Film review – Star Wars: The Last Jedi (Rian Johnson, 2017)

CONTAINS SPOILERS – ONLY READ AFTER WATCHING THE LAST JEDI

Well, it’s finally arrived. After an almost-two-year wait, we finally got to see what happens on Ahch-To immediately after the infamous closing sequence of The Force Awakens. The highly-anticipated interaction between Luke and Rey was anything but grandiose – Luke simply tosses the lightsaber over his shoulder and walks away.

This may not have been the first thing we see in the film, but it certainly set the tone. There are some serious plot developments going on here, but they’re always delivered with a smattering of humour. Indeed, The Last Jedi may be one of the best examples of a script being so well-written that the overarching plot’s many loopholes can be forgiven.

In many ways, the tone of the script is essential to ensure the entire spectrum of potential viewers stays on board. Those expecting to see the darkest of dark sides of the force will certainly be pleased – it gets very dark –  but there’s a lighthearted feel to this film that means no fan will feel alienated.

The basic plot is split into three threads, essentially focused around the three main new heroes introduced in The Force Awakens: Rey (Daisy Ridley), Finn (John Boyega) and Poe (Oscar Isaac).

Rey is wrestling with the dark and light sides of the force – a development that clearly has ramifications for the future of the galaxy. She spends the early parts of her journey with Luke Skywalker (Mark Hamill), before taking off to see Kylo Ren (Adam Driver). Our heroine is a truly engaging character and Ridley is the perfect actor to take on the role, taking us on a journey to find out more about herself at the same pace as the viewers.

Elsewhere, Finn wakes up from the coma we left him in at the end of The Force Awakens, before a chance happening sees him forming a bond with resistance mechanic Rose Tico (newcomer Kelly Marie Tran), herself mourning the death of her resistance fighter sister.

Poe Dameron is busy on the main resistance fleet ship attempting tactical dogfight missions to attack the First Order, before attempting a rescue/escape plan with Princess Leia (Carrie Fisher) and Admiral Holdo (Laura Dern).

If great films are remembered so for their show-stopping visual moments, then The Last Jedi delivers them in buckets. The dogfights are absolutely real, comprehensible and exhilarating, clearly showing the influence of the film ‘Twelve O’Clock High’, which director Rian Johnson cited as a key reference point. The final fight sequence on the salt land of Crait contrasts the crystalline white of the ground with the kicked-up red chalk as the fighter vehicles slice through them towards the enemy.

A surprising and memorable fight sees Rey and Kylo team up together to wonderful effect. It’s a sequence reminiscent of ‘Three Outlaw Samurai’, with very few cheat editing or confusing cuts. It’s delivered masterfully. There are two specific deaths that really caused some great whooping and fist-pump scenes at the midnight screening: one involving a lightsaber-in-the-head death for a Praetorian Guard, and one involving the brutal death of a major character.

The McGuffin for Finn and his new partner in crime Rose allows them to develop something of a romance. It’s a romance that remains almost entirely unkindled by the end of the film – allowing plenty of  scope to further develop or completely nix their relationship before episode IX. The cynic in me believes this will probably depend on how popular Rose is as a character.

It must be said that the whole story thread for this pair of characters is mainly pointless. There is a largely disappointing sequence on the casino planet of Canto Bight that serves the sole purpose of introducing DJ (Benicio Del Toro). It is framed in a world that is wholly reminiscent of Final Fantasy on a plot level – casino-based planets are common in most games in the franchise, with Chocobo races being a clear inspiration for the Fathier creatures being forced to race for entertainment on Canto Bight. It’s also fairly identical on a visual level, suffering from a common issue in present-day cinema where physical sets and props are lovingly built and filmed, only to be touched-up in post with some less-than-realistic CGI, making for a wholly underwhelming result (see Unkar Plutt in Episode VII for a further reference point).. Fortunately there was no need to reproduce an entire human character a la Peter Cushing in Rogue One, but the visuals are so important after the failings of the prequel trilogy and it’s almost unfathomable that this can still go wrong.

As a side note, there is a wonderful tracking shot whilst we’re on Canto Bight that felt like a tribute to 1927 silent film Wings, which can be seen below.

