Showing posts with label rafiki. Show all posts
Showing posts with label rafiki. Show all posts

Monday, 25 March 2019

Flare: Signature move

The 33rd BFI Flare is in its stride now, and I had my busiest day of the festival today (four films!). I always enjoy chatting with filmmakers during Flare, as they hang out in the same spaces as the press every day - something that happens in very few festivals. Sometimes this is useful for a proper interview for publication, but it's also just nice to chat about movies with them. And then there are times when you try to find a quiet corner so you can write a draft review on your phone of the film you've just seen. Both of those happened today! Here are some more highlights...

Cassandro the Exotico!
dir-scr Marie Losier; with Saul Armendariz, Hijo Del Santo 18/Fr ****
One of the most colourful Lucha Libre wrestlers, which is saying a lot, Cassandro (real name: Saul Armendariz) offers revealing insights in this lyrical, entertaining documentary. This Texas-born 48-year-old is a thoroughly engaging figure, and filmmaker Marie Losier follows him intimately, creating a gently observant portrait of an outrageous man. While most Lucha Libre wrestlers wager their masks in matches, Cassandro bets his enormously fluffed-up hair. Of course, audiences adore him.

Last Ferry 
dir Jaki Bradley; with Ramon O Torres, Sheldon Best 19/US ***
This low-key mystery thriller stirs up some decent atmosphere as it focuses on a group of secretive men at a beach  on Fire Island. Director Jaki Bradley and actor-writer Ramon Torres create cleverly enigmatic characters, all of whom have something to hide. But they withhold far too much from the audience, leaving us on the outside looking in. And it's frustrating that we can't get more involved in anything that's happening on-screen.

Men of Hard Skin [Hombres de Piel Dura] 
dir-scr Jose Celestino Campusano; with Wall Javier, German Tarantino 19/Arg ***.
Taking an offbeat, almost unnervingly matter-of-fact approach to a seriously dark theme, this Argentine drama holds its focus tightly on the characters and never judges them. Which is simply astonishing. Filmmaker Jose Celestino Campusano gets under the skin with a complex, nuanced look into the lives of victims and perpetrators of child abuse. Avoiding sensationalism may make the film feel muted, but it has a lot to say, and its effects are lingering.

Making Montgomery Clift 
dir-scr-prd Robert Clift, Hillary Demmon; with Robert Clift, Montgomery Clift 18/US ****
Instead of telling the story of this iconic actor, this documentary sets out to explore his legacy, specifically his image as a self-destructive, closeted gay figure. But stories from people who knew him tell a very different story, so his nephew Robert sets out to sort fact from fiction as he co-directs and narrates this sensitive, observant film. Frankly, it's refreshing to see a movie that doesn't try to find a bombshell, but rather defuses them to say something more important.

Rafiki
dir Wanuri Kahiu; with Samantha Mugatsia, Sheila Munyiva 18/Ken ****.
Small and perfectly formed, this subtle but hugely involving romance takes on a powerfully taboo topic in its homeland of Kenya: same-sex romance. Without either preaching or pushing the premise too far, filmmaker Wanuri Kahiu follows two likeable young women who simply feel drawn to each other. Reactions from the people around them are surprising and darkly provocative, making this quiet little movie deeply important... FULL REVIEW >

TransMilitary
dir Gabe Silverman; scr Jamie Coughlin, Gabe Silverman
with Logan Ireland, Laila Villanueva, Jenn Peace, El Cook, Sue Fulton, Jesse M Ehrenfeld, Eric Fanning, James P Isenhower III
18/US 1h33 ****

Despite a ban dating back to WWII, the military is the largest employer of transgender people in the US. More than 15,000 trans men and women serve in the armed forces in a variety of key roles. For these soldiers, the biggest challenges have come from military policy. Beautifully edited with clever graphics and animation and a sensitive tone, the film centres on the trans group Sparta and its campaign to allow trans men and women to serve in the military without prejudice. The chronology covers the run-up to the historic ban being rescinded in 2016, followed by Trump's about-face to reinstate it a year later against the advise of his generals. It's seriously moving to hear these brave young people speak about being surprised to be treated as normal and valued by leaders in the Pentagon. And then they are undermined, belittled and bullied in their units. And by their commander-in-chief. Each of their stories is compelling and powerful, highlighting both the vital roles trans soldiers and officers play on the field and the journeys they have taken to get to this point. The filmmakers also include their parents, friends, spouses and children, which adds both lightness and warmth to the thematic urgency. By remaining so personal, the documentary simply lays waste to almost any kind of criticism someone could throw at this situation. It also quietly comments on the ugly prejudice, pain and violence many trans people face on a daily basis. The simple truth is that everyone should be treated fairly, no matter who you are. And frankly, these are just the kind of sensitive, caring, thoughtful soldiers we need to have out there fighting in the name of our countries.

