film reviews

Interview with Stephen Byrne (WATERFORD FILM FESTIVAL)

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The Waterford Film Festival was established in 2007 by local filmmaker Stephen Byrne. His objective was to bring something new to Waterford’s arts and cultural scene, promoting local, national filmmakers and writers, but in particular independent film.

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1) What is your Film Festival succeeding at doing for filmmakers?

The Waterford Film Festival is a big supporter of short films and especially independent films. We screen a mixture from 1st time filmmakers to award winning films and have done so since our foundation in 2007. We also hold a short screenplay competition and this part of the festival is to support the writers.

Since the foundation of the festival, we have screened 500+ films from filmmakers around the world as well promoting writers with the short screenplay competition. Filmmakers from across Ireland, UK, France, Germany, Holland and as far as Canada and USA have attended the festival.
The festival has awarded prizes worth in excess of €35,000 with our partners at FilmLab, since 2007.

2) What would you expect to experience if you attend the festival this year (2018)?

This years festival we are in a new venue for us called Central Arts, which caters for a lot of different events throughout the year. This years event will be an intimate setting but we are also trying something new. The venue itself allows alcohol in the screening room so we want to bring that element into the festival.

The idea of seeing a wide range of national and international short films of different themes and genres while you sit back and enjoy a beer or a glass of wine, we feel will be a very enjoyable experience for all whom attend. We are currently working on our plans but we aim to put on a series of different events over the course of the 3 day festival.

3) What are the qualifications for the selected films?

There are a number of different reasons. We get several 100 submissions every year and the decision is never easy as there is a great body of work out there. We aim to have a variety of national films, foreign films from professional filmmakers to student and 1st time director/writer/producers. A strong story and well written script would be a big factor. We consider all films up to 20 minutes.

4) Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

As an independent filmmaker myself I have had my work both accepted and rejected from film festivals, so I do have experience from being on the under end of things as well. There are many legitimate reasons that a film may get rejected from a festival. However I do think some film festivals and especially the big ones in, may be biased in certain cases. For example a big film festival may have influence from powerful producers and distribution companies.

My advice would be to do your research before submitting to a festival and the type of films that they have screened there in the past but also keep in mind there is a lot of competition out there. Certain festivals have mixed themes while others have a theme that may suit their project.

5) What motivates you and your team to do this festival?

When I founded the festival it was may objective to bring a world of film to the Waterford scene, to support independent film and it still is. The love of film and being apart of something where we get to view and screen films from all walks of life with different themes and to provide a platform for filmmakers is a major motivator for us. We enjoy the process of seeing so much talent and meeting a lot of great people during the event itself.

6) How has your FilmFreeway submission process been?

The festival is new to FilmFreeway and so far it is great. The system for us is very easy to use , to manage and judge the projects. Since we opened for submissions we have had entires from Ireland, UK, USA, Japan, Australia , Germany, France, Italy, Lithuania and surprisingly Iraq which is fantastic to see. The festival does get international films every year, however so far we have seen an increase from them and from more countries this year. We are looking forward to watching the projects and providing a wide variety of national and international film screenings at this years event.

7) Where do you see the festival by 2023?

Honestly hard to tell. Even though the festival is successful in many ways in the terms of the amount of submissions we get and we always get a good audience, our funding is very limited. We take one year at a time. It is my hope that we can keep it going, build it up and expand the series of events that put on.

8) What film have you seen the most times in your life?

Ha tough one! I have watched a lot of films many times over the years. Up there would be Shawshank Redemption, the Godfather, Back to the Future trilogy

9) In one sentence, what makes a great film?

A well written story with strong developed characters, performed by excellent actors.

10) How is the film scene in your city

Waterford has many beautiful spots for filming in the City and County. There is a lot of talent out there in the short film scene but in terms of funding for films it would be behind other cities in Ireland. There are people in the filming community who are working together to try and improve this and encourage filmmakers to use Waterford as a location, which is great to see. However In my opinion more investment is needed but I think within 5-10 years the overall scene will be bigger and hopefully we will see more filmmakers using Waterford as a filming location in the future.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.

Film Review: DEADPOOL 2 (USA 2018) ****

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Deadpool 2 Poster
Trailer

Foul-mouthed mutant mercenary Wade Wilson (AKA. Deadpool), brings together a team of fellow mutant rogues to protect a young boy of supernatural abilities from the brutal, time-traveling mutant, Cable.

