It’s lovely to see the gang back again. After three 5* films, this is the first one that, for me, drops the standard a little.
Photograph is a sweet film that has the feel of being a western take on what Indian cinema is. It’s doesn’t have any large set pieces or emotional pyrotechnics, the character development is sparse and the ending is fairly predictable, but despite these the overall effect is largely positive.
Director Ritesh Batra has returned to ground familiar to anyone who saw his soaring debut The Lunchbox, which brought him to prominence in 2013. The concept of an unlikely friendship blossoming into an even unlikelier romance is revisited here, with a beautifully-shot Mumbai serving as the backdrop for both. Fans of his debut expecting another uplifting romance will feel a little shortchanged, so it’s best to appreciate with a fresh palate.
With Nawazuddin Siddiqui as Rafi and Sanya Malhotra as Miloni Shah, the film is in great hands. These are two complex characters and they’ve clearly thought through every move under the guidance of director Batra. Rafi has an underlying anger that is fully realised without he need to clumsily explore his past through flashbacks irrelevant to the main plot. He plays it perfectly – a man frustrated by the pressures of arranged marriages that are being compounded by the arrival of his meddling but well-meaning grandma (Dadi).
Equally, Sanya Malhotra negotiates her role delicately. Hers is a character who goes a long way to keep those around her happy, so starting a relationship with someone unknown to her family is a huge step. It’s a role relevant to so many global movements to ensure better rights for women, though some may question if her stance is a little too understated. Or perhaps it’s just more realistic in her situation than if she’d openly displayed anger.
The ending is effective, even though it was signposted from about ten minutes in. Yes, it’s a poor man and a rich girl falling in love, which is tried and tested ground for so many films – a fact they mention in the climactic scene – but it’s certainly not handled clumsily. Just because we’ve seen it before doesn’t mean it’s not enjoyable.
It isn’t a groundbreaking film, but not every piece of cinema has to be to leave a lasting effect.
Poor man, rich woman.
Bond over a photograph,
And Campa Cola.
For National Yorkshire Day, I opted to watch this documentary I impulse bought about half a decade ago in FOPP. It has been sat on my shelf since then, with a brief period inside a box, probably wondering if it would ever be unwrapped and why it was bought in the first place.
I was doubtless attracted to it due to Jarvis Cocker’s involvement, which to be honest was the rewarding side of it. I’ve been a fan of his music since my formative years – I was 11 when the seminal Different Class was released – and appreciate his intelligent take on life.
The Big Melt is essentially 70 minutes of carefully-selected archive footage of Sheffield, mainly involving the steel industry, backed by music performed live by a number of Sheffield-related musicians (and some of their friends).
It has the ability to impress but the overall impact is one you have to concentrate on and commit to if you want to get anything out of it. The music keeps on playing but there’s no narrative, so it’s easy to let your mind slip out of focus.
Often I realised I’d been watching the screen and listening to the music, but not actually absorbing what was going on. It had a meditative effect. Maybe that’s what they were going for.
There are interesting segments, including a young woman working in a bomb factory and a short animated film imagining a world without steel, but I’m struggling to deploy an alternative adjective to interesting, despite my misgivings of its use.
For a special occasion is was perfect, and it gave me the impetus to get my surround sound system fixed to enjoy the music properly.
It’s not without merit but only for people who have a genuine interest in the city.
Unless you’re 100% informed about Cambridge Analytica, you really need to watch this film. It covers a lot of what is already known to those who followed the Facebook-Cambridge-Analytica scandal at the time, as covered in The Guardian by Carole Cadwalladr in her whistle-blowing article “The Great British Brexit Robbery”.
Cadwalladr is interviewed here, along with Cambridge Analytica’s ex-director Brittany Kaiser and ex-employee of Cambridge Analytica Christopher Wylie. Kaiser does her best to paint a sympathetic picture of herself, though I struggled to forget that she was at the heart of everything that happened (thanks to the reminders in the film). As a source, Wylie’s credibility is questioned, though he features lightly. It is an example of how well the film does at keeping the viewpoint as balanced as possible.
Importantly, the film doesn’t end trying to imply that the earth-shattering revelations brought about by the Cambridge Analytica scandal have been resolved. The implications of this scandal and the continued work that seems to be going on at so many of the large technology companies feels like it’s getting worse by the day.
It’s a slightly disjointed film that, at times, doesn’t know what it wants to do with the subject matter. It may have been better-served as a four-part series, focusing on each of the subjects for an hour. The story of the New York media professor David Carroll and his hunt for his own personal information is probably the most interesting but isn’t mentioned for a long portion of the film.
I’d also like to see more prodding of current or ex-Facebook employees, who are clearly implicated in the accusations but continue to avoid the spotlight.
Regardless of its shortcomings, this is an important film to watch. It’s also one you might need to see quickly in case it unexpectedly disappears from Netflix. It might well be the most disturbing horror film of the year.