Wednesday, 7 November 2018

TIFF: Personal space

I'm perhaps watching too many films here at the 59th Thessaloniki International Film Festival, which has now passed the halfway mark and is in the homestretch. It's been good to catch up with films I missed at London Film Festival last month, including the Berlin winner Touch Me Not (above) and Kenya's Rafiki. I'm seeing four or five films per day here - excessive even for me - so have been using the time in between to walk around this city - a colourful, busy place. Here's what I've been watching...

Touch Me Not 
dir-scr Adina Pintilie; with Laura Benson, Tomas Lemarquis 18/Ger ****
Exploring the concept of intimacy using a blended approach that includes both fictional narrative and documentary elements, this film isn't easy to categorise. Its plot is very loose, but there's a strong sense of momentum in the internal journeys of a handful of characters, including filmmaker Adina Pintilie herself. Rather too full-on for mainstream audiences, more adventurous viewers will find themselves prodded into examining their own physicality more honestly.

Rafiki
dir Wanuri Kahiu; with Samantha Mugatsia, Sheila Munyiva 18/Ken ****.
Small and perfectly formed, this subtle but hugely involving romance takes on a powerfully taboo topic in its homeland of Kenya: same-sex romance. Without either preaching or pushing the premise too far, filmmaker Wanuri Kahiu follows two likeable young women who simply feel drawn to each other. Reactions from the people around them are surprising and darkly provocative, making this quiet little movie deeply important.

Sócrates
dir Alex Moratto; with Christian Malheiros, Tales Ordakji 18/Br ****
Produced by a workshop of young people aged 16 to 20, this Brazilian drama takes a bracingly realistic approach to its story of a teen living, in more ways than one, on the margins of society. Addressing economic issues, religion and sexuality, the film never tries to preach, instead offering an open-handed, humane approach that seeks compassion and hope in a situation that is increasingly desperate. It’s a remarkable little film, beautifully shot and edited, and deeply moving.

All Good [Alles Ist Gut]
dir-scr Eva Trobisch; with Aenne Schwarz, Andreas Dohler 18/Ger *** 
There's an earthy, realistic approach to the difficult situations in this German drama, and the dilemmas the characters face are both timely and involving. But writer-director Eva Trobisch overeggs the script with events that are predictable, over-complicated and ultimately badly contrived. And this pushiness undermines the film's important exploration of the complexity of the #MeToo era.

Smuggling Hendrix
dir-scr Marios Piperides; with Adam Bousdoukos, Fatih Al 18/Cyp ***
Cute but formulaic, this Cypriot caper relies on rather a lot of ramshackle charm as it cycles through a series of slapstick set pieces. But it never manages to surprise us, and filmmaker Marios Piperides never makes anything of the political conflict that provides the entire premise. Still, his script has frequent splashes of very sharp wit, so the movie becomes a crowdpleaser. Well, it’s difficult to hate a film that so shamelessly relies on a mischievous dog.

Holy Boom
dir-scr Maria Lafi; with Luli Bitri, Nena Menti 18/Gr ***
An ambitious multi-strand drama centred in among Athens’ immigrant community, this film’s emotional moments almost make up for its contrived melodrama and moralistic tone. At least writer-director Maria Lafi keeps the situations complex enough to avoid easy answers, even if parts of the story play into the hands of those who falsely believe that migrants are the cause of all problems. And even if the heavy reliance on corny criminal plotlines undermines the more interesting issue-based narrative.

Holiday
dir Isabella Eklof; with Victoria Carmen Sonne, Lai Yde 18/Den *.
A sunny vacation spot is the setting for this rather perplexing Danish melodrama. Populated with undefined characters who are reprehensible, it's a difficult film to engage with, especially since the plot is so sketchy and unconvincing. There are some chilling observations on tough guy masculinity, but the film's message never makes it through the murky narrative. And a startlingly graphic sex scene seems here just to give the film notoriety.

~~~~~~~ ~~ ~~~ ~~~~
CRITICAL WEEK

After the blinding array of movies I'm watching at the festival, I'll be turning my attention back to the regular weekly releases when I get back to London on Monday, chasing down Fantastic Beasts: The Crimes of Grindelwald and Steve McQueen's Widows, for starters. Other incoming films I need to see include Robin Hood, The Girl in the Spider's Web, Nativity Rocks and Cannes-winner Shoplifters.