Displaying items by tag: Peter Malone's Movie Reviews

GREY LADY

US, 2017, 107 minutes, Colour.

Eric Dane, Natalie Zea, Amy Madigan, Adrian Lester, Carolyn Stotesbery, Chris Meyer, Rebecca Gayeheart, Laila Robbins, John Shea, Billy Sherry, Rafiki Rocky Rodrigues, Eilin O'Dea.

Directed by John Shea.

Grey Lady is a police investigation with a number of murders to be solved. And, the title refers to the island of Nantucket, inclement in its off-season.

For those who want to sit back and enjoy this kind of thriller, there are certainly intriguing elements. Some reviewers refer to the intricacy of the plot lines – while others just simply label the episodes as chaotic. It will depend on the viewer’s frame of mind at the time of watching.

The film was directed by veteran actor, John Shea, who also appears as the local police chief. The star of the film is Eric Dane as the investigator, emotional because of the death of his sister and of his partner, trying to investigate the background of family members. It is interesting to see British actor, Adrian Lester, as one of the local police and there is a tour de force performance by Amy Madigan as the mysterious aunt.

Lots of atmosphere. Quite a number of killings. All kinds of intricacies in the tangles of the plot and the solution.

1. The title, the island of Nantucket, its weather, nothing being either black or white?
2. The American movie tradition of police investigations, murders, mysteries, detection, serial killers and motivations, sanity and insanity?
3. The introduction to Doyle, the paper headlines of the death of his sister, his partner, Maggie, discovering her pregnancy, the callout, the screaming, Maggie tending the woman, the woman killing her, Doyle and his confrontation with the man, his eyes, the escape? Maggie and her death, the Rose and the Crown? Consequences, Doyle and his suspension, forbidden to continue investigating, his defiance, the travelling to Nantucket?
4. Doyle, his personality, the significance of the happy opening sequence, the family, his father? The later return to the photo? The ambiguity of his father, the revelation of the relationship with Lola, his father and Lola and the fight, his uncle’s death, his coming into the room, assuming his father had killed his own brother? And the focus on Beth as a little girl, watching everything, traumatised?
5. Doyle, personality, taciturn, unsmiling, determined, the burden of his past, the death of his sister and partner? On the boat, meeting the Duchess, and meeting Eli? Johnson, his welcome, the police on the island, not wanting Doyle to investigate? The tensions? The collaboration with Johnson, Johnson and playing in the band, the bond? And Doyle getting information from his colleague back in Boston? The authorities in Boston?
6. The events on the island, the exhibition, Billy and the sculptures, Melissa and her paintings, Doyle attracted to the woman in the bath, memories of his partner, buying it, the celebration afterwards? Eli and her spilling wine on the painting, the apology, joining in the gathering afterwards? The meetings with the Duchess, the divorce, the intensity of her businessman husband, her death?
7. Doyle, getting more information about his family, the visit to the house, Tony and his collaboration and information, seeing Angela – and the later revelation that Angela was Lola?
8. Doyle and Melissa, the bonding, the discussions, revelations, Melissa and her tensions? Clara, Irish, massage, friend?
9. The revelation of the audience of who Eli was, her collaborator, revealed as her brother, Perry? The discussions between them, Eli as Beth, her trauma, orphanage, institution, escape, collaboration with her brother, the religious language and motivations? The revenge for the death of her father, blaming Doyle for his father’s killing of her father, the series of murders of relations and friends, and the symbols on the victim spelling out Doyle’s name?
10. Eli/Beth and her charm, yet her madness, manipulation, violence, vengeance, control of Perry? Perry and his violence? The episode with Tony, blindfold, cutting off his fingers, the confrontation and the pursuit? The confrontation with her mother, threatening, unable to shoot her? The episode with Clara, the massage, locking Beth in, Perry and the guns, the confrontation, Beth killing Clara, the disposal of the body, the manoeuvres to track Melissa, the phone calls, confronting her, telling her of the death of Clara, Melissa’s collapse, the boat, abducting her?
11. Doyle, putting the pieces together, working with Johnson, information from Boston? The meeting with Lola, revealing the truth, the flashbacks to what happened, the fact that Lola had killed her husband, but the little boy had seen only his father with the weapon? The whispered promises in the church? Builders gift of his father’s camera?
12. The final confrontation, with Beth, threatening Melissa, her death? The confrontation with Perry, the gun, the revelation of Lola’s secret, that Perry was in fact Doyle’s brother, not being able to kill him? The arrest?
13. The end, to going back to Boston, farewell from Johnson, the praise of the local authorities, the final talk with Melissa, and the story throwing the coin at the lighthouse – and the flashbacks to the memories, Doyle’s father and the camera, the whole family the throwing coins, and the irony of their return?

THE ORDER

US, 2024, 116 minutes, Colour.

Jude Law, Nicholas Hoult, Tyler Sheridan, Jurnee Smollett, Walter Slezak, Odessa Young Alison Oliver.

Directed by Justin Kurzel.

The events in this investigative thriller took place in the 1980s. But, a film about extreme right-wing groups in the United States in the 2020s will immediately alert audiences to the attack on the American capital, January 6th, 2021. And, in fact, at the end of the film, the link is made.

