gilbert seah

Film Review: CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE (USA 2017) ***1/2

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

captain underpantsTwo overly imaginative pranksters named George and Harold, hypnotize their principal into thinking he’s a ridiculously enthusiastic, incredibly dimwitted superhero named Captain Underpants.

Director: David Soren
Writers: Nicholas Stoller (screenplay), Dav Pilkey (based on the epic novels by)
Stars: Kevin Hart, Thomas Middleditch, Ed Helms

Review by Gilbert Seah

 
once saw a skit of Superman and Batman at an unemployment office. Superman tells Batman that they will never get a job. Why Batman asks? Because no one would hire anyone who wears underpants over their clothes – was the answer. CAPTAIN UNDERPANTS the animated movie takes the joke to another level. The hero only wears underpants!
This last collaboration between Dreamworks and 20th Century Fox (before Dreamworks moves with Universal) is fortunately a huge animated comic success. As the title of the film implies, the story involves lots of goofy absurdity and toilet jokes (there is even a symphony of body fluid noises performed on the school stage in the middle of the film), but who cares as CAPTAIN UNDERPANTS is a very funny movie, almost matching the best of the SHREK films. The comic song “I Love Saturdays” at the film’s stet sets up the mood of the film.

The film is based on the children’s novel series of the same name created in 1997 by Dav Pilkey, who sold the rights to Dreamworks in 2011. The plot follows two imaginative elementary school prankster students, George Beard and Harold Hutchins (Kevin Hart and Thomas Middleditch) who hypnotize using a hypnotic ring from a cereal box, their mean-spirited principal, Mr. Krupp (Ed Helms), into thinking he is Captain Underpants, a hero in comic books George and Harold write together. Mr. Krupp runs all over the place trying to what he thinks he is doing, saving the world. But the story includes a villain, Professor Poopypants (Nikc Kroll) (looking like the child catcher in CHITTY CHITTY BANG BANG), the new science teacher who wants to rid the wold of laughter. His assistant is one of George and Harold’s fellow students, a swatter and a rotter called Melvin (Jordan Peele) with an uncanny resemblance to minions in DESPICABLE ME. Yes, as in all animated films, the world needs to be saved – but always for a good cause – as the return of laughter in this story.

There is plenty of laughter in this film, thanks to the goofy antics of the animators, the smart script by Brit Nicholas Stoller and the comedic timing of director David Soren. Writer Stoller directed the very funny NEIGHBOURS, NEIGHBOURS II and FORGETTING SARAH MARSHALL and Toronto-own Stoller had proven his animation mettle in TURBO (the animated on snails). Kevin Hart is funny voicing George but the surprise comes from Ed Helms who voices both the principal and Captain Underpants.

The animation is 3D computer animated, with the heads of the characters rounded, similar to THE PEANUTS MOVIE. The characters have a 3D rather than a two dimensional look.

Despite all the toilet humour, the film contains a decent message of genuinely doing good in the world.

There is a fine line between stupidity and goofiness. Animated films often have to tread this fine line between success and failure. CAPTAIN UNDERPANTS succeeds in this respect while another cent animated feature THE LEGO BATMAN failed because it was too manic and incomprehensible. It should be a worthwhile wait for CAPTAIN UNDERPANTS: THE SECOND EPIC MOVIE

Trailer: https://www.youtube.com/watch?v=VDm_2m-Hg6c
 

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Film Review: WAR MACHINE (USA 2017) ***

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war_machine.jpgAn absurdist war story for our times, writer-director David Michôd (Animal Kingdom) recreates a U.S. General’s roller-coaster rise and fall as part reality, part savage parody.

Director: David Michôd
Writers: Michael Hastings (book), David Michôd (screenplay)
Stars: Brad Pitt, Anthony Hayes, John Magaro

Review by Gilbert Seah

A Netflix original movie opening only on Netflix and proudly not in theatres May 26th, WAR MACHINE opens as arrogantly as its voiceover, as its content and as its platform. It is a film directed and written by David Michôd inspired by the nonfiction book The Operators by Michael Hastings. It fictionalizes the events in the book based on the firing of United States Army General Stanley McChrystal.

