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Sicilian Ghost Story (2017)
A mesmerizing love story
Looking through the program of the Fantasy Film Festival 2017, Sicilian Ghost Story by Fabio Grassadonia and Antonio Piazza was the film sounding most promising and - to be honest, if you liked the trailer, you will like the movie too. Here, you get exactly what you expect. The story is a classic Romeo and Julia tragedy but with a gloomy thriller element. Luna loves her horse-riding classmate Giuseppe, a golden boy, although their families share a mutual hate. Their love is star-crossed: Giuseppe's dad works as a 'grass' and one day the Mafia kidnaps his son to put him to silence. While everyone abandons him, Luna, evidently sharing some character traits with Shakespeare's Juliet, will go above her limits to save him.
The bond between Luna and Giuseppe is the strongest emotional connection in the film especially in contrast to the other characters (Luna and her parents, Giuseppe's parents, the abductors) – highlighted by the fact that the only actual scene in which we see them together is the opening scene. Their love for each other, which is ready to defy evil forces, develops an incredible attraction force. When Giuseppe realizes through the letter by Luna that he must survive this because there is still a shining light of hope in his dead-end situation, the film affects you directly at your open heart, and due to the thriller story, it never gets cheesy. This one is a prime example for an extraordinary outstanding sequence which would even deserve 10 pts.
Mythological references and allusions to myriad European myths and fairy tales play a role in the imagined world Luna creates in which she is still able to rescue Giuseppe. A better world that seems to lie under the saturnine reality, where there is still something worth living for. Other symbols like the lake, the dark forest or the owl (a direct reference to Ovid's passage on Progne and Tereus, I guess) intensify the strong bound between Luna and Giuseppe and connects the two teens. By playing a significant role in Lunas world of thought, these elements are kind of soothing in contrast to the sad reality and give the film a magical touch.
Obviously, the Shakespearian love story is the centerpiece of the film, but on the other hand it also revolves around a social theme which is too often shrouded in silence: The threat and power of the Mafia and the impact it has on a normal life. There is one special scene where Luna and her best friend Loredana spread papers saying: Giuseppe has disappeared and what are you doing about it? – this is a good question. Everyone knows that these inhuman, devastating crimes happen but they all seem to be oblivious about it or even don't care. How can a society simply accept that they are powerless? The film takes a subversive approach here. Despite the pretended ignorance in society and despite all obstacles, heroine Luna does not abandon Giuseppe. By this love story and its cosmic proportions, Grassadonia and Piazza create a monument for one of the fates of the innocent Mafia victims in Sicily which are still there like ghosts haunting the present (or not, because society is silent about it).
Grassadonia and Piazzathis and their cinematographer Luca Bigazzi tell the story in beautiful pictures reminding me of Matteo Garrone's Tale of Tales. Every scene here could be taken out as a film still standing on its own looking like some impressionistic painting.
Beside the visual beauty and the richness of metaphors and symbols, the sound design is conspicuous too. The piano-based music score by Austrian musician Anton Spielmann and his wifes' band Soap&Skin is only sparely used throughout the film, but when it appears, it really pushes the film on an elevated level and significantly underlines the longing of Luna and Giuseppe to each other. Soap&Skin contributed two heart-touching songs to the film which capture the sound of love, while the creepy sound design – for example the water drops or the woofing of the dog, symbolizing the Mafia danger - foreshadows the ending.
I had some problems with those parts of the film which completely play in Luna's fantasy world. Lengthy dream sequences where Luna imagines that she rescues Giuseppe felt pointless and do not push the storyline forward. Some of them especially those near the end of the film were a bit redundant, even inscrutable but others may find pleasure in them too. I definitely don't. There is also a dialogue between Luna and Nino, a friend of Loredana, who explains in an almost Rousseauish way what kind of place Sicily could be without humans. This felt a bit sudden and misplaced at first glance, but in the logic of the film it makes sense: Under all this human pettiness is still a paradise-like island full of magic caves, lakes and animals where once the gods resided and love is still reachable. There is hope that these gods will return one day to stop the cruelty. And the final scene may give a glimpse at this!
All in all, there is much to discover in Sicilian Ghost Story. I highly recommend watching the film in a cinema on a big screen (if possible), so that the intensity of the love story between Luna and Giuseppe and the power of the films' visual language can take full effect. A cold Mafia abduction versus endless love, narrated in powerful mystic and cosmic visuals – this is the magical mixture Sicilian Ghost Story offers, although it has some lengths and gets tangled up in its own conceptions sometimes. Beside this, the film is probably the most interesting and ambitious entry of the Fantasy Film Festival 2017 and stays in your head a couple of days after you watched it.