Unfortunately, this Finn-Rose sideplot always feels like an unwelcome distraction from the Rey-Kylo thread. We were left hanging for two years and so most of the build up has been about what happens next to Luke and Rey, who Rey’s parents are (nobody, it turns out), how her training will play out and how she’ll defeat Kylo Ren. It’s frustrating that we keep getting the rug pulled from under our feet with unwelcome distractions from what is emerging as the main plot, and contributes to a sagging middle act. Indeed, should this have been missing from the film entirely, there would have been little impact on the outcome.

Poe’s character gets many of the best lines for laughs, but there are also big visual gags from BB-8 and some friction between Chewbacca and the furry little creatures called porgs. These porgs are destined to be something of a Marmite character for the franchise – I’m still trying hard to warm to them.

All is forgiven by the final act. If anyone was left unconvinced at any point, the film gets firmly back on track with a lovingly-balanced reintroduction of Yoda as a force ghost. It was surprising but absolutely welcome. Frank Oz provides the voice and yes, it is a real puppet operated by real people. This is how it’s done Mr Lucas.

This kick-starts a long stretch towards the end that is entirely satisfying, exhilarating and feels like a genuinely fresh take n the franchise. It sets up the Resistance in a perilous predicament that gives J.J. Abrams a meaty starting point for the final installation of this trilogy.

It makes the failings pale into insignificance and provides a perfect ending to a not-quite perfect film.

The clocks are officially reset and I’m now on countdown again for the next instalment.

Advertisements

Film review – Die Another Day (Lee Tamahori, 2002)

There is a scene two hours into Die Another Day. It takes a while to get to but it feels like the worthwhile pay off to the most patient of viewers. As Bond takes off a virtual reality headset we discover that the whole sexual fantasy had been in fact part of a simulation. Simple, effective, genuinely funny. That the Bond at the centre of the scene isn’t character James but actress Samantha portraying Miss Moneypenny is simply a stark and damning assessment of arguably the worst film in the franchise’s history.

Die Another Day, across the board, leaves a lot to be desired. The story feels messy and the dialogue makes it drag. Pierce Brosnan was never convincing as a womaniser, not in the charming way Sean Connery was that allowed the audience to both believe him and forgive him. It is a script laden with quips, come-ons and innuendo and I was left urging the women to slap him and ground the whole thing in some semblance of reality.

The technology is ridiculous even by Bond’s standards, with the inclusion of invisible Aston Martin the real calamity that lets the whole film down. The rhythm of the film makes this very much the centrepiece, utilised in the critical scenes right at the climax of the film in a pointless car chase and subsequent rescue mission. The wheels are revealed to have traction treads in them very late in the day, which would probably have saved the entire chase and… well the whole scene is very easy to get nitpicky about to be honest. I’m sure you’ll have as much fun as I did yelling at the screen.

The name’s Bad Guy. Unconvincing Bad Guy. – Image by © MGM/Corbis

The CGI just makes them all worse, though it reaches a trough when we see the destruction weapon called Icarus. This is clearly a matter of sheer terror that could cause the absolute destruction of entire countries, being that it focuses light from the sun and turns it into a giant flaming beam of light that rips through everything in its path. Director Lee Tamahori and the team at Eon Productions had 25 years to digest how George Lucas achieved this remarkable visual spectacle on a shoestring budget in 1977 for Star Wars, but yet they still managed to fail miserably in ripping it off here. You may also question why the icebergs don’t completely melt immediately when touched by the rays, or why the flaming beams stop instead of ripping through to the centre of the earth, or why nothing seems to be on fire. But hey, this is Bond. Am I right?

This also has the very worst Bond theme song of be lot, as well as the worst overall soundtrack that clumsily places modern tracks into scenes to miserable effect. Bond’s on his way to London? Throw in ‘London’s Calling’ by The Clash. That’ll do. It’s hard to escape Madonna’s terrible song too, running at the start and end of the film, sounding nothing like a Bond track, trying and failing to do something different with the well-trodden rules. In case you had managed to move on from it, Madonna pops up early in the film as a fencing teacher. She acts well but it’s a terrible scene that needlessly shows Bond struggling to keep up with someone to prove a point that he has a bit of rivalry with the film’s primary antagonist.

