Quick Review: “Animal Kingdom”
Australia | 2010 | Writer/Dir: David Michod
When an awkward teenager is adopted into a family of criminals in the twilight of their careers, he must choose to be loyal to his clan or risk his life to bring them down.
*****SPOILER WARNING*****
A great screenplay shows an understanding for the principles of storytelling; an ingenious screenplay extends that understanding and intelligently subverts the principles to surprise the audience. Animal Kingdom is one of the finest films Australia has produced in a long time and it’s greatness lies in the ingenuity of the screenplay that David Michod developed over the course of 9 years.
Cited by many as the film’s key accomplishments, the palpable tension and the unpredictable plotting are born out of an innovative dramatic structure. Rather than the classic hero’s journey model that sees an active protagonist pitted against an active antagonist, Michod’s hero and villain are both dormant until the final act; and even then the conflict between them is still indirect. Josh and Smurf each have an active proxy - Detective Leckie and the remorseless Pope respectively - who create conflict and drive the story forward until it becomes clear that the proxies would fail and ruin the masterplan unless the dormant characters reveal their true colours. This structure allows the tension of the external conflict to be amplified by the indirect conflict between hero and villain as well as their internal moral conflict. When Smurf and Josh finally take on active roles, the stakes are raised, tension boils over and the events that transpire are shockingly satisfying for the audience.
In the final scene, after Josh kills Pope, it seems confrontation between Josh and Smurf is inevitable. However, the screenplay surprises us one last time: the hero embraces the villain. This is the perfect structural and thematic closure for the film: the hero and the villain have retreated back to their dormancy, peace has been restored but we now know that peace in this family is a dangerous veneer.
Trailer after the break.
Quick Review: “Catfish”
USA | 2009 | Dir: Henry Joost, Ariel Schulman
Two filmmakers document their friend Nev’s blossoming online relationship with beautiful Megan and her wholesome family. When lovesick Nev and the filmmakers arrive unannounced at Megan’s doorstep, they are confronted with a surprising and devastating reality.
*****SPOILER WARNING*****
I’m surprised by all the raucous on the internet decrying this documentary as a fake. Is it really that hard to believe that a lonely person would go to extreme lengths to impersonate others online in order to feel appreciated?
Whether we like to admit it or not, on the internet, we are all actors. We choose which facets of our persona to highlight, which photos to make public, who we add as friends and don’t pretend you haven’t written status updates with the purpose of attracting certain people’s attention. The internet is the perfect place for a fragmented persona to flourish. We navigate the different constituents of our identity in a matter of clicks.
For Angela, the film’s “catfish”, the internet is an outlet for her unrealised dreams. The film captures both the bitterness of the inadequate consolation and the sweetness of the simulated intimacy that online social networks offer. I don’t agree with those who say Angela has been exploited by the film. I feel the filmmakers have imposed no judgement and they’ve allowed Angela the sympathy, space and time to tell her story and expose her vulnerabilities.
The quietly remarkable thing about this documentary is the way it generates the sense that we are discovering the story along with the filmmakers. Much of the film is shot on consumer handycams and we only see the filmmakers whip out the professional gear once they (and we) realise a compelling story is about to unfold. My only complaint is that they didn’t spend more time delving into Angela’s life. I get the feeling the film has only scratched the surface of a deeply complex character.
Don’t let the trailer fool you, “Catfish” isn’t a thriller about the perils of online dating. There is no chainsaw wielding cannibal at the other side of that barn door nor is there a giant mutant catfish waiting to pounce from the depths of the toilet bowl. The real horror is this: the tragic realisation that the biggest price we pay for a digitally connected world is disconnection from each other.
Trailer after the break.
My Top 10 Films of 2010
I recently contributed a top 10 list to Sydney film journalist Matt Ravier’s website. We were asked to do two separate lists: one for films released theatrically in Australia and one for films not released theatrically but were seen at film festivals/online/DVD etc.
Here I’ve consolidated those two lists to come up with my overall top 10 films for 2010.
1. MOTHER (South Korea)
An unpredictable, Hitchcockian story with a compelling throughline. The film blends genres and tonal palettes with startling certainty and clarity. A genuine masterpiece.
2. WOMEN WITHOUT MEN (Germany, Austria, France)
Nostalgic, haunting and achingly beautiful. A film that invades your senses and refuses to be forgotten.
3. ANIMAL KINGDOM (Australia)
A sophisticated script where the most unsettling notions are left unspoken. Tension begins simmering away right from the first scene and is skillfully brought to boil.
4. CASTAWAY ON THE MOON (South Korea)
Poignant, eccentric, life affirming and laugh-out-loud funny. Pure cinema magic.
5. DEAR DOCTOR (Japan)
The nuanced writing and understated direction let the audience read between the lines. Quietly moving and never emotionally manipulative.