Director:

David Leitch

Writers:

Rhett Reese, Paul Wernick | 3 more credits »

Stars:

Josh Brolin, Morena Baccarin, Zazie Beetz

 

DEADPOOL 2 arrives 2 years after the first DEADPOOL, the 11th film in the X-Men film series.  The important question on everyone’s lips is how this film fares with regards to the first DEADPOOL and the recent Marvel films like BLACK PANTHER and AVENGERS INFINITIY WAR.  Well, it is different and notably raucously hilarious. Co-written by star Ryan Reynolds himself who did a bit on his own character’s dialogue, there are lots of swearing, so be prepared to be hearing lots of vulgarities like “fuckshit”.

DEADPOOL (Reynolds reprising his original role) is the wisecracking Marvel Comics mercenary with accelerated healing but severe scarring over his body after undergoing an experimental regenerative mutation.   He forms the X-Force, a team of mutants, most of which hilariously die while unsuccessfully parachute landing in an attempt on the job to rescue Russell (Julian Dennison), a boy Deadpool befriended while in prison.  Foremost in the story is the character of Cable (Josh Brolin) a time travelling cybernetic mutant soldier who wishes to kill Russell.  It should be noted that DEADPOOL 2’s humour is in the extreme, from fake opening credits to ridiculous subplots to senseless dialogue.  To the credit of everyone making this movie, it actually works.  It took me a while to get into the film’s groove, admittedly a full 15 minutes or so (I initially hated it, thinking it all too silly, but the tactic grows into you quickly and the effort is soon appreciated and thoroughly enjoyed.)  The laugh-out loud jokes are too many to innumerate but there are prize one like the inside joke on Disney’s Frozen (since Disney has recently bought over Fox) and a running joke that makes no sense on the progress of dubstep.  The soundtrack that includes two new songs: “Ashes” by Céline Dion and “Welcome to the Party” by Diplo, French Montana and Lil Pump are especially inventive.  Those who have seen/heard “Ashes”, released as the lead single on May 3, 2018, along with a music video of the vocalist singing the song will still be laughing.

Star Ryan Reynolds is perfect as the hilarious Deadpool.  He makes the character including the dialogue he wrote.  He was given large creative control over this film after the success of the first one that resulted in the leaving of the original’s director Tim Miller due to artistic differences.  Josh Brolin plays Cable marvellously, as Brolin does in all his roles.  Brolin was also in the last recent Marvel film AVENGERS INFINITY WAR playing the main villain Thanos.  Fortunately, the makeup of Thanos results in Brolin hardly recognizable or that would have been a problem with Brolin being in two Marvel stories.  Familiar characters from the first DEADPOOL like Morena Baccarin as Vanessa, Karan Soni as Dopinder, the taxi driver, Leslie Uggams as Blind Al (the fake opening credits has her listed as the film’s cinematographer) and T.J. Miller as Weasel, Daedpool’s best buddy bartender who has absolutely no loyalties are in the sequel.  Miller is good in this movie but was almost removed from the film due to alleged sexual misconduct and calling in a fake bomb threat during the movie filming.

DEADPOOL 2’s looks very expensive with great CGI and special effects.  The fight scenes are particularly stunning with humour always present.  Action and hilarity mix well in the funniest of the Marvel franchise.

Make sure to stay for the closing credits as they include a few extra scenes including surprises such as who is listed playing “Vanishing Man.”  The film also sets up for the next continuing film X-FORCE which may or may not be a direct sequel to DEADPOOL 2.

Trailer: https://www.youtube.com/watch?v=D86RtevtfrA

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Film Review: THE CHILD REMAINS (Canada 2017)

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The Child Remains Poster
An expectant couple’s intimate weekend turns to terror as they discover their secluded country inn is a haunted maternity home where infants and mothers were murdered.

Director:

Michael Melski

Writer:

Michael Melski

Stars:

Suzanne Clément, Allan Hawco, Shelley Thompson

 

The words ‘Inspired by True Events’ splashes on the screen at the film’s start.  This of course, can mean very little these days but here this means something as the film’s plot is actually based inspired by the early 20th century “Butterbox Babies”.

The story centres on a couple, Rae (Suzanne Clément) and Liam (Allan Hqwko).  Hawko is a music songwriter trying to make it in the music business while Rae is an expecting journalist suffering from Post Stress Traumatic Disorder (disorder that develops after exposure to a traumatic event or experience with symptoms that may include flashbacks, nightmares and intense feelings of fear or horror).  Their intimate weekend turns to terror as they discover their secluded country inn is a haunted maternity home where infants and mothers were murdered.