The voiceover praises America, that seeks peace, that needs to find peace and win wars. If the war like the one in Afghanistan in 1993 cannot be won, then they sack the guy in charge and hire a new guy. Thus the film’s protagonist, first introduced as Glen (Brad Pitt) with the WAR MACHINE is described and said to be called THE LION KING by his men, and shown walking confidently at an airport lounge before deployment telling his men: “Let’s do it!” The beginning sequence primes the audience for an exciting 2 hours to follow, where hopefully they see a quirky film, different from the ones screened theatrically. It also warns the audience to be careful of the accuracy projected on screen. After all, how can Glen’s men call him The Lion King in 1993 when that film was released only in 1994. Glen eats one meal a day, sleeps only 4 hours and runs 7 miles every morning. Glen loves his men and his men love him back.

It’s Brad Pitt’s movie. Pitt is in almost very scene. He has a constant sarcastic growl painted on his face throughout the film. Pitt shows he is star material and he definitely commands screen presence. His gruff voice sounds like George C. Scott’s in PATTON. He hams up every scene and is as funny as his funniest role – the fitness instructor in BURN AFTER READING. Tilda Swinton who seems to be appearing in every Korean or Netflix movie is immediately recognizable in a cameo as a German reporter who questions Glen. Topher Grace has the supporting role of Glen’s loyal public relations supporter while Ben Kingsley plays the Afghanistan President. Meg Tilly has the odd role of Glen’s long-suffering wife. She provides the film’s most sentimental moment when she confesses her true feelings to her husband at their 30th Anniversary dinner.

As a satire, WAR MACHINE is funnier than it should be, where it should be more biting. Many critics have agreed on this point that the film is thus a bit below average.

For a war film, there are hardly any battle scenes except for the one at the end. The film also lacks a climax, expected in most films.

WAR MACHINE is a worthwhile watch if one has Netflix. It is at least a new and an original film compared to all the other films (mostly more than a year old and already seen by most subscribers) available. The film is currently playing on Netflix since Friday May 26th.Trailer: https://www.youtube.com/watch?v=sIqXRDDdo7c 

 

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LGBT Inside Out Festival: MY WONDERFUL WEST BERLIN (Germany 2017) ***

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mywonderful.jpgToday’s hip image of Berlin is based on the city’s vibrant and subversive subcultures, which originally emerged within the grey walls surrounding West Berlin. The queer scene played a major role in creating that subculture, with its sexual diversity and its wild and unconstrained party culture, ranging from the notorious clubs to CSD.

Director: Jochen Hick
Writer: Jochen Hick
Stars: Mabel Aschenneller, Wolfgang Cihlarz, Rolf Eden

Review by Gilbert Seah
 
MY WONDERFUL WEST BERLIN charts the gay activities between the end of WWII and the fall of the Berlin Wall, looking from the point of view of West Berlin, which was a melting pot of political activists, partygoers, hedonists, club owners, musicians and fashion designers.

These are the stories of their lives, existing in gay communes and surviving the AIDS crisis. This trip down memory lane is not all nostalgic and joy. West Berlin is shown for all the ugliness and its gay history from the fights of the gay movements, the raids and arrests in gay establishments, the abolishment of paragraph 175, to the destruction of lives though A.I.D.S..

Shot mostly in back and white with extensive use of archive footage and home mvies, the audience is offered a ‘treat’ that still keels a relative light mood over the events. Celebrities that have visited West Berlin include Iggy Pop and David Bowie, stressed for heir use of drugs. Many older residents reminisce of the past from the youth to the present.

There is nothing really new revealed in this documentary, but it is still an informative and entertaining watch.

Trailer: https://vimeo.com/218045422

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Film Review: An American Dream: The Education of William Bowman (2016)

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anamericandream.jpgA cheerfully gullible college graduate embarks on a journey into adulthood that whisks him into the insanity of 21st century America, where he is beset by a parade of gun-crazed zealots.

