpected visit from Phill and wife Vonnie stirs up memories just as Ingrid Bergman’s visit to Bogart’s nightclub in Casablanca did.

CAFE SOCIETY is not the best of Allen’s films but it is not without its delights. For the especially Allen fan, there is much to enjoy in terms of film references. For one, this is Allen’s second tribute to Bogart after his play and film PLAY IT AGIAN, SAM. Allen gets to narrate his own film, putting a good perspective of where everything is going. He is s too old to star in his films and he knows it. Eisenberg makes a new younger Allen, complete in diminutive stature, manners and outfits.

Bobby’s belted baggy Khaki pleats are similar to those often worn by Allen in his films like ANNIE HALL and MANHATTAN. In one scene where Eisenberg says, “I am opening a bottle of wine to let it breathe,” he even sounds like Allen. Though CAFE SOCIETY is less subtle at times, for example in the use of the melody of “I Only Have Eyes for You,” during the last meeting between Bobby and Vonnie, CAFE SOCIETY still succeeds as one of Allen’s romantic comedies.

Allen attracts the best cinematographers like Oscar winners Gordon Willis Jr. and Janusz Kaminski. CAFE SOCIETY is beautifully shot by 3-time Oscar winner Vittorio Storaro (THE LAST EMPEROR, REDS, APOCALYPSE NOW) as evident in the ceiling view of a New Year’s party and in all the exterior shot segments.

CAFE SOCIETY is Allen in comedy mode though the humour is less manic or absurdist but more subtle, more profound. Some examples include a Hollywood writer introducing himself to Bobby at a party: “You have never heard of me, I am a writer”, or “Timing is everything in life!” But the key quote of the film is Allen’s description on life: “Life is comedy but written by a sadistic comedy writer.” The film’s funniest line is as in his other films, one that pokes fun at being Jewish. Bobby: “I’m a bit drunk. I don’t usually mix champagne with bagels and lox.” Yes, if everything else fails in Allen’s film (which doesn’t here), there is always his humour.

CAFE SOCIETY, though not Allen’s best, still comes with high recommendations.

Film Review: LES INNOCENTES (THE INNOCENTS) (France/Poland 2016)

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the_innocentsLES INNOCENTES (THE INNOCENTS) (France/Poland 2016)

Directed by Anne Fontaine

Starring: Lou de Laâge, Agata Buzek, Agata Kulesza |

Review by Gilbert Seah

The nuns in a convent during World War II are THE INNOCENTS referred to in this film, based on a true story.

Anne Fontaine (her last film COCO AVANT CHANEL) is a director who has made her name in making films about women. Her most notable film was DRY CLEANING, my favourite one of hers, in which she dished out a delicious dose of devilishness without being too serious. THE INNOCENTS is her most serious film.

It is Warsaw in the December of 1945 when the second World War is finally over. But the problems are not. When the film opens, a young French female doctor, Mathilde (Lou De Laâge) is treating the last of the French survivors of the German camps. When a panicked Benedictine nun appears at the clinic one night begging Mathilde to follow her back to the convent, what she finds there is shocking: a holy sister about to give birth and several more in advanced stages of pregnancy. Russian soldiers have raped the nuns who are now facing both the shame of exposure and a crisis in their faith. And they have deal with their pregnancies and their babies afterwards. Being nuns, they are totally new to the concept of birth. But worse of all, their strict Rev. Mother (Agata Kulesza) is not helping.

The film is beautifully shot by cinematographer Caroline Champetier. The luscious white snow on the ground, the woods, the middle of winter contrasted are contrasted with the dark corridors of the convent. The haunting music by Grégoire Hetzel is excellent and one wishes that the soundtrack be played a bit louder for it to be more appreciated.

But the narrative is not as strong as one might expect a story of this nature to be. One reason is the lack of a clear point of view. Though the majority of the film is told from Mathilde’s perspective, the film occasionally shifts to nun Maria’s and the Rev. Mother’s views. But the script also fails to establish the strength of the nun’s faith. The nuns and Rev. Mother appear not only helpless, but undetermined to have any self will to fight. All they do is pray and say it is God’s Providence in the midst of all the troubles. The fact that they are this helpless and unwilling to help themselves makes them more pitiless which undermines the power of the story.

The camaraderie between Mathilde and her co-worker, a French Jewish doctor (Vincent Macaigne) provides some needed distraction from the over-serious proceedings. But Vincent claims (and he improbably correct) that he is too ‘ugly’ for Mathilde. His romantic advances are not returned.

Fontaine’s film also ends up over sentimentalizing as in the births of the new born with too many shots of smiling nun faces. The message of Fontaine’s film comes out muddled. It is a pity as Fontaine has put in a lot of effort into this piece of work.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

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