It is rarely so obvious that James Bond is punching above his weight. – Image by © MGM/Corbis

The whole Gustav Graves gene swap with Zao is very problematic for me. It is entirely pointless and seems superfluous to the script, borrowing heavily from Face/Off some five years after it had hit cinemas and proved that the follow-through doesn’t match the idea. Bond is a leading MI5 expert and the fact he didn’t have any suspicions at all is simply because the filmmakers made no attempt to leave any breadcrumbs for him nor the audience, making the Act 3 reveal a little hollow and a bit of a cheat. Could Graves perhaps have utilised some of the martial arts that had Bond struggling in an earlier fight sequence, given that he was actually Zao and an expert in martial arts. Instead he was portrayed as an expert in fencing, which is doable for sure but makes me begin to question the timeline for the switch.

Remarkably, there was a planned spin-off with Halle Berry reprising her role as Jinx, though this was canned following the lukewarm response to this film. Allegedly many of the plot points were reused for Casino Royale, which history has proven to be somewhat of a saviour of the franchise and a well-loved instalment for die-hard Bond fans and general film lovers. It’s a shame because Halle Berry clearly suited the role and was one of the few shining lights in a very poor film. It’s something that we’ll sadly never see now, with the franchise back on its own two feet and with no need of a spin-off to help maintain public interest.

Brosnan is, for me, not the worst Bond to have hit the silver screen. He was, by the end of his tenure, a Bond for the wrong era. As the Bourne series was launched, what cinema-goers wanted was exactly what Daniel Craig provided – roughness, realism and believability. He has proven himself over a four-film series and that is something that Brosnan, eventually, failed to do.

Film review – Arabesque (Stanley Donen, 1966)

“Our only hope is to make it so visually exciting the audience will never have time to work out what the hell is going on”. This damning statement by director Stanley Donan about the film ‘Arabesque’, as recalled by cinematographer Christopher Challis in his 1995 memoirs ‘Are They Really So Awful?‘, explains quite a lot about the final product. It had reportedly already cost $400,000 to have the script rewritten several times, partly due to the casting of Gregory Peck instead of the preferred choice of Cary Grant in the lead role. The result is a film that is almost the definition of style over substance, with a feeling of a real missed opportunity to something truly special.

The confused and therefore confusing script centres around Professor David Pollack (Grant), an expert in ancient hieroglyphics. He is approached aggressively by Middle Eastern Prime Minister Hassan Jena (Carl During) and his ambassador to Great Britain, Mohammed Lufti (Harold Kasket), who offer him £20,000 to solve a hieroglyph-based riddle, the answer to which is highly urgent. Pollack is forced to work inside the mansion of shipping magnate Nejim Beshraavi (Alan Badel), where he also meets the infinitely distracting Yasmin Azir (Sophia Loren), though he quickly realises that he will be killed once he has solved the riddle and decides to escape, with Yasmin in tow, triggering a chase across the brilliantly-captured 1960s London.

Stanley Donen had risen in popularity in the 1940s and 1950s following a prolonged successful run of musical films, primarily with MGM. Having made his name as a Hollywood choreographer in the 1940s, he helmed such classics as On The Town (1949), Singin’ in the Rain (1952), Seven Brides for Seven Brothers (1954), Funny Face (1957) and The Pajama Game (1957). He was, by the end of the 1950s, regarded as one of the great directors from the golden era of Hollywood.

Donen then set his base in London, a move that coincided with the breakdown of his marriage to Marion Marshall. This film is one of a handful that were produced during Donen’s British period, which defined a decade of his career throughout the 1960s. The period was a fruitful one, yielding such films as 1960 ‘Once More, with Feeling!‘ and ‘Surprise Package’ (both 1960), ‘Charade’ (1963), ‘Two for the Road and ‘Bedazzled (both 1967) and the now-hard-to-find camp comedy ‘Staircase‘ (1969).

Arabesque‘ could be seen as Donen’s attempt to make a film in the style of Hitchcock, with the feeling of a political suspense mirror reminiscent of ‘Torn Curtain‘, which had been released in 1966. If it was, it was a failure, with any feeling of suspense being lost amongst a clumsy plot that is tricky to follow.

For all the failings of the plot, the sheer beauty of Sophia Loren cannot be escaped. Dressed in the exquisite fashion of Christian Dior, she is the perfect example of elegance in film. Indeed, it is a point the studio and director were clearly keen to underline, with a special note during the opening credits that reads “Miss Sophia Loren’s wardrobe specially created by Christian Dior”. One can’t help but contrast this with the epic failure of Donen’s final box-office release ‘Blame it on Rio’, which feels comparatively devoid of any artistic merit and relies on smut and nudity to progress the plot.