The film has a slow and moody first half.  Not much happens and what transpires on screen is predictable.  All that happens is  the discovery of the Inn being the former Mercy home by the pregnant guest where babies are taken away unknowingly from unexacting unwed pregnant mothers.   Director Melski uses the screen time to create a menacing atmosphere for the visiting couple.  The woman is a journalist (how appropriate as this allows her to have an investigative nature as well access to archive news) who suffers from PSTD (how appropriate as this allows her to have hallucinations)

Shelley Thompson from ‘The Trailer Park Boys” deserves credit for her role as the inn’s manager, Monica.  She is always cheery, appearing at times when least expected or when most inconvenient to her guests.  There is always something creepy about a person who always has a wide smile on her face, and Thompson nails this creepiness 100%.  Multiple Award winner Quebec actress Suzanne Clément, best known for her roles in Xavier Dolan’s films is also a pleasure to watch as the tortured character.

The film contains an unexcited twist in the plot at the end (when the audience realizes what the title of the film refers to – quite clever).  Trouble is that it is quite unbelievable for the reason that for it to happen, it will be too much of a coincidence.  The film, besides being a psychological thriller is also a ghost story so one also has to believe that ghosts not only exist but come out of the woodwork to harm the characters.

Despite all that is going for Melski’s film, THE CHILD REMAINS fails to engage the audience in its tale for a number of reasons.  The first is credibility.  The two items of  supernaturally and true events do not go together.  The other is Melski’s display of his protagonist, Jen’s character. In one scene, she is shown handing over the ointments in her room because they are chemical, which is a rude gesture.  She could have just left the ointments in the room.  In another, shed closes her lap top when Shelly is looking at the image of her baby in her womb, which is another rude gesture.  She also snaps he boyfriend and nags once too often, which makes one wonder the reason he is still putting up with her, and especially when she has PSTD.  If Melski wants the audience to route for his heroine, he should have her display a more likeable personality.  When all the plot points are finally revealed, Melski unfortunately turns his film into a horror slasher flick.

The film sends a a new meaning to the words “Inspired by True Events”.   The story may be inspired by true events but it may be totally hokum!

Trailer: https://www.youtube.com/watch?v=cqtjq51pLzw

 

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Film Review: ANOTHER KIND OF WEDDING (Canada 2016)

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Another Kind of Wedding Poster
Trailer

A fractured family is forced to confront what tore them apart at the eldest son’s wedding.

Director:

Pat Kiely

Writer:

Pat Kiely

Stars:

Kevin Zegers, Jessica Paré, Kathleen Turner

 

Close on the heels of the French WEDDING comedy C’EST LA VIE (LE SENS DE LA FETE) arrives another, thankfully with a slightly different take on weddings.  ANOTHER KIND OF WEDDING (formerly entitled SOMEONE ELSE’S WEDDING) combines the wedding romantic comedy with the dysfunctional comedy/drama genres with an all-star ensemble cast headed by Kathleen Turner, who in her glory days captured the hearts of moviegoers with her best films like PEGGY SUE GOT MARRIED, BODY HEAT and WAR OF THE ROSES.   Pat Kiely directs from his own script.  Here, she is still her fiery self, spouting strong language.  Her date at the wedding is played by Wallace Shawn (THE PRINCESS BRIDE, MY DINNER WITH ANDRE) who looks better with age.

ANOTHER KIND OF WEDDING follows a fractured family as they are forced to confront what tore them apart at the eldest son’s wedding.  Matthew (Jacob Tierney) and Louisa (Jessica Parker Kennedy) are about to celebrate the biggest day of their lives, but fate has something else in store – the perfect venue in Montreal to hash out all family conflicts.  Matthew’s good looking, sleeping around stepbrother Kurt (Kevin Zegers) has gone to bed with a lot of ladies including the bride.  Trouble follows and stays!  As the film progresses, more skeletons come out of the closet.  Then, there is also enmity between the two mothers of the groom and bride.

It is good that Kiely’s script celebrates Canada in this Canadian film as opposed to many other Canadian films that pretend that it is set in the States for a larger target audience.  The wedding is held in Montreal and there are lot of Montreal streets and shops on show.  (The film is shot largely in Montreal.)  The script also pokes fun of the lesser known cities (“Who would want to spend a whole week in Kingston?) while praising others like those around the Georgian Lake area.

The film unfolds backwards occasionally to explain a set of circumstances.  Whether this tactic works depends on the individual.

The film’s comedy is not all that funny.  Quite a lot of the humour is laid on the Kathleen Turner character, with her rebuttals supposed to be biting, sarcastic and clever.  These do not always work.  The romantic comedy element does not work either, coming across as predictable as a Harlequin novel.  Of course, all works out at the end with the wedding as its climax.