The name, The Order is taken from the 1977 novel by William L.Pierce, the Turner Diaries, seemingly intended for younger readers but something of a manual for an uprising against the state, and how it is achieved in stages. This book features in the film highlighting its influence. Already, in 1988, there was a film about these events, Betrayed, directed by Costa Gavras and featuring Tom Berenger and Debra Winger. Early in 1989, the book on which this film is based was published. Its title, The Silent Brotherhood: Inside an American Racist Conspiracy, by Kevin Flynn and Gary Gerhardt. Kevin Flynn is noted in the credit as a consultant for the film.

The film has been directed by Justin Kurzel, well noted for his crime dramas and his skill in portraying mentally and emotionally disturbed men – especially in Australia, The Snow Twown, The True Story of the Kelly Gang, Nitram (and not forgetting his Macbeth).

The framework of this story is the investigation by FBI agent, Terry Husk, a fine role for Jude Law, one of his best (his role before this one as the ageing Henry VIII in The Firebrand). He works in collaboration with an earnest young deputy, Jamie Bowen, played by Tye  Sheridan, and a local agent played by Jurnee Smollett. The setting is Washington State – so much of the scenery, the mountains, filmed beautifully as background.

At the centre of the brotherhood is a young enthusiast, all-American, Bob Matthews. This is a very interesting and different performance by Nicholas Hoult who resembles closely the photos of Matthews himself, at times baby faced, an innocent despite the prejudices and violence he is spouting (scenes of his intensity in close-up looking like Nicholas Hoult more than 20 years earlier as a boy in About the Boy). The actual Bob Matthews, we find there is a strong resemblance between him and Nicholas Hoult.

Terry Husk has his own personal problems, his long career, sometimes an intense recklessness in pursuing the criminals. Matthews has the support of his wife, of his pregnant girlfriend, of a lot of the Proud Boy types of the 1980s, moving to bank robberies, explosions to distract from the robberies, a Bricks job on the highway, building up his coffers to start a militia. The screenplay also emphasises the biblical underlining of this Brotherhood, the transfer of promised land to the Jews (to be taken away from them), to the white Americans who see themselves as God’s chosen people, ready to rise up against any immoral society and a two-permitting government.

The pace is strong. The characterisation powerful. The issue is more than challenging. And, while it is a reminder of movements in the past, The Unibomber, bombings in Oklahoma, Waco… It is a sober alert to movements, beliefs, conspiracy theories in Trump’s America.

1. The title, the reference to the book, The Turner Diaries, the manual for insurrections and the group called The Order?
2. The film based on fact, the 1980s, the book basis for the film, The Silent Brotherhood? The popularity of white supremacist groups at this time? The Reagan era? The social standing of members of the group, white groups, the biblical basis, church preachers, neo-Nazi attitudes, the active leaders and insurrection, turning to crime to finance militias?
3. The settings, Idaho, Washington state, the beauty of the mountain scenery? The city sequences, the streets, banks, porn cinema and explosions, homes, the church, the highways and robberies?
4. The focus Terry Husk, Jude Law’s performance, FBI background, moving to Idaho, the phone call and the separation from his wife and daughters, his long experience, long friendship with Joanne Carney, working with her, her authority and jurisdiction, tested by Husk and his taking initiatives? The work together, investigations?
5. The focus on the group, Richard Butler, as a church minister, his ideology, preaching, the Bible, white supremacist presuppositions about the land, anti-Semitic, swastikas and neo-Nazi attitudes? His meetings with Bob Matthews, the threats, Matthew standing up to him at the gathering, his withdrawing?
6. Bob Matthews, his background, age, manner, relationship with his wife, relationship with his girlfriend, her pregnancy? His friends, their thug background? Interviewing the Mexican who pretended he was Spanish for racial supremacy? His hold over the men, his leadership? Later, the arrest and Husk interviewing and getting information?
7. The decision to rob banks, the money, for themselves, but for funding a militias? The sequence of the robbing of the bank, intimidation, the driver and the getaway, his gun on the policeman outside, their exhilaration? Matthews and his wife and his girlfriend? The planting of the bomb in the cinema, a distraction, the robbery of the van? The bigger plans, the Brinks van, on the highway, the hold-up, cars on the highway, the chain across the road, their effectiveness, the dangers, guns and shooting, escape?
8. The local police, the chief, rather more easy-going, Jamie Bowen, his earnestness, relationship with his wife, children? Giving information to Husk? Husk relying on him, going to the motel, the stakeout, the gun, Jamie freezing, Husk and his reaction? His change, becoming more involved, going into action? Husk and the interview with his wife and her fear of him? The confrontation, the shootout, the chase, Jamie shot, his death? The funeral, Husk, Jamie’s wife?
9. The focus on Bob Matthews, his personality, relationships, his plans, his wife, unable to have children, the young girlfriend and the birth of the child, the money for them? Husk and his interview, getting information, the location for hide out?
10. The impact of the church gathering, Butler speaking, Matthews intervening, powerful speech, bigotry?
11. The hideout, the thugs, guard, the FBI attacked, the siege, the shooting? The fire, Bob Matthews staying, Husk going into the building, withdrawing, the collapse of the building, Matthews’ death?
12. Husk and his achievement, Joanne Carney and her work, the regrets for the death of Jamie Bowen? The atmosphere of uprisings in the 1980s?
13. The final information, the references to January 6th, the siege of the Capitol, The Proud Boys and other groups, imprisonment, President Trump pardoning them – and the future during the second Trump presidency?