To begin to enjoy this film, one must suspend the entirely noticeable fact that there are a handful of Arabic characters that feature in the film, none of whom are of Arabic descent. It’s something that simply isn’t commonplace in 2017, which may be jarring to the modern viewer, though cinephiles will surely have to cope with much worse as they explore further back into the history of cinema.

Whilst the first two acts plod from plot twist to excruciating plot twist at a terrifying rate that feels both too fast and too slow to elicit any kind of positive response, the same cannot be said of the final act. It is here that we are finally rewarded for sticking with the film and are rewarded with a chase scene across some famous landmarks that feels as spectacular as any of Donen’s dance routines of his early career.

The question remains whether or not the audience should be made to work for around 90 minutes for such a pay-off, but regardless of this fact there is enough going on here to warrant a viewing. It’s not so much style-over-substance and style-then-substance. If you’re happy for this imbalance as the two factors are tragically compartmentalised, then you’ll find a fairly decent piece of cinema awaits you.

Film review – Flash Gordon (Mike Hodges, 1980)

Where’s he got that leotard from? Why doesn’t he just sleep with the alien girl? Why is he so dedicated to the earth girl when they’ve know each other ten minutes? Why did they do so many tracking shots?

If you’re sat there pondering any or all of these questions, then you may well have been watching Flash Gordon. Maybe, like me, you were on holiday with a VHS player and only a handful of of videos to play on it, of which 80% were James Bond.

On the face of it, this could have been a great film. There’s a classic comic book as the source. The cast is, for the most part, absolutely brilliant. Then there’s the unforgettable titular theme song by Queen.

Yes, it’s easy to be critical of it now. It’s almost 40 years old and time has not been kind to the flimsy costumes or the flimsier scenery. These are of the time and can partly be forgiven.

But there are things that you just can’t get past. Gilbert Taylor acted as cinematographer. This is a man who worked on Star Wars just three years prior. Between him, director Mike Hodges (Get Carter) and editor Malcolm Cooke there was a much more impressive final product to be had. Some clumsy edits reveal mistakes in actors’ takes, whilst tracking shots do little to hold the imagination when it seems a wider angle could have been taken.

The dialogue is intentionally camp but winds up feeling unintentionally humorous. This results in confusion over certain lines that may or may not have been intended as jokes. There’s an excruciating scene between Flash (Samuel J. Jones) and Princess Aura (Ornella Muti) that not only feels embarrassing but also fails to provide any motive for either character. In particular, our hero seems to have developed a sort of honour-bound dedication to Dale (Melody Anderson), a woman he had only met a couple of hours before and knows nothing about.

For campiness, it’s impossible to beat the American Football fight at the start of the film. Why, oh why…

Indeed, overall there is very little in the way of character development and the viewer is left to piece together the well-intended plot from what we are left with.

There are two types of film that become cult classics. Some are under-appreciated gems, or at least were when they were released (see Big Trouble In Little China, The ‘Burbs or Ferris Bueller’s Day Off). Others attain cult status because they flopped or were never that good in the first place (Tommy Wiseau’s The Room, or every film by Ed Wood). Unfortunately, Flash Gordon falls into the latter category.

It’s a real shame because my memory of the film was hazy but certainly positive. It is now somewhat tarnished, just like the VHS copy I watched. Fitting, really.

Film review: Dunkirk (Christopher Nolan, 2017)

When Christopher Nolan’s latest project was announced to be a big-screen interpretation of the famous evacuation of the Allied troops from Dunkirk beach in May 1940 during World War II, it seemed like an unusual choice. His recent output has concentrated on science fiction and fantasy; between directing the Dark Knight trilogy and his subsequent involvement with the Man of Steel films, he also found time to craft two epic science fiction films in the form of Inception and Interstellar.

A war epic felt like a shift into reality. Whilst nobody could doubt his credentials, such a film would certainly rely more on realistic-looking non-CGI special effects. It’s also true that getting these effects wrong would have ruined the authenticity of his art.

dunkirk

In the run up to the release, the controversies and concerns trickled over the media, though they were far outweighed by the plaudits from those lucky enough to see the film in previews.

One of the biggest concerns was the casting of pop singer Harry Styles in one of the lead roles. I can confidently say that any worries about his ability to act are completely unfounded. He does an excellent job in his debut role.