8 pts.
Denial (2016)
Truth will always win
The historical drama 'Denial' by Mick Jackson thematizes the post- truth world by focusing on the topic of Holocaust denialism and the lawsuit of David Irving against historian Deborah Lipstadt.
Referring to the Leuchter report, historic writer and self-appointed historian Irving claims that the Holocaust never existed and even accuses survivors of it as frauds. Historian Lipstadt publishes a book in which she stands up against these lies, but Irving fights back in form of a lawsuit, since his reputation is now ruined. A few years later, Lipstadt and her lawyers must prove that she is in the right and that the Nazi regime's crimes against humanity happened.
This film really has the finger on the pulse: It conveys a topical message to the audiences and raises significant questions how far the freedom of speech goes. By exposing the tactics of Mr. Irving, it draws a parallel to today's alt-right movement and how they create their own alternative version of the world (and of history). Even here on IMDb are people who defend Irving (actually, quite alarmingly lot), although he is a Hitler apologist, an open racist and denies the crimes against humanity the national socialists committed. As Lipstadt expounds, denying the Holocaust and being pro-Nazism is against the basic principles of modern societies. Thus, no one can call the film ''biased'', as there is just one acceptable opinion! - but that's another point and maybe this is not the best place here to discuss it. The film talks about this, especially in the end, highlighted by a strong, terrific statement by Lipstadt. Moreover, there are two brilliant scenes where barrister Richard Rampton, played by Tom Wilkinson, undertakes a frontal attack against Irving and unmasks his lying strategy. Applause, applause!
The second big plus of the film is its accurate authenticity conveyed by the actors – ALL of them are glorious in their roles. My big respect goes to Timothy Spall who interprets the disgusting character of Irving in a chilling way. Rachel Weisz really shows how important the history for Deborah Lipstadt is and gives her a heroic warmth, but also a sentimental side. All the humanity which is missing in Irving can be found in her. Tom Wilkinson and Andrew Scott portray the lawyers Rampton and Julius who focus on the facts and figures much to the dismay of Lipstadt. But both get some human scenes as well and it is more than pleasant to see the showdown between Rampton and Irving where he finally looks this man in the eyes and takes him down. Again applause! Some conflicts appear between Lipstadt and her lawyers, but sadly they are only adumbrated: Julius has obviously some other motives than justice and Deborah has a rumpus with him over the question whether the Holocaust survivors should testify or not. Ultimately, this is never played out fully, but is compensated by the authentic performances of the main actors.
Sounds like a food-for-thought-drama to watch, nevertheless its IMDb ratings are not always so rosy (even by people who are not Irving fans, I suppose :)). Why so? The biggest problem of the film, beside its uninspirational and easy forgettable score is that the main enemy, Mr. Irving, is very soon forced onto the defensive. There are some scenes where he tries to manipulate and win over the judge and the public, but there is no offensive counter strike against Lipstadt, not a gripping confrontation. I do not think that this makes the film boring, no, the 109 minutes pass by quickly, but on the contrary, it also eliminates any surprises concerning the dramaturgy of the storyline. Thanks to several questions – How can something which definitely happened be proved in court? What is the price of fighting for the truth?... – and thanks to the extreme degree of topicality, an interested viewer will keep watching. This validates that the film makes something right. Nonetheless, the criticism that 'Denial' feels in part generic, because of its lack of originality and suspense may not seem too far- fetched. For example: the scenes in the court, which use the real dialogue of the trial, give the film a documental touch, but may seem a bit low- paced to some.
Overall, the message and topic of 'Denial' is so pertinent for the current condition the discussion culture in democracies finds itself. This film can bolster all who fear that far-right politicians like Marine Le Pen or Donald Trump can skew the history with their alternative facts. Instead, the story of David Irving's downfall proves that truth will always win. Without a shadow of a doubt, the film has a noble ambition and a significant message, but in a cinematic sense, Denial is not a perfect film – I really don't know who to blame for the genericism. More depth and less generic courtroom discussions and lawyer meetings would have been appropriate. Not only the audiences but the topic deserves it.
Generous 8 pts.
XX (2017)
Promising ideas, weak plots
XX is the latest example of a horror anthology consisting of four different shorts á 20 minutes. They all have in common that they are directed by women and, as a leitmotiv, depict very female fears and horrors. Whether these fears are really so female or not is another point, but at least this is the courted concept of the film with always one woman as lead character.