Director: Ken Finkleman
Writer: Ken Finkleman
Stars: Diana Bentley, Shiloh Blondel, Jan Caruana

Review by Gilbert Seah
 

With its American theme and setting, this Canadian film #ANAMERICANDREAM
that was first screened earlier this year at the Canadian Film Festival is quite the gem of a movie. It is original, hilarious, current, absurd, Kafkai-ish but mostly frighteningly entertaining.

The unlikely hero of the film is William Bowman (Jake Crocker) a 17-year old footballer, who when knocked unconscious during a game, is sent to the future, one that is as weird if not similar to the Australian film BLISS where the protagonist, who when suffering a heart attack witnesses odd things going on around him.

The education of William Bowman as the film calls it, takes Bowman through several amusing set pieces on life. The first has him doing internship for the Payne Financial Company where he learns that lying is more acceptable company culture than telling the truth. The second has him working for a born-again Tally Pepper who sets him up as a travelling salesman. The third has him running from the police and government. But there is no escape, as they can see everything he sees, due to a transplant of a camera in his eye.
Writer/director Finkelman takes the audience on a journey through America from Bowman’s point-of-view while satirizing everything from TV, corporate culture, school, the future, the second amendment to the country’s beliefs of the future.

Despite the film jumping from one set-up to another, Finkelman transits from one segment to another smoothly and hilariously. Bowman enters his office, the Payne building one morning to suddenly realize that every employee he sees is Asian. When he sees another Asian at his desk, he is informed that his company has been taken over and that he is out of a job. This takes him to the next segment.

Newcomer Jake Crocker is excellent in the role of a confused man tying to make sense of the craziness. Crocker is sufficiently good-looking that the audience can believe that most women will want to have sex with him. Or most men would want to punch him in the face. Both happens. The film includes some quite steamy sex scenes, showed in blurring images, but still sexually arousing.

The film goes into futuristic sci-fi mode at the end, when Bowman is being chased after becoming the most hunted man in the country. This segment gives Bowman the chance to meet a wide range of Americans from sexy teen babes to an old codger who ends up shot after helping him.

Finkelman’s film is full of surprises with a new one coming round every corner. The dialogue is also razor-sharp in observation and wit.
#ANAMERICAN DREAM is that rare Canadian film that is set in the United States not to be more commercial but because the story is set there. The film is also one of the sharpest Canadian films I have seen this year.

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

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Film Review: PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES (USA 2017)

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pirates of the caribbean 2017.jpgCaptain Jack Sparrow searches for the trident of Poseidon.

Directors: Joachim Rønning, Espen Sandberg
Writers: Jeff Nathanson (screenplay)
Stars: Johnny Depp, Geoffrey Rush, Javier Bardem

Review by Gilbert Seah 

 The 5th instalment of the PIRATES OF THE CARIBBEAN franchise has been delayed a year and then another to be finally released this year after budget and script problems. It is easy to see why. The film like most sequels comes across as louder and bigger but not necessarily better. Written by Jeff Nathanson based on a story by himself and Terry Rossio, the story is a narrative mess and all over the place. In the parts where it is barely coherent, the special effects and swashbuckling action totally destroys whatever left as a thread of a story.

The film begins with a boy rowing a boat into the vast ocean. A huge ship scoops the boy up from underwater where the audience learns that the boy is seeking his father (Orlando Bloom) to return home. The father is under a curse and the boy vows to seek the Trident of Poseidon which returns power to the seas and break the curse that prevents the father returning home. The film then jumps 9 years into the future. The boy is revealed to be now grown up as the handsome Brenton Thwaites who is locked beneath the ship after warning the captain of dangerous waters that no ship has ever come back from. When imprisoned, the ship is attacked by ghosts. Henry is met by an evil, hissing ghost by the name of Salazar (Javier Bardem). He is apparently a powerful and maniacal undead pirate hunter of the Spanish Navy who was trapped in the Devil’s Triangle. After escaping, he seeks the Trident of Poseidon to wipe out all piracy and exact revenge on Jack Sparrow (Johnny Depp). He asks Henry to pass the message to Sparrow that he is looking for him as he cannot relay the message as dead men tell no tales. Of course, all this make no sense. The story then jumps to anther point. jack Sparrow is robbing a bank.

