Displaying items by tag: Alana Haim

THE DRAMA

US, 2026, 105 minutes, Colour.

Zendaya, Robert Pattinson, Alana Haim, Mamoudou Athie, Hayley Gates, Jordyn Curet.

Directed by Kristoffer Borgli.

Sometimes people play, especially younger people, possibly after a couple of drinks, “what is the worst thing you have ever done?”. And that is the key to the drama in The Drama.

Charlie, Robert Pattinson, sees an attractive young woman reading a book in a cafe. She is Emma, Zendaya, and when he makes his approach, pretending to know the book, she does not respond – he is speaking into her deaf ear. Not the most propitious introduction. (Actually, there will be some very unpropitious developments as the film proceeds.) Nevertheless, they fall in love and are planning the wedding.

Charlie and Emma have friends, a married couple, Mike and Rachel (Mamadou Athie and Alana Haim). He is to be best man. She is to be the maid of honour. One night, drinking, good friends, the ‘worst thing’ game is proposed. They lovingly tell a story, with some reluctance. Emma, unwillingly first, tells the story of school bullying and the other three are aghast.

What follows, suspicions, puzzles, questioning, have some comic elements but, of course, deadly serious consequences. Rachel is vehemently condemned naturally. Mike tries to be supportive. But, it is Charlie who experiences the worst, suspicions, allaying suspicions, trying to communicate, going to his work and an extreme faux pas which has dire consequences during the wedding.

There is a strange and confusing flashbacks to members school days and her relationship with her parents. Violence, gun culture…

The wedding seems to be going well, but one of the most disastrous celebrations of marriage on screen.

Can anything be salvaged in the relationship? Charlie is shamed. Emma is confused, let down and embarrassed.

There is an ending which rather stretches credibility – leaving the audience wondering what will happen next? And, emotionally, wondering whether they have taken sides either with Emma or with Charlie.

1. The title? The story as a drama, a touch of the tragic, the touch of the comic, satiric?
2. The American setting, Americans in their 30s and 40s? Lifestyle, relationships, friends, marriage and weddings, taken for granted ordinariness?
3. The twist in the plot, the two couples, their friendships, casual telling stories, the game of the worst thing ever done, revelations, consequences, suspicions, damage?
4. The framework of the story, Charlie, British and American, seeing Emma, attracted, her reading, the music, discovering that she has i hearing in only one ear? Photographing the couple, returning, the discussion about the book, his inadequate answers? Together, the later meetings, the effect of the initial encounter on each of them?
5. Charlie, with Mike, writing his wedding speech, the flashbacks, filling the details of the relationship, its development?
6. Emma, 30s, her life so far, reading, friends, Rachel, Mike? The developing relationship with Charlie? Audiences liking her, liking Charlie?
7. The meal, drinking, talking, the preparations for the wedding, the detail, Rachel as made of honour, Mike as best man, the discussion about the venue, the catering, clothes…?
8. The telling of the worst stories, Charlie awkward, Rachel and locking the boy overnight, and her telling her story, gun culture, the flashbacks to her treatment at school, into the water, abused? Imagining the school massacre?
9. The reaction of everyone? The audience reaction? Believing her not? Rachel, the indignant response, suspicions, denunciation, breaking contact? Mike, shocked, lower key, supportive of Charlie?
10. Charlie, his response to the story, upset, suspicious, believing or not, communicating with Emma? Her attitude, telling the story, drinking, the aftermath?
11. The consequences for Charlie and Emma, her story, trying to explain, memories of school, the rival, shooting practice, the group, gun control, her leadership and collection group?
12. Charlie, imaginings, dreams, suspicions, that there was worse? Discussions with Mike? And to the office, the secretary, asking her about her relationship, if her boyfriend could commit a gun massacre, his weeping, making a sexual advance, her response, his change? And the later consequences of this episode?
13. The preparations for the wedding, going to the venue, Emma’s and her behaviour, the dance practice the wedding, difficult, seeing the DJ allegedly taking drugs, building up to the confrontation, and estates? The food the decisions?
14. Charlie and his love for Emma, suspicions, the damage to his psyche, the consequences of the episode in the office?
15. The wedding, Emma’s parents coming, Charlie’s, awkwardness? The ceremony?
16. The aftermath, the drama, Emma and her parents military background guns? Rachel, her presence, drunk, the violent speech? Emma’s father and his speech, the interruption? The growing awkwardness? Charlie going out, Emma going out, overhearing the secretary, the speech and everything coming out, the secretary boyfriend and punching Charlie? Confusion, and walking out, the kiss and bewilderment?
17. The aftermath, Charlie beaten up, at home, going out to the diner, the hamburger, and arriving, going through the ritual as if they were meeting the first time?
18. The issues of knowing one’s partner before marriage, secrets, revelations, understanding, forgiveness? Or revelations, too late, destructive for the marriage? And the future for Charlie and Emma?