The plot of The Favourite doesn’t sound like a laugh-a-minute comedy. Just look at it:
In 18th century England, the close relationship between Queen Anne (Olivia Colman) and Sarah Churchill (Rachel Weisz) is threatened by the arrival of Sarah’s cousin, Abigail Hill (Emma Stone). The resulting bitter rivalry between the two cousins impacts their lives and their relationship to the Queen, who is manipulated by both in the midst of a turbulent time in England’s political landscape.
It may not sound promising, but it doesn’t take long to realise that this isn’t your standard period drama. It’s a sharp script and a twisting plot, delivered to perfection by the three lead women. That this is Deborah Davis’s first ever script makes it even more remarkable.
Davis gave some insight into the writing process when she spoke to Awards Daily in November 2018. “I wrote the first draft in 1998 and I had no experience in scriptwriting. I took myself to night school to learn. I was accepted into the University of East Anglia to do a scriptwriting course and I was helped and influenced by my tutor who was really interested in The Balance of Power as it was then called. [Ceci Dempsey (of Scarlett Films) has] never ever wavered in her support and passion for this project.”
The phenomenal journey should be an inspiration to all aspiring writers around the world. Sure, it’s a twenty year process in this case, but Davis believed in her own capabilities and surrounded herself with others who were equally supportive of her work.
The success of the film is unquestionable. It continues to bring in audiences across the globe, building momentum through word of mouth and positive press responses. Now a Golden Globe winner (Olivia Colman for Best Actress), it has also been nominated for Best Original Screenplay at the BAFTAs. The team will undoubtedly be hoping for yet more success at the Academy Awards when the nominations are announced next week.
Of course, it isn’t all Davis’s work. Yorgos Lanthimos is well known for quirky comedy dramas that find hard to stay away from the surreal, which certainly shines through in a bizarre dance sequence that couldn’t possibly have been scripted. Equally, Colman’s hysterics when a young doorman may or may not have looked at her is played to perfection by both actors. That it’s all set in a traditional English country house (Hatfield House in Hertfordshire) with the expected pompous outfits just adds to the unnerving effect.
But it’s all hung on this brilliant script that mixes the most bizarre of comedies with a power struggle akin to a game of chess. Indeed, the women’s costumes, created especially for the film by Sandy Powell, were designed exclusively in blacks and whites to emanate the pieces of a chess board.
One of the most effective results of the writing is the subtle way the audience is drawn in to care for Abigail (Stone). We go on an emotional journey with her, seeing her at rock bottom as she rises through the ranks within the palace. The moment she gains power by marrying Samuel Masham (Joe Alwyn), her character completely changes and we realise that she’s as horrible as we feared. It’s a tough pill to swallow for an audience who think they’ve found a character to root for, but the best film-makers know just when to pull the rug from under the feet of its viewers. Emma Stone said of the script: “It feels amazing when the script is right and the director is right and you are like, ‘Now I can go and have fun and trust the process.'” And it shows. All the actors on screen look like they’re completely at ease with what they’re doing and saying.
It’s just a great piece of cinema.
For anyone out there sat on the next homemade cinematic masterpiece script, The Favourite is the perfect catalyst for you to get it finished and get it out there.
‘Shirkers’ is a quite remarkable documentary film. Written and directed by Sandi Tan, it tells the story of a potentially groundbreaking film created in 1992 by a group of three teenage girls in Singapore, the reels of which went missing shortly after filming wrapped, disappearing along with the enigmatic director.
Tan was one of the three young aspiring filmmakers behind the film. Her interviews with fellow creators Jasmine Ng and Sophie Siddique, both interviewed here and clearly heartbroken over their loss, reveal a truly enthralling mystery surrounding the film.
The director, Georges Cardona, is a name unfamiliar to most. It is unlikely that he was the man that inspired James Spader’s character in ‘Sex, Lies and Videotapes’, but Cardona wouldn’t let that get in the way of a good story. The picture painted of him here is one of a man full of lies. It’s a man desperate to succeed himself and not let anyone else around him get anywhere without him. There’s also a hint of inappropriate behaviour here – why was a married 40-something-year-old man going on a road trip across the USA with an 18-year-old girl?
As it all unfolds, it’s obvious how frustrating it is for all those involved. This was an exciting passion project that was already picking up a bit of buzz around the industry, which never saw the light of day. Had it been released, it could have had a huge impact on the Singapore film industry and the lives of those behind it.
Sadly, all we can see is the soundless footage and a remorseful memory of three young friends that lost a part of their youth, along with their friendship itself (in a recent interview with Vulture, Tan stated that the Sundance premiere was the first time her, Jasmine and Sophie were all in the same room together in over twenty years).
‘Shirkers’ is a must-see for any young aspiring filmmakers. Actually, it’s a must-see for everyone at all interested in films.