The entire cast are excellent. The most well-known amongst them – Mark Rylance, Cillian Murphy, Kenneth Branagh and Tom Hardy – need no praise to confirm their ability. It is the newcomers that really shine, amongst them Fionn Whitehead and Tom Glynn-Carney. The latter is a real coup for Nolan, having only acted on stage previously and even then in small quantities. He clearly has a bright future ahead of him.

Visually, the film is stunning. Everything feels real, rom the harshness of the conditions to the shock of the relentless attacks, and contributes to the most stressful and involved journey I’ve been on during a film since The Revenant. It is an ordeal from start to finish, with the stress reflecting in a small way exactly what the soldiers were going through at the time.

Nolan has made a bold but effective choice in the non-linear storytelling method utilised. It is told in three intertwining parts that slowly converge into one storyline. In ‘The Mole’, the soldiers stranded on the Dunkirk beach (Styles, Whitehead and Aneurin Barnard) have a gruelling week-long escape story as Branagh’s Commandor Bolton repeatedly tries to execute an escape route for his men. In ‘The Sea’, Rylance’s Mr Dawson takes his son Peter (Glynn-Carney) and his friend George (Barry Keoghan) across the English Channel on a leisure boat to rescue evacuees, picking up an unnamed British soldier (Murphy) along the way, in a story that spans one day. In ‘The Air’, Tom Hardy’s RAF pilot Farrier’s story takes one hour to complete as he and Pilot Officer Collins (Jack Lowden) take out enemy planes in their Spitfires. As these play out, we often see visual reminders from the other storylines that serve to anchor each one alongside the others. The stories feel inextricably linked from the start, but it’s a joy to see them play out so perfectly together.

Hans Zimmer’s score is effective in unsettling the viewer throughout. It was explained recently in a fascinating article on Business Insider. “There’s an audio illusion, if you will, in music called a ‘Shepherd Tone'”, Nolan informed them. “It’s an illusion where there’s a continuing ascension of tone. It’s a corkscrew effect. It’s always going up and up and up but it never goes outside of its range. And I wrote the Dunkirk script according to that principle. I interwove the three timelines in such a way that there’s a continual feeling of intensity. Increasing intensity. So I wanted to build the music on similar mathematical principals. So there’s a fusion of music and sound effects and picture that we’ve never been able to achieve before.”

This effect is never more evident than during the final climactic moments as the score track ‘The Oil’ plays out. It’s simply breathtaking.

Christopher Nolan has made a career out of crafting cinematic experiences that feel part of one person’s vision. Like other contemporary directors like Quentin Tarantino, Wes Anderson or Nicolas Winding Refn, they are experts in their field partly because viewers can watch their films and within seconds recognise their work. They are auteurs. That Nolan seems to be achieving this in such a wide gamut of genres is all the more remarkable.

Dunkirk is a film you have to see right now. It is the film you have to see right now.

Film review – Baby Driver (Edgar Wright, 2017)

There aren’t many moments in cinema where you start to watch the opening scene and an uncontrollable giddy smile engulfs your face, such is the joy of what is unfolding on the screen. It needs to be a brilliant idea, executed to perfection and in a language that speaks to you.

Baby Driver, Edgar Wright’s latest cinematic masterpiece, achieves just that. But the moment I knew it was a truly great film was when I realised the credits were rolling and my smile hadn’t left.

Oh, Baby!

The titular Baby is played by the young Ansel Elgort, who many will recognise as Caleb Prior from the Divergent film series. Baby is a young man who suffers with tinnitus, a whistling hum in the ear, which he got from an initially mysterious childhood incident. He works as a getaway driver for a heist masterminder named Doc (Kevin Spacey), who counts amongst his rotating team of goons a highly-strung Bats (Jamie Foxx), passionate love birds Buddy (John Hamm) and Darling (Eiza González), Griff (Jon Bernthal) and Eddy No-Nose (Flea). Lily James also stars as a waitress named Deborah.

To drown out the noise, Baby has a series of iPods to suit his moods. These are essentially soundtracking his life with a mixture of classic tunes that also serve as the soundtrack to the film, from Beck to Sam and Dave, The Commodores to The Damned.

It is these playlists that also serve as the film’s soundtrack, with sounds and visuals perfectly in sync with one another. For fans of music, and in particular soundtracks, Baby Driver is an absolute dream. The music is the backbone, catalyst and cherry on the icing, all at the same time. It’s a remarkable achievement.