COMPANION

US, 2025, 97 minutes, Colour.

Sophie Thatcher, Jack Quaid, Lucas Gage, Megan Suri, Harvey Guillen, Rupert Friend, Mark Mancaka.

Directed by Drew Hancock.

At the end of watching Companion, this reviewer was very happy to have had no knowledge at all of what the film was about or what it was like. And, checking on the number of reviews as well as strong opinions from bloggers, most were pleased that they went in to see Companion cold and found it an engrossing and unexpected experience.

Which, possibly, is where a review of Companion should end. But, it is probably fair to say that in the first few minutes, we are introduced to a very interesting character, Iris, played by Sophie Thatcher (Heretic, Yellowjacket) in a supermarket romantic comic episode involving the collapsing of the oranges shelf, then a startling remark by Iris, the introduction of the tall handsome, Josh, Jack Quaid. Then, off we go…

Sophie Thatcher is very effective in keeping pace with the various facets of her character.

One all the best aspects of Companion is that we do not know where the film is leading. And, there are quite a number of surprises in the screenplay, some misleading, some turns, some twists as the plot unrolls, unravels. And, we are not really sure until the final credits.

There are some good roles from the supporting cast, especially Lucas Gage and Harvey Guillen, sometimes comic, sometimes serious, and nasty Russian businessmen played by Rupert Friend in heavy moustachioed disguise.

In fact, there is quite a lot to think about as we watch Companion.

And, compliments to writer-director, Drew Hancock, who keeps control of his screenplay as well as of the responses of the audience.

1. The title, the focus on Iris, her relationship with Josh, the revelation that she was a robot, her construction, the instructions for her behaviour, companion, sexual partner? The ironies of the complications and the confrontations?
2. The American setting, the opening in the supermarket, the apartment, out in the open road, the scenery, the forests? The holiday house and the interiors? The chases through the forest? The musical score?
3. The romantic comedy tone of the opening, Iris, shopping, doll -like, Josh, the encounter with the fallen oranges, iris voice-over, the attraction, and the intimation that she would kill Josh?
4. The situation, driving to the house, Sergey and his Russian background, the owner, luxury? The presence of Kat and her surly attitudes? Patrick and Eli and the relationship? Sociable, the pool, her assent, her clothes, the drinking, the dancing? The morning after? Josh urging Iris to go out to the pool, meeting Sergey? His approach, her warning him off, her having the knife, killing him? And the audience gradually realising that this was the setup?
5. The revelation of the project, Josh and Kat, the company, the robots, the specifications, the plan to rob Sergey, the murder, using Eli? And the revelation that Patrick was also a robot?
6. Audience response to Iris, her personality, her robot personality, her love for Josh, unable to lie, the background of the company, the interviews, Sid and Teddy and the later interventions?
7. Josh, the revelation, his personality, greed, his inferiority, motivations, Kat and her personality and motivations? The emotional complications, Eli and Patrick and their contribution?
8. Iris, the situation, her being able to be turned on and off, yet the innate shrewdness of the programming, the confrontations, the drama in the house, her escape, the pursuit through the forests, the hiding, eluding the pursuers?
9. The pursuit, Josh in the forest, and Patrick, being able to turn Patrick on and off, Josh and the reprogramming of Patrick? Patrick as a vengeful robot, Eli and his being shot, the final relationship with Patrick?
10. The complications and the pursuit, iris using her wits, the return to the house, the contact with the company, bringing the replacement, Teddy and the pursuit?
11. The transition from science-fiction to the slasher mode, the role of Patrick, his different personality, manipulated, vengeful? And the final confrontation with Josh and his defeat?
12. Audiences enjoying the thriller, slasher aspects? The interest in the science fiction themes, robotics, programming, and the focus on self-indulgent men, their inadequacies, needing programmed robots for their satisfaction and gratification? And the defeat by female ingenuity, and by the programming?

QUEER

US, 2024, 137 minutes, Colour.

Daniel Craig, Drew Starkey, Jason Schwartzman, Lesley Manville.

Directed by Luca Guadagnino.

There will be many reasons why audiences would be interested in seeing Queer. It has a star, award-nominated performance by Daniel Craig, post-James Bond. The film is directed by Luca Guadagnino, Italian director, who became internationally famous with Call Me by Your Name and 2024’s tennis drama, Challengers. And the central character is the alter ego of American novelist, William S Burroughs.

There is also the meaning of the title, which is the title of a short novel written by Burroughs during his time in the early 1950s in Mexico but not published until the 1980s, his exploration of the meaning of “queer” and his observations as a writer as well as his own personal involvements.

Audiences will appreciate and understand the film better if they have some previous knowledge of Burroughs himself. This film presupposes that audiences are aware of him, of his personality, of his career. A look at the Wikipedia entry on Burroughs offers more information than we can absorb, an interesting reminder that  Burroughs had a long life, wrote many stories and articles  novels, a number of novels, was friendly with Alan Ginsberg and Jack Kerouac from early years, influential in the literature of the Beat Generation, also interested in visual art and making appearances in the number of films including Drugstore Cowboy, as well as David Cronenberg making a film of his controversial novel, The Naked Lunch.