The Box: During a trip with the subway, the young Danny looks into the box of a shadowy man who does not seem quite kosher. After that Danny refuses to eat causing the breakdown of his whole family. What I like about it is the mysterious and atmospheric touch and how the content of the box is shrouded in mystery. Moreover, director Jovanka Vuckovic obviously gives you the impression that it is all meaningful and elaborated. As if there were some hidden metaphors within the story cast into surreal pictures - emphasized by the fact that the mother is the pivotal character. But all these pluses do not compensate the weakness of the second half. Indubitably, the first half with authentic performances by all actors is solid, but in the second half the film makes almost everything wrong what an indie-horror short flick can make wrong. There is not a solution at all which ruins the positive aspects of the story and leaves the audience disappointed. (4,5 pts.)
The Birthday Party: An affluent mother wants that the birthday party of her daughter Lucy will be perfect, but her husband died the night earlier. The body must disappear at any cost. The second film of the compilation is rather a comedic grotesque than a creepy horror tale. There is some entertainment in Melanie Lynskey's performance and her frantic efforts to fulfill her daughters dream. To see this and finally how it ends is horrifying enough in a non-horror way. It could be more funnier and more extreme but at least it has its moments. Nonetheless, like the first story it does not show up with a clever twist or so in the end. (6 pts.)
Don't Fall: The third film centers on four friends who are slaughtered by a bloodthirsty monster creature (sounds familiar, doesn't it?) during a trip into the woods. I admit some mystic symbols play a role too but basically that's it. Don't fall offers the most action of the four films but its major weakness are the stereotyped characters and the glaringly blatant lack of originality. The whole story is a cliché itself and nothing new in the horror genre but, ironically, exactly this is what saves the film to a certain extent. It cannot fail like the other ones because its ingredients are tried and trusted. Therefore, it also has the biggest lack of innovation. Entertaining? More or less, if you like monster-slasher-films. Forgettable? Yes! (5 pts.)
Her Only Living Son: Serving as a sequel to a well-known horror classic, the last part of the anthology is about Andy who turns 18 and develops sadistic behavior. His mother is still optimistic about him but soon they are terrorized by dark forces which have something to do with the identity of the sons' father. To be honest, I really dislike that one the most. Without a doubt, the performances of the actors stand out in a positive way. Christina Kirk was an excellent choice to play Andy's mother. But the same applies as for the other three films: Interesting idea ruined by a disappointing and low- tensed ending. The so-called showdown is not thrilling enough and the 20 minutes could be filled better with so much more suspense, horror and paranoia. By trying to follow in the steps of this especially classic film, it all gets even worse. (narrow 4 pts.)
Noteworthy is the fact that the four films are embedded in a stop- motion frame story where a puppet interacts with a scary commode. It gives some surreal and probably pregnant with meaning pictures between the films. A well-integrated idea which made a lasting impression on me but it cannot conceal the mistakes mentioned above.
Ultimately, XX does not deliver, although the basic idea of every segment could have ended up in something great (which proves that XX is of course not 'the worst film ever' like some reviewees elucidated) and the idea of showing horror from more female perspectives is something new. That means, the potential is certainly there: the actors, the setting, the production at all looks professional. Despite this, to stand out from the masses, horror shorts need twisty, old-fashioned shocks and cleverly evil plot points. XX cannot offer this. What a shame! I really try to like it but there are too many flaws, too many missed opportunities.
5 pts.
Fleabag (2016)
Hugely entertaining and soulful
The Guardian lists this British (mini-) series under the top 3 of the best TV shows of 2016. After I found this out I immediately started watching and for those who do not have the time to read a full review: Cancel all your appointments today and invest your time in this magnificent tragicomic piece of art! Please, do so, now. Thanks. And now follows the review:
Fleabag is based on a theatre play (which is also available as a book - I have not checked it out but it could be interesting) by leading actress Phoebe Waller-Bridge who plays the series' protagonist of the same name. Due to her best friends' death, sharp- tongued Fleabag struggles to get back on track in her life. While her uptight sister Claire and her awful stepmother seem to have everything in life, Fleabag's boyfriend drops her and her coffee shop is obviously only visited for its gratis plug sockets.
According to its IMDb page, Fleabag is defined as comedy but it offers so much more than that. First and last, 'Fleabag' is a powerful drama and somehow a psychological study of the protagonist. Waller- Bridge's character has one big problem caused by all the trouble she lived through (early loss of the mother, death of her best friend): She is not able to articulate her feelings. Instead of that, Fleabag uses certain shields to hinder the persons around her reaching her. Examples are the sarcastic humor or that she must sleep with every man around her (even one with strange teeth). For this reason, she fails to feel love for any of these men. They are more objects she exploits. At the same time, she fails to confess that she misses her best friend Boo so much; she even cannot admit when she needs money to save her coffee shop and a hug by her sister unsettles her. The relationship to her father is shattered since he married an arrogant and insensitive boot. On the contrary, she wants to break out of all this but gets not the reaction of her family she needs. All these things together causing Fleabag to be so lonesome and broken and almost lose ground - this is beautiful and deeply moving!