No one really cares what happens. A female character Carina Smyth (Kaya Scodelario) is further introduced into the story to form the romantic interest for Henry, who also ends up seeking that dreaded trident. To form a strong female presence in the film, she fights for women’s rights to study in the university at that time.

When Johnny Depp is not appearing half the time behaving as if he was drunk or high, the pirates are swinging all over the ship and beating each other up. Lots of props get wrecked with lots of pyrotechnics thrown in. The camera swirls around for no reason – to the sky, to the sea down to the vast expanse of beaches.

The film’s best segment which occurs at the start when Sparrow falls asleep during a bank heist is quite over-the-top, but the the rest of the film never matches that part.

It only took ten minutes of the film for boredom to set in and the film lasts a full 2 hours and 20 minutes. The few cameos of Paul McCartney and Kiera Knightley do not enliven the film either.

This should finally be the last tired entry to a tired series. Jack Sparrow and gang should be forever banished to the Devil’s Triangle. In this film, Sparrow is supposed to have lost his mojo and getting it back with Poseidon’s Trident. No kidding about that loss of mojo.

Trailer: https://www.youtube.com/watch?v=KrGyD4kHTSE

 

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Film Review: THE TRANSFIGURATION (USA 2016)

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the trasfiguration.jpgWhen troubled teen Milo, who has a fascination with vampire lore, meets the equally alienated Sophie, the two form a bond that begins to blur Milo’s fantasy into reality.

Director: Michael O’Shea
Writer: Michael O’Shea
Stars: Eric Ruffin, Chloe Levine, Jelly Bean

Review by Gilbert Seah

THE TRANSFIGURATION premiered in the Un Certain Regard section at Cannes last year, apparently coming out of nowhere just like the film’s odd protagonist, a black bullied teen called Milo (Eric Ruffin).

Milo lives with his brother and they share an odd obsession with vampires. Milo actually drinks blood, as is observed in a very compelling and disturbing but well-shot opening scene set in a public toilet stall. The camera follows Milo as the audience learns more about the little man. He is bullied by other black teens, lives in a small apartment, collects and watches vampire videos, breaks into houses, stores a bag load of cash, drinks blood very few days and leads a non-existent lifestyle. When Milo meets Sophie (Chloe Levine), a white teen neighbour, the two fall in love.

Director O’Shea obviously drew his inspiration from Murnau’s vampire film NOSFERATU. Milo and Sophie are seen watching the 1922 classic NOSFERARU and O’Shea’s film is filled with similar sounding music. When Sophie is asked by Milo what she liked about the film, music was her answer. O’Shea also captures the same creepiness in his film.

The vampire is clearly used as a metaphor for bad people. O’Shea makes the point very clear – in act too clearly, in the one scene at the end of the film when Milo’s brother preaches to him that people in the world also suck blood from each other – figuratively.

O’Shea’s film is not without flaws. The main flaw is that it is only occasionally engaging. It is hard for the audience to connect with a black teen with no life, who breaks into people’s houses and has no redeeming qualities. Thee is also no explanation for the reason he dislikes the TWILIGHT films and only the real serious vampire films. The audience is also supposed to believe that a normal human being can eventually drink blood as a normal way of life.

Despite the flaws, O’Shea can draw the audience into a scene when he wants to. The best examples are the toilet scene at the film’s start and sporadically at various parts of the film. He uses light, sound and edition to create a moment.

The romance between Milo and Sophie works as a first love kind of romance. Milo gives it all up for her while she has reservations after finding out more about him. Newcomer Eric Ruffin is quite young and a risk as O‘Shea’s lead actor. But Ruffin is convincing and a fresh face which are good things.
One has to hand it to O’Shea for trying. But his film misses for its failure to totally engage, with its too weird premise and too obvious metaphor of a human vampire that lives among the living.