With this background, we can understand Burroughs and his time in Mexico, seeing his typewriter with a page in it but not seeing him doing very much writing, his drinking in bars, incessantly smoking, the conversations with gay friends, then creating an encounter with a young American, Eugene Allerton, Gene, played by Drew Starkey. Allerton, like Burroughs, is a complex character, seeking, searching, testing relationships.

While the first part of the film is the exploration of the queer theme, the second part moves on to something quite different, something noted in the Wikipedia about Burroughs, his interest in magic, as well as in a South American plant which he thinks has the power to increase human telepathy. So Burroughs and Gene travel to the jungle, advised that there is a British doctor who has explored and experimented. She is played by Lesley Manville, almost unrecognisable, who leads them, tantalises them, in their experimentations with this plant.

Suddenly there is an epilogue, two years later, Burroughs himself cleaned up, on his way back to the United States – but, many who are familiar with Burroughs’ life will remember that there was an episode with his wife, drinks, drugs, playing a game with a gun, to shoot an apple placed on her head, her death. And this is re-enacted at the end of the film with Gene and the apple.

Burroughs’ writing was stylised, exploratory – and Guadagnino’s film strives to illustrate this.

1. Audience knowledge of William S. Burroughs, his writing, novels, articles and essays, visual art, his appearance in media, film, television? His life and style, literary influence on US writing the 20^th century? His name, Lee?
2. The title, the novel from the 1950s, not published in the 1980s? Seen in connection with his other writings? Seen as an explorer from his memoir in Mexico in the 1950s? His exploration of queer? But also the interest in magic, drugs, telepathy?
3. The structure of the film, the chapters, the epilogue? Glimpses of Burroughs and his life in the 1950s? Daniel Craig’s performance? The musical score, the songs, the lyrics?
4. The Mexican setting, the town, drab, the 1950s, bars, hotels? The streets, the atmosphere?
5. The initial response to Lee, from those who know about him, from those who know him at only from this film? Age, personality, the writer, the typewriter, the drinking, drugs, his gay friends and conversations, discussions about what it was to be queer?
6. Eugene Allerton, seeing him with the woman, the games, Lee and his eyes on him? Gaining attention, the attraction, the episodes, Gene and his personality, studies background, presence in Mexico, hopes and ambitions, tantalising Lee, eventually getting together, at the hotel, the sexual encounter, the consequences? His on and off connections with Lee?
7. The transition to the second part of the film, Lee and his interest in drugs, his research, telepathy, inquiries, information about the plants, about the doctor in the jungle, his decision to go, Gene going with him?
8. The scenes in the jungle, remote, difficult, finding the hut, Dr Cotter, her background, appearance, her partner, friendly, tantalising, the discussion about the drugs, looking at the root itself, the decision for the experiment, the effect on Lee and Gene, the trance experiences, her solicitations, , the satisfaction? The farewell from the jungle?
9. The sudden epilogue, two years later, Lee and his seeming to be in control, the discussions with his friend, his friend and his personality, the stories, always being robbed by his partners?
10. The reminiscence of the story about the William Tell episode, the gun, the vessel on the head, the shooting, the reality of the shooting of Burroughs’ wife, here dramatised with Gene?
11. William Burroughs at this stage of his life in the 50s, many decades to come, the court and the episode with the death of his wife, his relationships, his influence on the Beat generation and literature? His creative style, finally recognised?

BONHOEFFER

Ireland/Belgium, 2024, 132 minutes, Colour.

Jonas Dasslow, August Diehl, David Jonsson, Moritz Bleibtreu Vincent Franklin, Clarke Peters.

Directed by Todd Komarnicki.

Dietrich Bonhoeffer is considered one of the great Christian figures of the 20^th century, the first half of the 20^th century, his stances in spoken and written word, in action, against Nazi fascism leading to his death. The title of his most famous book, The Cost of Discipleship with its distinction between cheap grace and costly grace, has been powerfully influential on the nature and living Christian discipleship.

The subtitle on the advertising and promotion is not in the film itself. But, there are three tantalising words: pastor, spy, assassin to evoke curiosity.

Bonhoeffer is sponsored by Angel Studios, the American Christian production company, responsible recently for Sound of Freedom, Cabrini. Filmed in Ireland and Belgium, the principal members of its cast are German, Jonas Dasslow effective as Bonhoeffer with quite some resemblance in features. Veteran Moritz Bleibtreu is Bonhoeffer’s father. August Diehl is a minister who defies the Nazis and goes to prison. David Jonsson and Clarke Peters appear in the US sequences.

This is a portrait of Bonhoeffer, not a full biography, but a highlighting of key issues in his life. In fact, there are quite a number of other films about Bonhoeffer, some biographies and in 2025, another cinema portrait, Holy Traitor.

There is a complex structure for the screenplay, some initial sequences of the family in 1914, the experience of World War I, an introduction to the lively young boy, Dietrich, the strong influence of his supportive parents and siblings. But, then there is a transition to 1945, Bonhoeffer imprisoned, memories of his past, his impending execution. Which means then that the flashbacks are always seen in the light of his ultimate fate and faith.

Commentators have pointed out that there are many aspects of Bonhoeffer’s life that are not included, years of serious academic study in Germany, an engagement with a young friend and her visiting him in prison, the writing of his books. And, some changes in factual aspects, especially the location of his death.