(Warning: Spoiler) Especially beautiful is the final scene of the first season where she can eventually speak about her inner stresses and strains and gets (I'll guess really the first time during the six episodes) the non-sexual human warmth she always wanted in a surprising heroic deed by Hugh Dennis' character. Since this is a big point where Fleabag's personality finally undergoes a substantial change, here it's appropriate to shed a tear! (spoiler end)
Beside all the greatness in the character development and the emotional nuances, 'Fleabag's' comedic features are naturally part of the shows uniqueness either. Well, the humor is quite under the belt, modestly said, but if this is not a problem, the show can be a little guilty pleasure in that respect. I found Fleabag's caustic and sarcastic comments (especially those through the fourth wall to the audience) hilarious. Scenes involving Barack Obama, Fleabag coping with her stepmother or the first meeting with Hugh Dennis' minor but pivotal character, were not seen yet in this way.
Nevertheless, the jokes are always overshadowed by the big topic the show deals with: How life is (sometimes) about losing and then rising again.
In addition to Waller-Bridge quirky character acting, Olivia Coleman as 'Godmother' again shows that she can perform a wide range of different roles in different genres. Hugh Dennis gives a very special touch to the cast by the role of a burned-out bank manager who turns out as a round character.
Finally, the combination of (dirty) comedy and melancholy in such a bittersweet way is real art. Waller-Bridge created an unique character with depth who is filled with so much sadness that she tragically tries to hide. Only literature and art can show what it means to be a human being and I feel 'Fleabag' does it successfully in its distinctive way. Do yourself a favor and watch it!
Well-deserved 10 pts.
Fasandræberne (2014)
A deep gaze into the abyss
Nowadays, Jussi Adler-Olsen is probably the most successful Danish thriller writer with his latest book 'Selfies' (which is, in my opinion, very weak, but that's another point) again on the best- seller list. 'The Absent One' is the second installment in the Department Q film series originally released in 2008. Like its predecessor the film is directed by Mikkel Norgaard who reunites with the lead stars Kaas and Fares.
After a former cop commits suicide leaving behind the unsolved case of the brutal killing of his two children the lugubrious detective Carl Morck and his kind assistant Assad begin to investigate. Their only trace is a call by a girl, Kimmie Larsen, from the boarding school nearby the place where the assault happened. She leads the detectives to a group of powerful and affluent men headed by the famous Ditlev Pram who is ready to do whatever it takes to come to terms with the past.
Therefore, the plot again alternates between the 1990s (Kimmie, Ditlev and the others) and the 2010s (the investigation).
First of all, the big plus of the film is the menacing and saturnine atmosphere it creates – among the thrillers, only Stieg Larsson's Millennium trilogy features a deeper gaze into the abyss. Ditlev, the leader of the group, is a sadistic and Mephistophelian psychopath who loves to destroy others. In the present, it is the world in which Kimmie lives that is full of gloom. She has psychic problems and her only friend is a drug addict. There is almost no light and fun in the world of Department Q and the disturbing opening scene already sets the tone. The big threat in form of Ditlev and his henchmen creates a chilling and tense effect and therefore, you want to see how our very favorite detective duo (hopefully) will give these monsters what they deserve.
Since the film depicts brutality, torture and rape, 'The Absent One' is not for the faint-hearted.
What I also liked about the story is how it deals with the character of Kimmie, the girl who calls the police during that murderous night. She is somehow a round character: On the one hand, she liked the violent behavior of Ditlev and had also fun to beat others to death. Nonetheless, she made the call and realized that they have crossed some lines. There is somehow a change in her attitude towards Ditlev (of course, we learn why but I will not spoil it) which is the reason why Carl wants to help here, although she is as guilty and as criminal as the others. Consequently, Kimmie is not just another boring insane killer, but she shows that there is not always black and white, good and evil in the world. Kimmie is a shade of gray and this makes her an interesting character.
Furthermore, humor would have been important to give some variation in all this violence. There are some humorous comments especially by Carl but there could have been more. This is something which the next film does better.