The cast is diversified enough with Kathleen Turner getting top billing.  But she is reprising what she is famous in, from her past films, and she is clearly past her prime.  Kevin Zegers does a good though predictable turn as the wedding party’s main ass-hole, the one who has had a relationship, unknown to his brother with his bride earlier.

ANOTHER KIND OF WEDDING fails to be either a drama on the dysfunctional family or a romantic wedding comedy.  The film lingers in between both resulting in a mediocre forgettable film.

Trailer: https://www.youtube.com/watch?v=sc2RHludA6c

 

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Film Review: POPE FRANCIS: A MAN OF HIS WORD (Germany and other Countries 2018) ***

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Pope Francis: A Man of His Word Poster
Trailer

Director:

Wim Wenders

Writers:

Wim Wenders (screenplay), David Rosier

Stars:

Pope Francis, Recep Tayyip Erdogan, John Kerry

 

Right hot from the Cannes 2018 premiere, Wim Wenders’ POPE FRANCIS: A MAN OF HIS WORD arrives in Toronto.  Watching the film in the comfort of Toronto without the hassle of going to a too-busy film festival at Cannes is my personal preference.

German director of fictional films and documentaries, Wenders  has made docs like THE BUENA VISTA SOCIAL CLUB, PINA and SALT OF THE EARTH that are most remembered.  As in all his films, Wenders films are beautifully shot.  

It should be noted that POPE FRANCIS: A MAN OF HIS WORD is not a biography of Pope Francis.  Nothing is mentioned of his background (except that he came from South America), his education, learning, childhood or family.  Instead, as Wenders must have been given Carte Blanche access to the pontiff’s interviews and journeys, the audience is given the freedom and opportunity to make up their minds for themselves with regards to his aspirations from the footage seen on screen.  At times, Wenders allows Pope Francis to deliver almost an entire sermon on film, thus forcing the audience to feel exactly how his Catholic congregation would have felt in a church. The camera also lingers on the congregation from the little poor people to the congressmen – and how they are mightily moved by his sincere words.  The Pope is shown not to be a great orator, but one who carefully chooses his words.  His sincerity and speech content make the difference.

Unlike other Popes in the past who are almost too frail to make an appearance or travel around the world to inspire, Pope Francis is clearly aware of the current world affairs.  His commitment to saving the Planet Earth is observed in many instances.  He travels to the Earth Conferences around the world and speaks some powerful words.  “The poorest of the poorest is Mother Earth,” he preaches in one of the film’s most moving segments.  “She has been plundered.  She has been abused.”  On other matters such as homosexuality, he is unfortunately, less firm.  He gives an ambiguous reply saying that: “if a gay man does no wrong, who is he to judge?”

Among the Pope’s trips, the audience gets to see a Pope’s eye view of a Brazilian street mass, a Central African Republic children’s hospital, a Philadelphia prison, a Greek migrant camp, the UN, a joint session of Congress and a Jerusalem Holocaust remembrance ceremony.  The most moving of these is the segment of the Greek migrant camp, whee he goes about kissing individuals as they reach out to touch him in response. 

Wenders’ doc POPE FRANCIS proves that more can be learnt about the Pope by following the person during his meetings, speeches and journeys than from his background or interviews of his friends and family.  In this doc, one cannot help but admire Pope Francis not only as a Pope who has inspirational ideas but one that is intent to make a difference in the world from his holy position.

Trailer: https://www.youtube.com/watch?v=MOmY8i-uBcY

 

 

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Interview with Festival Director Nicole Manoochehri (Los Angeles Dance Short Film Festival)

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Los Angeles Dance Shorts Film Festival is a festival featuring dance films that are under ten minutes. The 2nd annual festival is taking place on June, 23rd 2018 and features a night of dance film, networking and a filmmakers Q&A.

 Website: http://www.ladanceshortsfilmfest.com/

Instagram: https://www.instagram.com/ladanceshortsfilmfest/

Facebook: https://www.facebook.com/ladanceshortsfilmfest/

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers? 

Nicole Manoochehri: Giving filmmakers and dancers the opportunity to share their films in front of an audience, making connections and having the chance to speak about their films and the genre of screendance. 

What would you expect to experience if you attend the festival this year (2018)? 

A relaxed environment where you can grab a hot beverage and pastry from the cafe, watch dance films in the adjacent screening room, hopefully have a great time, learn something and bond with other dance film lovers. 

3) What are the qualifications for the selected films? 

Simply, dance under ten minutes. 

4) Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

Since becoming a festival director, I have realized that there are so many factors to take into account when considering a film for the festival’s program. We only have a limited amount of time available and we try our best to fit as many films in that slot as possible. I know how much goes into filmmaking and I really wish we could screen every single film that we receive. Especially with dance films, you are looking at art. Art is subjective. When it comes down to it, everything is just an opinion and as an artist myself you always have to remember to take nothing personal and just keep doing what you do best “Create”.   

5) What motivates you and your team to do this festival? 

When we start receiving submissions from around the world and I see these amazing films. I want to promote the films and the artist to the best of my ability and spread an awareness of dance films. It really can be a powerful and beautiful form of storytelling. 

6) How has your FilmFreeway submission process been? 

FilmFreeway is great! We use it exclusively for our festival. I like to have everything in one place. It is my submission site of preference when submitting as well so I’m a huge fan here! 

7) Where do you see the festival by 2023? 

Hopefully, still around! Seriously though, I hope that in five years we have grown as a festival but still have the same vibe as when we first started. The goal would to be able to create more opportunities for the filmmakers and dancers. I would love to have multiple screenings with a full house in every single one! 

8) What film have you seen the most times in your life? 

 “Amélie”. Love that film! 

9) In one sentence, what makes a great film? 

A film that is thought provoking. 

10) How is the film scene in your city? 

We are located in Los Angeles so the film scene is pretty popping! As far as the dance film scene goes, we are one of only four dance film festivals. Three (including us) have started in the last couple of years so I feel like the screendance scene is definitely growing here! 

ladance1

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.

Film Review: KUSAMA: INFINITY (USA 2018) ***

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Artist Yayoi Kusama and experts discuss her life and work, from her modest beginnings in Japan to becoming an internationally renowned artist.

Director:

Heather Lenz

Writers:

Heather Lenz, Keita Ideno (co-writer)

Star:

Yayoi Kusama

 

When I was a kid reading conic books, one of my favourites was a character from the Harvey Comics Richie Rich Group called Little Dot.  Little Dot was a little girl completely obsessed with dots.  Not only was her name dot, but she always wears a polka dot dress and goes around doing everything related to dots.  Who would think that there is actually such a real life character in the world.  And in the art world, too.  This dot obsessed person is dot artist Yayoi Kusama.  In her own words in this eye-opening film: “My life is a dot among millions of dots in the Universe.”  Kusama is also revealed to be a bit dotty, spending a fair portion of her life in a mental institution in Japan.

A rival of Warhol in the ‘60s, Kusama battled sexism and racism in America while her hallucinations of polka dots eventually led her to the Tokyo mental institution.

Yayoi Kusama is a Japanese born painter who made it big and famous in America.  Her work is characterized by thousands of dots in an infinity of nets, thus requiring a tremendous amount of work.  One of her most influential painting is called “Pacific Ocean” where the ocean waves are looked upon an as unending pattern of nets.

Like many documentaries on artists, director Lenz devotes screen time showing the artist at work as well as her displayed work (including the best ones like “Green Death” and “PaciFic Ocean”) exhibited at the galleries.  Compared to other artist documentaries especially LEANING INTO THE WIND which was released also the same time as KUSAMA, more time is devoted to the artist’s life.  Lenz follows Kusama from her childhood (not a pleasant one with a domineering mother prohibiting her to paint and her womanizing father) to the present.  Kusama is still alive (now in her 80’s) and speaks to the camera about her work and aspirations.  The film also contains photos of her during her younger days, when she was protesting the Vietnam War with the hippies in America.  Her nakedness caught on and news of her bashfulness reached Japan, causing quite the stir and her rejection by the Japanese people.

If there is anything to learn about Kusama, it is her determination that led to her success in the art world.  She made her way to America on the heels of WWII. There, without connections and speaking only broken English, she devoted herself to her one true love, making art.  On her first day in New York, Kusama has stated that she climbed to the top of the Empire State Building, looked down upon the city below, and made a decision to stand out from everyone she saw below and become a star.  She shows that despite all odds, she finally climbed fame and respect.  Another message that could be learnt is that all the fame and money cannot replace loneliness and happiness.  She has spent 30 year living in a mental institution in Japan.

Despite the grim nature of the artist, Lenz’s documentary is bright and upbeat with music and colours flowing freely through her doc.  KUSAMA INFINITY turns out to be as fierce a film as Kusama’s fierce determination to become a world-renowned artist.

Trailer: https://www.youtube.com/watch?v=85-_M_BJH1U

 

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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

Stars:

Debargo Sanyal, Jamie Mayers, Pierre-Yves Cardinal

 

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)

Stars:

Matilda Anna Ingrid Lutz, Kevin Janssens, Vincent Colombe

 

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)

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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

Watch the Audience FEEDBACK Video of the Short Film:

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!