6. THE SOCIAL NETWORK (USA)
Dialogue so sharp you can cut yourself with it! The film weaves a relatable and poignant human story around the greatest internet phenomenon of our generation.
7. IN THE LOOP (UK)
Uproariously funny and unashamedly irreverent. Political satire at its finest.
8. FANTASTIC MR. FOX (USA)
Wes Anderson + Roald Dahl = Magic. It’s worth watching just for the gorgeous animation and production design.
9. POETRY (South Korea)
A heartbreaking film that gently sways between light and shade, beauty and tragedy. Features one of the most memorable film endings ever.
10. FISH TANK (UK)
A raw and arresting performance from its lead actor. A film that encapsulates adolescent turbulence along with all its angst, heartbreak and joy.
Honourable Mentions:
- I Killed My Mother (Canada)
- Last Train Home (Canada)
- A Prophet (France, Italy)
- Au Revoir Taipei (Taiwan)
- Exit Through The Gift Shop (UK, USA)
- Uncle Boonmee Who Can Recall His Past Lives (Thailand)
- Love in a Puff (Hong Kong)
- How I Ended This Summer (Russia)
Quick Review: “The King’s Speech”
UK, Australia | 2010 | Writer: David Seidler | Dir: Tom Hooper
Incapable of speaking publicly, the would be King George VI enlists the help of an eccentric Australian speech therapist to cure his embarrassing stammer. As the weight of national expectation bears down on the insecure King, he has no choice but to trust the unorthodox methods of the therapist and find the voice that would inspire a nation.
David Seidler’s elegant script is the sort that would be mulled over in screenwriting classrooms because it’s a near flawless realisation of the accepted guiding principles of story. That’s not to say the film is lacking in originality or is formulaic. On the contrary, the screenplay carries the marks of great craftsmanship and demonstrates a sophisticated understanding of the three act structure and how it can be used effectively to tell an engaging and original story.
The performances are impeccable and the dialogue is full of wit. Colin Firth delivers a nuanced performance as the would be King, capturing both the character’s great strength and vulnerability. Geoffrey Rush is endearing and funny as the speech therapist and Helena Bonham Carter’s brazen performance as the King’s wife is memorable despite the relatively brief screentime.
This film humanises Britain’s royal family. It shows that beneath the power, regality and traditions, they too can suffer the most basic human insecurities. The theme of conquering personal fears is universally relatable and the film hits all the right marks to deliver an uplifting cinematic experience.
Trailer after the break.
Quick Review: “Poetry”
South Korea | 2010 | Writer/Dir: Lee Chang-Dong
Mija, a childlike grandmother, wishing to articulate the beauty around her, takes up poetry class at the local cultural centre. When she is forced to cover up a reckless crime in order to protect her grandson, she begins to doubt the existence of poetry in her world.
There are many similarities between this film and Lee Chang-Dong’s previous film Secret Sunshine. Both are about women who struggle to find redemption in a seemingly cruel world and both are crafted with an almost observational filmmaking style. Unlike Secret Sunshine, where grief is portrayed as all consuming and unforgiving, Poetry gently sways between light and shade.
The plot can be broken down into four strands: the grandson’s crime, the poetry classes, Mija’s relationship with the senile man she takes care of and her Alzheimer’s disease. At first they seem unrelated to each other but as the film progresses, the four strands intersect in unexpected ways. All the conflict in the story stem from the thematic tension between the delicacy of intangible beauty and the harshness of reality. The protagonist, Mija, is endearing in her naivete and surprising in her pragmatism as she struggles with a complex moral dilemma. She takes up poetry in hopes of articulating the beauty she observes but, diagnosed with Alzheimer’s, the words she needs to form verses are gradually escaping her.
Unlike most films, Poetry doesn’t use a single bar of music. Often music is used to guide the audience’s emotions but Lee Chang-Dong’s scenes are completely exposed and open to interpretation. The emotions on screen are naked and deeply arresting.
The most profound moment in the film is perhaps its ending (and this is certainly one of the best endings I’ve seen in a film). The ambiguous, almost surreal ode to the loss of innocence is utterly unforgettable and will haunt you long after the lights come on in the cinema.
Trailer after the break.
Quick Review: “Castaway on the Moon”
South Korea | 2009 | Writer/Dir: Lee Hae Joon
After a failed suicide attempt, a down-and-out man is stranded on a tiny island below a bridge in the middle of Seoul. Across the water, an insecure young woman is stranded in her own bedroom. When she spots the man through her telescope, a whimsical and life-changing relationship develops between the two eccentric castaways.
A highly imaginative and refreshingly original story. The film is essentially a two hander, although the two central characters almost never meet. They communicate to each other via scribbles in the sand and messages in bottles. The blossoming of their relationship is a delight to watch and offers many laugh-out-loud moments.