THE MASTERMIND

US, 2025, 110 minutes, Colour.

Josh O'Connor, Sterling Thompson, Alana Haim, Jasper Thompson, Bill Camp, Hope Davis, John Magaro, Gabby Hoffman, Amanda Plummer..

Directed by Kelly Reichardt.

Many films specialists, noting the information, written and directed by Kelly Reichardt, is sufficient for them to want to see this film. (Over 30 years, Kelly Reichardt has directed only 10 feature films and a number of short films but has built up a reputation with a range of American stories, often with a focus on women, but also offering food for reflection on American history and society.

And this continues with this film, a museum robbery, specifically inspired by the 1972 robbery of the Worcester Art Museum in Massachusetts, in which two Gauguins, a Picasso, and a Rembrandt were stolen. Her interest, however, is not so much in the robbery but on the character, the mastermind of the title (though, looking at his career, the title is quite ironic), his behaviour in the aftermath of the robbery and exposure. Some commentators refer to the film as an “anti-heist” film.

The setting is 1970, upheaval in the United States at the end of the 60s, social unrest, but, especially, the background of the war in Vietnam.

The central character is played by Josh O’Connor, busy with releases in 2025, The History of Sound as well as Wake Up Dead Man. He is a family man, a carpenter, unemployed, in need of money, planning the stealing of artwork from the local gallery, hiring three petty criminals, not vetting them in any mastermind kind of way, their exposing him, his trying to rationalise, his wife leaving him with the family, his wanting money from his mother, his father a judge critical about the lack of ambition of the thieves.

The mastermind is abducted by the criminals, gets away, but with public knowledge about his crime, he begins an odyssey, getting lifts, trying to survive, lack of money, going to a friend from the past but moved on by the friend’s wife, his continuing on the road and an uncertain ending as he steals a woman’s purse, tries to escape through the Vietnam war protest and is elected arrested.

Many audiences, Kelly Reichardt fans, welcomed the film. For many others, even some who admire Kelly Reichardt, have found the film difficult to sit through, the pace, the unsympathetic central character… (Which was the experience of this reviewer.)

1. The title, for James Mooney, accurate, ironic?
2. The 1970s setting, social upheaval in the US, financial difficulties, the background of the Vietnam war? Re-creation of the period? The musical score?
3. The initial plot, Mooney, the stealing of the car, the backing out of the driver, his choice of the two colleagues, the plan to steal the art, at the gallery, removing the paintings? His associates, Gibson and his rations, pulling the gun, later robbing the bank? Guy asking for more money?
4. Mooney at home, his wife, family, relationship with Tommy? His mother and giving him money? His father, judge? His comments about the lack of initiative by the thieves?
5. Mooney, having to cope with situations, sending his wife and family away, keeping his son, taking with him? The confrontation with Guy? The setup, the criminals, the abduction? The consequences?
6. Mooney, getting away, on the road, money, surviving, his situation becoming public? The alienation of his wife, the phone calls?
7. Going to stay with his friend, Fred and his wife, their life together, memories of the past, Fred and his wariness, the wife, her making the connection with the professor to act as a fence for the paintings, his being sent away?
8. His plans, on the road, stealing the woman’s purse, trying to escape through the Vietnam war protesters, his being arrested? And then?