However, the flashbacks build up a portrait of an earnest young pastor, studying in New York, bored with the formal studies, a black friend, Frank, opening his sensibility towards jazz, introducing him to the spirituals, discussions with the black Baptist leaders who challenge him to his understanding of lived faith, authentic religion, and an experience of violent racism at a hotel in Washington DC.

On his return to Germany, his family filling him in on what is happening, the rise of Hitler, targeting the Jews, Bonhoeffer is at first in disbelief, then taking strong stances, listening to a firebrand Protestant pastor lauding Hitler and Nazism, challenging his friends, preaching and the military walking out despite applause from the congregation.

Over the years, Bonhoeffer writes, takes stances, teaches in a seminary which is closed down and the students enlisted to fight, visits to England and is appeal to British clergy, his being invited to participate in a plot to assassinate Hitler, his going to the Swiss border for an exchange of Jewish prisoners.

Bonhoeffer was arrested along with his brother-in-law, jailed for a year and a half, the film showing the almost liberation of the prison, Bonhoeffer, before his death, solemnly celebrating the Eucharist and Communion ritual, symbolic of his readiness to die.

There have been quite a number of films about Dietrich Bonhoeffer but here is an opportunity to see him, admire him, reflect on his moral choices, reflect on his faith, costly grace and the final cost of his discipleship.

1. Status of Dietrich Bonhoeffer as a 20^th-century champion against fascism? A Christian champion? This film is a portrait, tribute?
2. Audience knowledge of Bonhoeffer, his life, ministry, anti-Nazi, the Confessing Church in Germany, his stances against the Nazis, the plot to assassinate Hitler, his arrest, execution? His writings, the Cost of Discipleship?
3. Jonas Dasslow and his resemblance to Bonhoeffer? The opening, the family, the period of World War I, the play between the brothers, the chasings, Dietrich and his being venturesome, his brother going to the war, his death, in the coffin? The grief, the parents? Dietrich playing the piano, upset?
4. The structure of the film, the continued linear narrative, the leap ahead to the arrest and imprisonment, his memories in prison, the flashbacks? The overall effect of this portrait and the various pieces?
5. The incidents included in the screenplay? Aspects not included, his extensive studies and academic achievements while young, the friendship with Maria and the engagement, the prison visits? Not focusing on his writings or the publication of his books? The change of venue for his execution? The record and his naked execution? Yet what is included giving a portrait?
6. Dietrich as the German in the United States, the lecture scenes, his being bored, Frank and his getting Bonhoeffer involved in the Baptist Church, the choir, the enthusiastic congregation? And the jazz, a mystery to Bonhoeffer, playing the piano, getting into the rhythms? His return and playing the spirituals, Swing Low, Sweet Chariot to the Germans?
7. The effect of America on him, changing perspective of religion, churchgoing, congregations, participation, the nature of faith? The discussions with the Rev Powell, his presence, perspectives, in the church, the choir? That the meal table, testing Bonhoeffer’s beliefs and faith? Suggesting the trip to Washington?
8. His return to Germany, the 1930s, the rise of Hitler, the importance of the discussion sequences, Dietrich and his disbelief about Hitler’s dominance, the opinions of his father, his brother-in-law, the rest of the family? The support of his mother? His shock, the targeting of the Jews, his experience of racism in the US – and the incident of his getting a room in the Washington hotel, the violence at reception, against Frank and them both?
9. The discussions with Martin Niemoller, his caution, listening to the aggressive Nazi clerical preacher, his fanaticism? The impact on Bonhoeffer, writing, preaching, discussions, the sympathetic bishop, his sermon, the Nazis present, his strong words about faith, the Gospel, Hitler usurping God’s role? The walkout of the military? The applause of the congregation?
10. His observation of the rounding up of the Jews, intervention, the elimination of the old Testament, making Jesus Aryan?
11. His visit to England, the discussion with Bishop Bell, his speaking to the assembled clergy, their hesitations? The episode with Churchill and his wife supporting? The later visits to England and support, his ministry there? Not supporting him, fear of an invasion?
12. Martin Nieoller, his apology, his sermon, the family meeting, his son, wife, the arrest, and years in the camp?
13. The seminary, the young men, earnest, the football game, Bonhoeffer and his lectures, his decision to go to Berlin, his brother-in-law, subversive, Resistance, the plan to assassinate Hitler, Bonhoeffer giving his consent, the image of the bus driver dangerous and about to kill the children, destroying the bus driver? His pacifism? Lies, the visit to the authorities, his allegiance, not believed, his getting the money from Sweden and England, the choice of the seven men, taking them to Switzerland, the disbelief, at the border, the bribe, their freedom? This money laundering used against him in the court?
14. The seminarian, coming to Berlin, the news of the destruction of the seminary? The visuals of the assassination attempt on Hitler, the assassin, the explosives, Hitler getting into the car, disposing of the bombs?
15. The bond with his brother-in-law, the arrest? In prison, in the cell, the disgraced doctor and his imprisonment, scepticism? Bonhoeffer, his writing in the Bible, his memories, the nightmares in the night? The bombs falling, escape from the cells, the man running away and being shot, the others rounded up, the Bible dropping in the mud, the sympathetic soldier and his forcing Bonhoeffer, retrieving the Bible? The transfer?
16. The court findings, the gallows, the soldiers in prisons lined up, Bonhoeffer and the communion sequence, the bread, the communion, including the soldier?
17. Bonhoeffer at peace, on the gallows, the hanging?
18. Bonhoeffer and his achievement, his stances, the significance of action? And the condemnation of the German churches for not standing up and speaking out against Hitler?