Trailer: https://www.youtube.com/watch?v=sLXiyMbLR30

 

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Film Review: BAYWATCH (USA 2017)

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baywatch.jpgDevoted lifeguard Mitch Buchanan butts heads with a brash new recruit. Together, they uncover a local criminal plot that threatens the future of the Bay.

Director: Seth Gordon

Stars: Dwayne Johnson, Zac Efron, Alexandra Daddario, Priyanka Chopra

 BAYWATCH is the latest edition of films based on a successful TV series that has very little to do with the series – like the JUMP STREET films. But it the marketing works. BAYWATCH is a modern re-working of a popular TV series of the same name. It cost $40 million to make and is estimated to gross $45 million the opening American long weekend.

BAYWATCH is an action-comedy film directed by Seth Gordon (HORRIBLE BOSSES) starring with Dwayne Johnson and Zac Efron with a list of general unknowns Alexandra Daddario, Kelly Rohrbach, Jon Bass, Ilfenesh Hadera, Priyanka Chopra and Indian actress Yahya Abdul-Mateen II as the villain. David Hasselhoff and Pamela Anderson are present with cameos and excellent ones, coming as neat surprises in the film.
The film concerns Mitch Buchannon (Johnson), the gung-ho leader of the elite Baywatch lifeguard squad. He believes he is making a different in the world, clashing with the local police as he outdoes his duties by trying to stop drug trafficking at the same time. Matt Brody (Efron), a washed-up pro athlete is brought in as the new face of the organization. However, when a dead body is recovered from the ocean, the two must put aside their personal differences and work with their team to stop a criminal mastermind’s drug trafficking operation. Mitch gets relieved of his post while Matt ends up saving the day with the help of Mitch’s crew. The film is at least smart enough not to make any preachy statement, but just let the comedy/action takes its course.

As an action comedy, the film devotes an equal amount effort to both comedy and to the action. The special effects especially the underwater segments (during he fire rescue) are impressive. It is rare when the action and comedy come together. The best and most hilarious segment occurs at the film’s start (which cannot be matched), when the logo BAYWATCH appears on the background accompanied by three synchronized choreographed dolphins after Dwayne Johnson saves some babes on his watch.

Dwayne Johnson has proven himself apt as an actor comfortable in both action and comedy. Zac Efron is however not that funny when portrayed as a victim. He is at his hilarious best (as in the film DIRTY GRANDPA or in NEIGHBOURS) when he is the instigator or the super drunk or drugged up super hunk. This best scene in BAYWATCH is when he punches out his supervisor and when his muscles are flexed doing the obstacle course. Jon Bass is given a lot of screen time doing the funny fat guy. All his antics – the co-ed shower, the beach CPR, the disco dancing are lame. Bass comes across as more annoying than funny. Audiences are not going to be happy paying good money to watch an amateur comedian fail on the screen.

BAYWATCH could have been better for all the effort put in, especially the fantastic special effects on display. Still, it is relatively entertaining, for those not expecting much from an evening at the movies.

Trailer: https://www.youtube.com/watch?v=TDteZ0YrhSU

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Film Review: POPULATION ZERO (USA/Canada 2015) ***1/2

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population zero.jpgIn 2009 three young men were killed in a remote part of Yellowstone National Park. The only thing more shocking than the crime itself are the bizarre events that followed.

Directors: Julian T. Pinder, Adam Levins
Writer: Jeff Staranchuk
Stars: Duane Murray, Julian T. Pinder, Jonathan Potts

Review by Gilbert Seah 

 There is much to appreciate in watching POPULATION ZERO. The least one knows about the film, the more enjoyable and eerie the film will be. I went into it knowing absolutely nothing and ended up totally absorbed and bedazzled by the piece. So, if one has the intention of watching the film, DO NOT read this or any other review of the film.

That said, the film is a mockumentary. This fact in itself spoils the film’s enjoyment as co-director Pinder introduces himself as a documentarian in the film, and one (if unaware of the film being a mockumentary) will naturally assume all that will occur on screen be true. Wrong – though the film is based on a true incident, the fact that the story telling of the film unfolds in found footage form and documentary style, one tends to believe everything seen on screen.