Concerning certain cinematic devices, beside the use of light and dull colors the score by Johan Söderqvist, Patrik Andren and Uno Helmersson reflects the darkness of the film too. The haunting leitmotiv which appears often during the film underlines the deep pain the characters' live(d) through, while Kimmie's theme has some beauty and warmth in it. I'm glad that there is a soundtrack album out!
Nikolaj Lie Kaas and Fares Fares are a well-interacting team. Particularly noteworthy is how Kaas plays Morck with almost no happiness or smiling on its face which emphasizes how much he suffers from his job and the attack on him and his colleagues at the beginning of The Keeper of the Lost Causes. Danica Curcic who plays the present day Kimmie gives a similarly strong performance, while Johanne Louise Schmidt as Rose is a refreshing new member of the team. Pilou Asbæk plays the main antagonist and psychopath Ditlev who sticks at nothing to save himself. Well-known for his work in 'Borgen' he gives Ditlev a dangerous and unpredictable arrogance.
Overall, 'The Absent One' features a typical Scandinavian well- interwoven thriller plot full of vengeance, revelations and some scary crimes. There is nothing veritable new in the genre of the Scandinavian crime thriller – the depressive coat-wearing detective or the different detective duo are tried and trusted ingredients. Nevertheless, Norgaard uses the literary source well, although it has some clichés. In short terms, the film is more emotional and fast-paced than 'The Keeper of the Lost Causes' and therefore a nerve-racking thriller!
8 pts.
I, Daniel Blake (2016)
Struggle for survival in the era of neoliberalism
According to the Nobel Prize laureate Joseph Stiglitz we live in the economically most unequal times with a class of people who are left behind and for who the social safety net is out of reach. Ken Loach latest film 'I, Daniel Blake' intends to memorialize them and their struggle to survive where they still try to keep their dignity.
After suffering from a severe heart attack, the former carpenter Daniel Blake is certified as unfit for work by his doctor. Despite this, healthcare ''experts'' draw a different conclusion wherefore he does not get the benefits he need. Getting no helpful support from the public institutions Daniel only finds solidarity in the young single mother Katie who is in a similar, probably even worse situation like him.
Very conspicuous is the direct and incredibly harsh story-telling: For both Daniel and Katie is almost no hope. The employees at the job center do not act like humans and do not have a spark of empathy, Katie needs to support her two children who are in very bad mental health and Daniel is imprisoned in the Kafkaesque bureaucracy of the residue of GB's welfare state. It is heartbreaking to see how they fight to keep their dignity, a fight in which Katie almost fails at one point when she decides to prostitute herself – a powerful scene!
The real tragedy becomes apparent in the fact that Katie and especially Daniel, whose character is so authentic depicted by standup comedian Dave Johns, are good-hearted, reasonable and kind people. He helps Katie with his manual skills and takes care of her children while Katie wants to give her children an ordinary life. Their noble character traits are their capital. Nevertheless, this does not help them because for the system they are not individuals, but numbers or just more jobless persons.
But to see only the artistic drama and tragedy in the film would underestimate its thematic bandwidth. Behind 'I, Daniel Blake' is also a strong and highly relevant political message concerning the so- called neoliberalism. An economic and political ideology which aim is to tear any state activity on the field of economy down. According to its theorists it is not the states' responsibility to help the poor. Daniel Blake as a fictitious character who is based on real people is one of the victims of this ideology which has led to cuts in the welfare state and wider rifts within society (e.g. Brexit). Thus, the people at the job center act so cold-hearted, because they are trained to do so. Thus, it is so difficult for Daniel to enter an objection in this ''survival-of-the-fittest'', where a sense of community has nearly vanished. In addition, it is certainly no coincidence that ''privatization'' is mentioned at one point.
With the portrayal of a system which punishes honest people and let them almost lose everything they have, neoliberalism is the main target of the film and Loach assails how dangerous its ''lean state'' idea is. By the characters of Daniel and Katie, Loach shows this in an impressive and realistic manner.
There is only one thing I would criticize concerning the storyline: The ending is a bit too predictable and exaggerated. It was obvious that this will happen if it finally looks like Daniel will win back his humanity, but I do not think that this ''twist'' was really necessary. Of course, other viewers may argue that it is a consistent and appropriate ending.
To sum it up, on the one hand I highly recommend watching the film because Loach created a very well-done drama full of impressive scenes which should almost made you cry, featuring a cypress-dark main conflict (honest people vs. a destructive system). Actually, this reminded me a bit of the much darker German drama 'Woyzeck' by Georg Büchner, but that's another point.
On the other hand, 'I, Daniel Blake' is a fierce and to-the-point ''call for arms'' against those whose political aim is to crush the social safety net and realize their neoliberal agenda.
9 pts.