OH CANADA

US, 2024, 91 minutes, Colour.

Richard Gere, Jacob Elordi, Uma Thurman, Victoria Hill, Michael Imperioli, Caroline Dhavarnas, Penelope Mitchell.

Directed by Paul Schrader.

A Paul Schrader film, written and directed by him, based on the novel, Forgone, by American novelist, Russell Banks, with whom Schrader had collaborated in the film version of Banks’ novel, Affliction, 1998. Schrader notes that he had three bouts of Covid and hospitalisation, saying that he became more conscious of mortality, was interested in Forgone  and collaborated with Banks who preferred the title Oh Canada – and then Banks himself dying while the film was in production. Prior to Oh Canada, Schrader was focusing on older men reviewing their lives, First Reform, Card Counter, Master Gardener.

Watching Oh Canada is both an interesting and intriguing experience.

The film opens with an ominous comment that a son has not seen his father for 30 years. Then the setting up of cameras by a documentary filmmaking trio in the house of a famous documentary filmmaker, Leonard Fyfe, now in his 80s, dying of cancer, an opportunity for him to tell his story for the television audience. The crew have been Leo’s former students, as has been his wife, Emma, living with him for 30 years and concerned for his health and the strain of doing the interview. The other character during the filming is Leo’s full-time nurse.

It is usually pointed out that Paul Schrader came from a strict Calvinist background and has been concerned with religious themes in many of his films. This is not just a documentary about the life and career of Leo, but his opportunity to face the truth and lies of his life, seduction and exploitation, but also skills as a filmmaker and lecturer.

And Leo is played impressively by Richard Gere in his mid-70s, old, almost bald, stubbled chin, experiencing the pain of cancer, determined to go through with the interview, despite the effort and strain, by to tell the truth, uncovering lies, and all the time dedicating this to his wife who, he says, has never known him fully.

The intriguing part of the experience is the range of flashbacks, not always in chronological order, moments of memories by Leo, puzzle pieces for the audience to put together. And, some of them are in bright colour, others in black and white, often stark. So the memories are invested with moods, colourful and severe. Most of them go back to 1968, Leo aged 26, his hometown and family, the calling in the priest for a family discussion about his future, his marriage, a son, pregnant wife, prospects, the Vietnam war, the draft, and his decision to avoid the draft – Oh Canada.

The young Leo is played by Jacob Elordi, making an effective contrast with Richard Gere, though Schrader also using the device of having the older, but healthier, Gere take Elordi’s place in many of the sequences of the past. His wife, Emma, is played by Uma Thurman (and, indicating confusion of memories, she also plays the wife of his artist friend in 1968.)

There is discussion about photography and filmmaking in black and white flashbacks to the 1990s and his academic career and his eager students.

With the filmmaking, Leo has the opportunity for some kind of assessment of his life, acknowledging the good and the bad, the hurt to others, deceit and lies, an opportunity for truth in the deathbed confession.

1. The title, the national anthem of Canada, the perspective of Canada in 1968, draftees avoiding Vietnam? Life in Canada?
2. The settings, Montréal and the house, interiors, the filming? Massachusetts towns, in the 60s? Richmond Virginia? Vermont? The Canadian border? The atmospheric score?
3. The work of Paul Schrader, his later interest in older men and coping with life? The adaptation of Russell Banks novel? as writ Schrader er and director?
4. The situation, Leonard Fyfe, the opening comment by his son not meeting his father for 30 years? The documentary filmmakers, setting up, Leo and his health, cancer, weak, agreeing to the film? His having taught Emma, Malcolm, Victoria 30 years earlier? His agreeing to do the interview, his impatience? A deathbed confession?
5. The structure of the film, the interview in 2023, the many flashbacks to 1968, the flashbacks to the classes in the 90s? The range of flashback memories? The style of the film, muted colour for the interview, bright colour for some of the flashbacks, the many black and white flashbacks?
6. Richard Gere, his career, in his mid-70s, portraying a dying man, but also the flashbacks the 1990s and teaching, and the insertion of the older Leo instead of the younger Leo in flashbacks? Jacob Elordi as the younger Leo?
7. Leo reviewing his life, facts, lies, confessions, confusions? The effect on him, wanting to keep going, wanting Emma to be present, for her to know the man she married, his tiredness, the nurse, going to the toilet? Coming back, his insistence? Finally stopping, his attitude towards the filmmakers? In his room, with Emma and the nurse, Sloane putting the camera in the room, the filmmakers watching his dying scene?
8. Leo, his family, his home town? His wandering, the relationship with Amy, her pregnancy, loving her not, the encounter with Amanda, sexual relationship? Meeting Alicia, the marriage, her son, her pregnancy, Leo and his writing, the prospect for teaching, going to Vermont, the pressure from his father-in-law and his brother, to work for the firm? The break, his going away, not seeing his son for 30 years, the loss of contact with Alicia?
9. The various pieces of his story, 1968, the draft, his lining up, costume, questions about being gay, his answers, awaiting his documents? Going to Vermont, hiring the car, the scene in the shop, the clothes, stealing the money and the clothes? Visiting Stanley, the conversations, Stanley and draft dodgers, his art, relationships, Gloria (and being played by Uma Thurman), the sexual encounter, his leaving?
10. The visit to his hometown, the diner, memories of his family? the family discussion, all in the priest, his declaration going to Cuba – is not getting there, the story of his crossing America like Jack Kerouac, the calling of the priest for advice?
11. Going to the border, the signpost, his choice, standing in the field, the sign, his crossing the border to his future?
12. The documentary makers, past students, the scenes of their eagerly listening to him, his invention of the camera and looking at the interviewer on camera, his comments on Susan Sontag and photography, the meetings, the tutorials? His relationship with Emma and Victoria?
13. Marrying Emma, the 30 years, her devotion to him, her concern in his illness, during the interview?
14. Leo and his career, the film about testing weapons, the glimpses of his further films, about exploitation of the Arctic, about the sex offending Bishop? His reputation? His being introduced, bringing Emma on stage?
15. The encounter with his son, the son driving to the screening, talking to his father, Leo turning his back and disowning him? The son and his conversation with Emma? The news about what happened to Alicia?
16. The final death scene, Emma and the nurse, breathing his last, having made his confession?