If the opening sequence seems familiar, Wright used the same scenario in 2003 for the music video he directed for the track ‘Blue Song’ by Mint Royale. This hit the music airwaves mere months prior to his directorial breakthrough Shaun of the Dead, but watching it now you can see he probably had the idea for Baby Driver in his head as a starting point.

One of the best examples of how perfectly it works comes during the opening credits, when the first job has been completed and Baby goes to pick up some coffee from a shop near to their hideout. As Bob and Earl’s ‘Harlem Shuffle’ is played through his earbuds and the backdrop becomes subtly flourished with graffiti, shop names and visual signposts, it was clear that something special was unfolding before my eyes. That this was done as a one-shot makes it all the more beautiful.

The film goes far and beyond being just a glorified music video. The car chases are breathtaking from the get-go, and there’s no let up as the story progresses. They’re believable and easy to follow, with no cheap cuts to hide poor editing and hide continuity – something of an epidemic in cinema in the 21st century.

Many of the actors are a little out of their familiarity zones with their characters, but it’s obvious that the likes of John Hamm and Jamie Foxx are taking great pleasure in being allowed to indulge their acting abilities. Kevin Spacey may be on more familiar ground, but it doesn’t make for poor viewing in the slightest.

I think her name is Debra! Or Deborah…

There’s a great use of the song ‘Debra’ by Beck in a scene that cements Baby’s relationship with Lily James’s waitress. They’re both stuck in a rut and in need of a route out, so their inevitable desire to be together is an expected story arc. Only Edgar Wright would, at this point, think it was a good time to drop in a song about a man wanting to have a threesome with two sisters. It’s a hilariously sweet moment that comes just at the right time in the film, softening up the audience before the rollercoaster second half of the story.

The fact that Elgart spends the opening thirty minutes dressed in an outfit that is very reminiscent of Han Solo shouldn’t be overlooked either. Elgart came close to being cast in Disney’s upcoming problematic Han Solo standalone film, before being overlooked in favour of Alden Ehrenreich. It’s clear that the coolness of Harrison Ford’s character is something Wright was trying to remind the audience of. However, Wright recently denied the connection in a Twitter Q&A, saying that the similarity was purely coincidental.

Similar to Han Solo? Wright is denying any links.

I just can’t be effusive of the film enough. It’s something I could watch time and time again and I’m certain I’ll be getting enjoyment out of it for years to come.

Baby Driver could well be the greatest film of Wright’s illustrious career. If you’ve not been taking notice yet, now’s the time.

The Levelling (Hope Dickson Leach, 2017)

Ellie Kendrick may be familiar to most as Meera Reed in Game of Thrones, but she has been extremely busy outside of Westeros with a series of challenging roles on stage and off. Her latest appearance, this time as the star of drama feature The Levelling, sees her take on the complex character of Clover, a British girl who returns to her farmhouse home after the unexpected death of her brother Harry (Joe Blakemore).

The tone of the film is inevitably dark and the setting is as grim as it is claustrophobic. The whole film plays out entirely within the confines of the farm, as Clover is forced to come to terms with what has happened whilst also dealing with a tattered relationship with her father Aubrey (David Troughton), a man who is either unable or unwilling to open up emotionally and would rather just carry on as if nothing has happened.

You may be forgiven for a reluctance in diving head-first into this film. When the main star is also a bit character in one of the biggest television series of all time, there is a nagging thought that she may have been cast solely to appeal to fans of Game of Thrones. Certainly the cynic in me can’t get past the fact that the timing of the release has been chosen to cash in on it; it is a matter of weeks before it enters its seventh season.

To presume this would be wholly wrong. Kendrick delivers an absolutely phenomenal performance, swaying between headstong frustration to childlike confusion. It’s a great showcase of her talents and a great piece of evidence that there will be life in her career beyond the final season of Game of Thrones next year.

Writer / director Hope Dickson Leach does well with the location of the film to let the audience know that this is a place that is almost uninhabitable. There’s no respite from the damp, grimness of the untended farmhouse and its surrounding land. The fact that she has achieved so much in her debut feature should be enough for the industry to take note. There’s a lot of talent here.

The subject matter may not appeal to some and may be too challenging for others, but this is definitely an emotional journey worth going on.