The filmmakers were inspired to make the movie after learning of the existence of the “Zone of Death”, a small portion of Yellowstone National Park that under the Sixth Amendment’s Vicinage Clause, would enable “The Perfect Crime”.

Bring in the murder of three young men in the Park’s worst crime in history committed by Dwayne Dwayne Nelson (Duane Murray)and one has quite the story. In 2009, Nelson confessed to the shooting of three men in Yellowstone National Park. Despite his confession being accurately detailed, he was not convicted of the crimes because the crime occurred in an uninhabited area and as such, there is no chance of finding a jury to hear the trial. This is the loophole in the law that resulted from the POPULATION ZERO of the title. All is clearly explained in the film. But it is years later that Julian T. Pinder (playing himself, a documentarist) examines the crime and the legal loophole that allowed Nelson to walk free. As the film progresses Pinder begins to receive strange and frightening items, evidence of Nelson’s crime.

Directors Pinder and Levins are good storytellers. What begins as a real life murder eventually evolves into a totally concocted tale that is made so credible that one would believe it to be true. And it could very well have been true. The film’s pacing is close to perfect with the suspense and shock level building to an exploding climax towards the end.

The film also comes with a neat message delivered to big companies doing bad things to poor people. The film also scarily lets the audience unsuspectedly take the murderer’s side. For whatever had been done to him, he deserves the right to take his revenge. When it is revealed that Nelson could have masterminded the entire crime including his freedom using everyone including the Pinder for his cause, one cannot help but applaud the man.

POPULATION ZERO works as it is horrific yarn based on a true event, told convincingly in found footage documentary style. Made in 2015, it world premiered at the Newport Beach International Film Festival on April 26, 2016 and finally makes it debut. See it!

Trailer: https://vimeo.com/161531094

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Film Review: TOMMY’S HONOUR (UK 2016) ***

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tommys_honour.jpgIn every generation, a torch passes from father to son. And that timeless dynamic is the beating heart of Tommy’s Honour – an intimate, powerfully moving tale of the real-life founders of the modern game of golf.

Director: Jason Connery
Writers: Pamela Marin, Kevin Cook
Stars: Ophelia Lovibond, Sam Neill, Jack Lowden

Review by Gilbert Seah
 
Where did golf originate? Not too many people know that the game originated from Scotland. TOMMY’S HONOUR celebrates both Scotland and golf, a film that is an eye-opener on golf as seen from the eyes of Tommy, a champion golfer with the humble beginnings of a
greens-keeper’s son/caddy.

TOMMY’S HONOUR is a 2016 historical drama, a proudly Scottish film depicting the lives and careers of, and the complex relationship between, the pioneering Scottish golfing champions Old Tom Morris and his son Young Tom Morris. The screenplay, written by Pamela Marin and Kevin Cook, is based on Cook’s 2007 book, Tommy’s Honour: The Story of Old Tom Morris and Young Tom Morris, Golf’s Founding Father and Son It is a well known book in golfing circles as it won the Herbert Warren Wind Book Award as the best golf book of 2007’ It was also one of the five books that Sports Illustrated selected as the “Books of the Year” in 2007. One can expect high hope for the film adaptation.

The period piece is set in St Andrews, Scotland in 1866. Tommy Morris (Jack Lowden) is presented as an avid golfer like his legendary and pioneering father, Tom Morris (veteran actor/director Peter Mullan). “Old Tom” is greens-keeper for The Royal and Ancient Golf Club of St Andrews, as well as the town’s club- and ball-maker. He is the two-time winner of the first major golf tournament, The Open Championship, which he founded in 1860. He also established golf’s standard of 18 holes per round. But Tommy is beginning to chafe at his father’s dictates, especially in the rapidly changing world they live in.

Father and son repeatedly clash over the unwritten rules of social class, and this culminates when Tommy marries his sweetheart Meg (Ophelia Lovibond), a woman of lower standing with a shameful secret in her past. But there is more in the story with a big father and son relationship makeup.