JUST ONE LOOK

Poland, 2025, 6x45 minutes, Colour.

Maria Debska, Piotr Stramowski, Marka Malikowska, Andrzej Zielinski, Cezary Lujasewicz, Miroslaw Zbrojewicz, Monika, Krzywowska.

Directed by Marek Lechki, Monika Filipowicz.

Just One Look is one of the many adaptations of Harlan Coben’s novels for series treatment for Netflix. Coben himself has been executive producer, the adaptation is moving from the United States to various European countries, to France and Spain, more to the UK and  to Poland. This is one of the Polish stories.

The focus is on Greta, married with a child, happy, with her jewellery business. One day she receives an unexpected photo, a faced crossed out, her husband in the photo, the photo of a band. The disadvantages that she was present at a concert where a fire started, people crushed, Greta surviving but with some loss of memory.

The puzzle of the film starts with Greta’s husband suddenly disappearing, the audience knowing that he was abducted by a hitman and concealed. Greta pursues the case, approached by a prosecutor whose daughter was in the photo and his search to find out what happened, and the father of her boyfriend who supplies guards to protect her.

There are mysteries concerning the identities of the people in the photo, revelations about her husband, the involvement of his sister, the lawyer who was defending the starter of the fire.

Greta is a strong character, determined, working with the police, and the final revelation of the truth – which audiences would not have been anticipating.

Which makes for an interesting and entertaining Harlan Coben mystery.

1. The title? The crucial photo? The song and its performances? Mystery?
2. The popularity of the novels by Harlan Coben? The television adaptations, transferring from the US to Poland?
3. The moving between the present and the past? Gradual revelations of the past, complications and twists?
4. The past, Greta in the past, her boyfriend, the breakup, the influence of his father? The concert, Jimmy and the performance of the song? The members of the group? The fire, deaths, Greta and her injuries, loss of memory?
5. Greta’s story, in the past, the encounter with Jacek in France, her pregnancy, birth, love? The scenes of the holidays on the coast, the family scenes? memory loss? The continued presence of her boyfriend’s father, the gift of the roses each year, his sending his guards for protection? The prosecutor, his story, his visit, the quest to find out what happened to his daughter? The holiday photos, the photo inserted, the group, the scratched out image? Jacek and his leaving, disappearance, the phone calls, Greta strong, the search, his phone call, her worry, searching the information on his call discovery of Sandra, lawyer, his sister? Her defending the starter of the fire? Financial issues? Threats, the hit man? Her friendship with Camilo, her advice, her husband and his ailments, identifying the hitman, the chase, the crash, the shootings and injuries? The visits from Jimmy, his accusations that she was remembering, his death? The rescuer Jacek in the house, hospital, his death, her grief, the confrontation with Sandra, the truth? And the final realisation that she took the photo?
6. Jacek, happy family, 15 years, the arrival of the photo, his leaving, phone calls, the car park, his abduction, the moves to the different houses, torture? The phone call? The rescue, the truth, his death?
7. The prosecutor, summoned to the prison, a hitman and his confession, hanging himself? Fellow prisoner, becoming a hitman, wanting the money, the abductions, the threats, the encounter with Kamilla’s neighbour, the sequences with her, his killing her? The chase, the shooting, his death?
8. Kamilla, long friendship, caring for the children, picking them up, at home? Her husband and his ailments? Sexuality, watching the woman from the window? Discussions with the police, giving them information, her husband’s injuries, in the hospital?
9. Jimmy, the singer, the dispute about the lyrics, the clash, the fire? The group, Jacek, the prosecutor’s daughter, the presence of Sandra, Adrian and his disappearance? The visits to his mother? The revelation of the truth, identity, the financial implications? Sandra, the confrontation, her planning, the money?
10. Satisfactory mystery, twists?

SULTANA'S DREAM

Spain, 2023, 80 minutes, Colour.