The physical environment is used cleverly to reveal character and themes. There are many recurring worldy objects that are in essence extensions of the two protagonists. For the man, the quest to make dough, spurred on by the discovery of unopened instant black bean noodle flavourings, is an opportunity for him to reconcile with his past failings. The young woman observes the world from a distance through her telescope and her computer, always avoiding any real human contact. When she does step out of her home, she wears a motorbike helmet to hide her face and uses wind up robots to distract her apartment building’s security guard. Beyond being reflections of the characters, these objects seem to take on a life of their own as they collude with nature and fate to ultimately guide home the two castaways.
The real triumph of the film is it’s deep sense of humanity. The acute and poignant observations on urban alienation and contemporary relationships remind one of Wong Karwai’s Chungking Express. Lee Hae Joon makes the intelligent choice to not define the central relationship as romantic or otherwise. The two lost souls simply share an organic and fundamental human connection; its purity is remarkably beautiful and deeply moving for the audience.
Trailer after the break.
Attraction - an Interactive Online Anime
Very cool interactive online anime created as an anti smoking campaign. It uses your webcam to let you interact with the story (e.g. in one scene you have to hold certain colours in front of your webcam to unlock a door).
Quick Review: “The Summit”
Japan | 2009 | Writer: Daisaku Kimura, Atsuo Kikuchi, Toshimasa Miyamura | Dir: Daisaku Kimura
In 1907, a team of explorers from the Army Geology Survey Unit is pressured by the military to become the first to reach the summit of Mount Tsurudigake ahead of a group of amateur mountaineers. As they embark on this breathtaking and perilous journey, the resilience and courage of all the climbers are put to the ultimate test.
Despite having very little plot, the film still captives the audience through the sheer magnitude of the journey. The cinematography is stunning and makes us feel like we are one of the explorers. The ferociousness of nature comes alive spectacularly on screen - the rain, snow and wind are almost tangible.
While the focus of the story is on the physical climb to the top, the script fleshes out its characters just enough to give them an emotional arc to make their journey compelling. The real heart of the story belongs to the subplot involving the humble mountain guide who strains his relationship with his son by risking his life to climb the mountain out of loyalty to the explorers. It is his unwavering dedication that ultimately earns him respect from his son and in that moment of reconciliation, the film’s themes are most clearly realised.
Trailer after the break.
QUICK REVIEW: CONFESSIONS
Japan | 2010 | Writer: Tetsuya Nakashima, Kanae Minato | Dir: Tetsuya Nakashima
Protected by the juvenile criminal code, two thirteen year old boys walk free after killing their teacher’s young daughter. Gripped by anger and sorrow, the teacher executes a devastating plot for revenge against the young murderers.
On paper this film might come across as too melodramatic to be taken seriously but Nakashima’s unique approach and decisive sense of style transforms the story into something utterly compelling. The film does not employ a standard, naturalistic mode of storytelling. There are no “scenes” or “dialogue” (in the conventional sense) - instead, the entire story unfolds as a series of internal/external monologues emerging from the damaged psyches of the central characters. The monologues are amplified by a rapid succession of highly stylised images, impressive sound design and an audacious score. The result is surprisingly gripping and immersive cinema. Also noteworthy is the terrific cast, particular the three teenage actors.
Confessions belongs in a unique space, carved out by films such as Donnie Darko and Battle Royale. These films capture the inexplicable pain of growing up and the devastating vulnerability we’ve all experienced as teenagers.
QUICK REVIEW: DEAR DOCTOR
Japan | 2009 | Writer/Dir: Miwa Nishikawa
Panic sweeps across a sleepy town when its only doctor abruptly disappears. As the townsfolk come to terms with their loss, the painful truth behind the enigmatic doctor’s disappearance is gradually revealed.
A beautifully crafted story that moves you in unexpected ways. The script and direction are pitch perfect. Every scene is delicately constructed; every image is awash with feeling and every silence vibrates with intent.
Writer/director Miwa Nishikawa skillfully avoids emotionally manipulative dialogue in favour of understated and nuanced performances. For example there is a terrific scene where the doctor is forced to perform an emergency procedure he has never performed before. Without resorting to exposition, the tense scene reveals the vulnerability of the doctor and the nurse and the terrible secret they’re both harbouring through their body language. In another scene, a woman begs the doctor to not disclose her cancer to her daughter. She does this at the kitchen sink, her back is to the camera the whole time - her inability to look at the doctor and at us makes her predicament all the more poignant.
It’s really quite rare to come across a character drama as impeccable and layered as this. If you watch the film a second time, you’re bound to discover new meaning in scenes that weren’t apparent in the first viewing. That is the mark of great filmmaking.