The film includes a few competitive golf tournaments. But TOMMY’S HONOUR is not specifically a sports film. It also serves as a biography of the Morris’s. The golf tournaments are well shot to capture the excitement of the game. The beauty of the Scottish landscape is also celebrated.

With Pamela Marin co-writing the script, the film contains a strong feminine perspective, despite golf being mostly a male sport. Meg who is shunned by the church for having a bastard child in the past is offered a second chance for happiness in the film. One of the film’s highlights is the mother/wife confrontation. Tommy’s resistance to the class structure is rendered more sympathetic with his true love for Meg.
The film has a good pace that builds dramatically towards its climax.

What initially seems like a commercial light comedy finally ends up tackling a few solid social issues.

The film ended up opening the 2016 Edinburgh International Film Festival on 15 June 2016 as well as winning Best Feature Film at the 2016 British Academy Scotland Awards.
Trailer: https://www.youtube.com/watch?v=ur8_04V9_4E

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Film Review: TANNA (Australia) ***

festreviews 2017 movies, movie, Uncategorized , , , , , ,

 

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

tanna.jpgSet on a remote Pacific island, covered in rain forest and dominated by an active volcano, this heartfelt story, enacted by the Yakel tribe, tells of a sister’s loyalty, a forbidden love affair and the pact between the old ways and the new.

Directors: Martin Butler, Bentley Dean
Writers: Martin Butler, John Collee
Stars: Mungau Dain, Marie Wawa, Marceline Rofit

Review by Gilbert Seah

 Tanna is the first film shot in the South Pacific nation of Vanuata, based on a true story that happened there in 1987 as interpreted by the Yakel tribe. Hardly a word of English is spoken in the film. The dialogue is totally in the tribal language which all the tribes in the story appear to be able to speak and communicate with each other with.
The film plays like a Romeo and Juliet story. The story centres on doomed, star-crossed lovers. There are two warring tribes but the lovers belong to the same tribe. The bride, Wawa (Marie Wawa) of the Yakel tribe is betrothed to the enemy Imedin tribe as a peace offering. But Wawa is in love with the grandson of the chief (Mungau Daen) and they have slept together already. The lovers escape to another part of the island. The chief (Chief Mikum Tainakou) of the Imedin tribe is furious and sends his men to find the lovers – to kill Daen the boy and bring Wawa back to be wed. Wawa’s father, Lingai (Lingai Kowia) also travels to find Wawa to bring her back and to warn Daen. And so the story goes.

When the film opens, the audience is immersed in a fairy tale land. It is interesting to see the customs and living practised in another country. The film works like a fairy tale just like African films made of their tribes such as the excellent 2004 film, MOOLAADE by Ousmane Sembène. The people are clothed with straw skirts and mostly topless. The children play unfamiliar games. The people live in strange-looking huts and they speak in a different language. Unfamiliar sights are displayed on screen – like a big black sow with piglets sucking from her nipples.

Directors Butler and Dean love to use the smoking volcanoes in their film – both as a metaphor and for its landscape beauty.

Though the story is set in a different land, the human problems encountered are not different. Love is once again restricted by social culture. The lovers are unable to show their love for one another in public. Wawa is forced to decide between the fate of her tribe and her personal desire for happiness.

The directors choose to tell their story from two points of view, from Wawa and from her younger sister Selin (Marceline Rofit). Selin is the prepubescent younger sister of Wawa who though still playing childish games like hide-and seek is aware of what is going on. She eventually helps her sister by aiding her tribe find Wawa and Daen. The audience sees as a result, how Wawa’s decision will affect the lives of Selin and the later generations.

The directors were reported to have spent 7 months living with the Yakel tribe to understand the tribal customs and to capture them accurately on the screen.

TANNA works as the perfect combination of an ageless romantic story of true love set in a fresh never seen before setting.

Trailer: https://www.youtube.com/watch?v=di2cHkHrPwg

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

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com