Voices of: Miren Arrieta, Arunima Bhattacharya, Mary Beard, Paul B.Preciado.

Directed by Isabelle Herguera.

An unexpected film, with a touch of the exotic.

This is a Spanish animation film, hand-painted backgrounds with digital figures moving in front, sometimes bright colours, sometimes a focus on design, always intriguing.

The central character is a Spanish filmmaker, Ines, who is on a quest. She has memories of interactions with men during her girlhood, is critical of men. She discovers a story, Sultana’s Dream n, written in India, in Bengal, in 1905, by Begum Rokaya, Rokaya Hossein. She was an educated woman, encouraged by her husband, exploring themes of the role of women, inventing a fictitious country, Ladyland, where women prevailed, where men were subject, locked up, crowded, the women excelling in their work and inventions. Ines is intrigued and finds a friend in India who accompanies her on her quest.

There are also scenes in Spain, Ines and a visit with her oceanographer mother, her Bollywood filmmaker father, even visiting him in Rome on one of his sets and exploring his treatment of themes of men and women. There are also discussions with the actual scholar Paul B. Preciado and British classicist, Mary Beard.

Comment has been made that the film is dramatically unfocused. In fact, the various sequences are put together somewhat in a piecemeal fashion. Which means that audiences have to be attentive to the drama and its continuity.

There is fascination in the animation, fascination for the theme of the presence and superiority of women, raising issues for reflection.

FLOW

Latvia, 2024, 85 minutes, Colour.

Directed by Gints Zilbalodis.

The audience is invited to go with the flow, the flow of the narrative, flow of tidal water, suddenly rising up, channelled through ruins of old buildings, moving towards an unknown destination.

Flow won the Academy Award for Best Animation Film, 2024. It also won many other awards around the world, a first for a film from Latvia.

The film took over five years to make, using hand painting and CGI to create extraordinary backgrounds as well as a range of creatures. There is no dialogue so the film is accessible to all audiences, young and old. Not only are the backgrounds beautifully treated, forests and foliage, abandoned ruins, scenes of both beauty and danger, so much of the action is in motion, on the water, the flow, audience admiration for such creativity and dynamism of action.

But there are also the animals. The invitation is to identify with a cat, roaming through fields where there are many statues of cats, but then a group of attacking, dogs. The cat is able to escape onto a passing sailboat, finding a languid capybara as well as a lemur who holds onto a roped cache of precious objects. They are joined by a friendly Labrador, confronted by a large stork-like bird, then joined by the group of dogs. Many adventures as the group continues floating on the flow, a surprising encounter with a whale, the conflict between a group of birds, a group of lemurs unhelpful, the dangers of a steep cliff, the whale beached, shifts in the terrain and the boat caught in a branch. Audiences who come to know the animals and shared their journey will appreciate a tense scene, the cat taking initiative, helped by most of the others, to  a rescue.

With no dialogue at all, audiences are invited to surrender to the images, the beauty, the music, the action. Some audiences might find themselves providing words and phrases for their interpretation of what they see, a journey, a life’s journey, survival journey, an exodus, an Odyssey, an ark… And, with the animals, naming some of the characteristics of friendliness, of ingenuity, of possessiveness, of confrontation, of help, of nobility…

Which means then that this is an animation film of beauty, of challenge, of imagination – and a welcome openness to different interpretations.

HURRICANE SEASON/ Temporada de huracane snarlings

Mexico, 2023, 99 minutes, Colour.

Edgar Trevino, Andres Cordaz, Kat Rigoni, Guss Morales, Paloma Alvamar, Ernesto Melendez.

Directed by Elisa Miller.

This is a very moody visit to a small Mexican town. It is a close adaptation of a celebrated Mexican novel.

The opening, a group of young boys discovers a dead body floating in the water. The structure of the film is in chapters, each focusing on a particular character, the connection with the murdered person. There is an ongoing time thrust with the narrative but also some of the chapters going back in time exploring and developing the characters and bringing them together for the ultimate climax.

The central character is Luismo aged 20, frequent of a centre, particularly for gay men, managed by   the deadcharacter, La Bruja, known as The Witch, a dominating, large figure, dressed in black, encouraging customers, arranging liaisons and atmosphere of local decadence.. Another character, Yes enia, is jealous of her cousin, Luismo, difficulties at home, following him to The Witch’s centre and running away shocked.

Other characters include Luismo’s stepfather, Munra, limping with a crutch, available as a driver. And there is Norma, very young, pregnant from sexual abuse from her father, friendly with Luismo, a deadly experience with the birth of the child, her going to hospital, the discovery about her age.

The other principal character is another 20-year-old, Brando, his father abandoning his mother for another woman, living at home with his mother, surly in his behaviour, fascinated by The Witch, befriending Luismo, some sexual encounters with him, and a plan to steal The Witch’s alleged money and gold coins and escape from the time.

Luismo eventually wants a change, conscious of what happened to Norma, beholden to The Witch, but falling out because he allegedly stole her money (which Brando had). Failing to find any secret money and coins, Brando confronts The Witch and brutally attacks, demanding that Luismo wield the final blow.

No major conclusion… Just the arrest of Brando, then Luismo and Munra.

A mood piece, tempestuous, set in the hurricane season, characters who find they have no way out.