I’m not really sure what this film was trying to say and it took just a bit too long to not say it. Toshio and Akié are a married couple with a young daughter, Hotaru. One day a neat, quiet man, Yasaka, arrives and Toshio gives him work and invites him to stay in their house. Toshio’s demeanour and offhand furtiveness show that there is more to this connection than meets the eye and his generosity is not necessarily being done through friendship. Continue reading
Category Archives: Bechdel pass
Radio Dreams (2016)
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My favourite film of the festival so far. Not quite a 5 star but a solid 4.5. This sweet, deadpan, gorgeously rendered exploration of cultural displacement is set in an Iranian radio station in San Francisco. The band Metallica has promised to call in to jam with Afghani band Kabul Dreams; Mr Royani, the wild-haired director of programming sees it as a symbolic gesture of reconciliation in the aftermath of 9/11. Continue reading
Hedi (2016)
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A bittersweet Tunisian love story, that’s what this film is supposed to be. Hedi is a shy car salesman who likes to draw. He is dominated by his mother, who tries to steers his life into an acceptable version of success, making it clear that he is not as clever as his older brother. Continue reading
Mahana (The Patriarch) (2016)
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Lee Tamahori, who directed Once Were Warriors, brings Temuera Morrison back to the screen, this time in a family-friendly poignant tale of patriarchy, set in 1950s rural New Zealand and based on a novel by Whale Rider author, Witi Ihimaera. The warm tones, beautiful rendering of the rural life of the time and great characters make this an enjoyable and thought-provoking tale. Continue reading
Being 17 (Quand on a 17 ans) (2016)
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A MIFF lesson – if you’ve booked a film, give it a go. I thought of staying in bed this morning and missing My Life as a Courgette and this French coming of age drama. I’m so glad I didn’t. They were both wonderful, sad, poignant and heartwarming. Tales of the value of the friendships we make, the pain of making ourselves vulnerable and the way this opens us up to the love of others. Continue reading
My Life as a Courgette (2016)
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What a lovely antidote to the yuckiness of The Neon Demon. My Life as a Courgette is a French stop-motion animation about a little boy, Icare but Courgette to his deadbeat mother. When she dies, he is sent to an orphanage where he must contend with Simon, the resident bully. Continue reading
The Salesman (2016)
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Having expectations is always a risk. This is the drama from Iranian director Asghar Farhadi and I loved his last two features – A Separation and The Past. He builds a great story, showing us contemporary Iranian life through the eyes of engaging and totally believable characters. Continue reading
The Neon Demon (2016)
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Ah no. Don’t see this film. If you do and you find something to like about it, some hidden profundity, please let me know. Its directed by Nicolas Winding Refn who directed Drive, a film I really liked. The Neon Demon seems to be about the fashion industry and, more specifically, the obsession with female beauty. Every character is unlikeable, the men are all voyeurs or predators, the women are all narcissistic and monstrous. Continue reading
Sonita (2015)
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I couldn’t pass up this Iranian documentary about a young Afghan girl in Tehran, battling her family’s conservative plans to achieve her dream of being a rapper. In many ways it is like As I Open My Eyes made real. Sonita Alizadeh, like Farah in that movie, is young and idealistic, channeling her anger at the injustice she sees all around her into her song lyrics. For her it is the limitations placed on her as a young woman, destined to be married off by her Afghani family for a bride price, like so many other teenagers, and forbidden from performing. Continue reading
Under the Shadow (2016)
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I’m still thinking about this Iranian horror. It wasn’t a genre I knew about before A Girl Walks Home Alone at Night entered my life – my favourite film of last year. There are similarities between these two films, not stylistically but in their feminist subtext, although Girl delivers it much more subtly. And Under the Shadow is much more scary. I returned to my apartment afterwards and the quiet stairs and long corridors seemed disconcertingly like a carpeted version of the apartment block in the film. Continue reading
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