Viewing Log:
Entertainment (Rick Alverson, 2015): The reviews I've read of Rick Alverson's
Entertainment refer to film's protagonist, played by Adult Swim veteran Gregg Turkington, as "The Comedian". Indeed, that's how the imdb credits him as well, but we
do learn his name in response to Michael Cera's stranded motorist Tommy. It's Gene. It is, however, fitting that the character goes unidentified in the press since he spends the film as a no-name loser at the very bottom of the comedy world making no money on a tour while performing at dive bars for audiences that never laugh. There is no plot here. It's merely a glimpse into the life of a thoroughly unlikable hack as he pours his energy into a career that will never take off, while spending his spare time wallowing in his own misery. I'm not familiar with Turkington's work outside of the film, but apparently, it's based on a persona he's perfected elsewhere where the balding middle-aged entertainer with a greasy comb over tells wildly offensive jokes (e.g. "Why does E.T. like Reese's Pieces? Because they taste like cum does on his world"). Whenever an audience member has the temerity to speak out during one of his performances, he explodes in a fit of rage. He snaps at one woman by telling her that everyone hates her STD-ridden breath, and we feel a sense of satisfaction when she throws her drink at him before beating him up in the parking lot. This may sound like a critique, but I'm going to go ahead and recommend the film. It's a stunning portrait of a miserable man who's self-loathing is eclipsed only by the hatred he inspires in others. As Gene stumbles haplessly between vignettes we get a good sense of the absurdity of his life, and, at least for me, it was something I could closely relate to.
La Flor (Mariano Llinás, 2016): Trying to give a plot synopsis of
La Flor is a bit of a fool's errand. At over thirteen hours, the movie is actually six feature length films presented as one, each starring the four same actresses: Elisa Carricajo, Valeria Correa, Pilar Gamboa, and Laura Paredes. I'm unfamiliar with their work save for one exception but was shocked at the range they were able to pull off. Going from a kitschy B-movie of "the kind that America used to make" to dramatic turns, to absurdism, they prove remarkably adept at any genre. Yet these works defy simple genre classification as they loop around and self-reflexively make reference to one another. While the main praise in these works have to go to the four stars that form the glue that hold that holds the whole thing together through its punishing runtime, I'd be remiss if I didn't give credit to writer/director Mariano Llinás. I had previously seen his
Extraordinary Stories, which seemed like a rewarding, but difficult view at the time. Now, it feels like a walk in the park compared to the slog of his most recent omnibus. I say 'slog' intentionally since it's neutral to value. I watched the first three of the four divisions on the Criterion Channel in a single day. It was a rough experience, but it was also a highly fulfilling one. I've never had a viewing experience like this, and probably never will again. Endlessly inventive, Llinás's paean to his four stars is a truly extraordinary singular achievement.
House of Tolerance (Bertrand Bonello, 2011): Set in the twilight of the 19th century, Bertrand Bonello offers a window into life within a French bordello named L’Apollonide (the name of a famous ancient Greek physician--if there's a connection to be made, and I doubt that there is, then I don't get it). Lacking any central character or theme, the film is more interested in emerging its viewer in a finely crafted world that Bonello made alongside his wife and collaborator Josée Deshaies. That's not to say that we don't follow the course of certain characters through the film's duration. Alice Barnole is given a story line as Madeleine (though she's often referred to as "Jewess") that sees her horribly disfigured at the hands of a patron; we trace Pauline (Iliana Zabeth) as she goes from neophyte to seasoned regular. There is no denying that L’Apollonide is the film's star though, demonstrated by the fact that we only leave its confines twice: first for an outing reminiscent of Manet's
Luncheon on the Grass, and then again when
the exterior red gas light goes out and we're transposed into the 21st century where the actresses portray prostitutes waiting for johns on the street.
Nudity abounds, but we never get the sense that it's gratuitous or there to titillate. Instead, it seems like the natural consequence of the film's setting. I really liked this one. It's the third film by Bonello I've watched for the project, and hos work feels like an important discovery for me.
The Kindergarten Teacher (Nadav Lapid, 2014): Over a couple of years in the 90s, Sarit Larry played a number of television and film roles in her native Israel. She gave up acting to pursue a life off screen, but returned in 2014 for a one off in this critically acclaimed drama about a caregiver and educator whose interest in poetry leads to drastic actions. Larry plays Nira, the titular kindergarten teacher, a character with one adult son in the army and a teenage daughter, and a middle-aged husband who looks forward to when they're both out of the house so he can go around nude. Five years ago, Nira discovered her love of poetry. Writing and reading it gives her an escape from the realities of a banal and unrewarding existence. One day she discovers that one of her wards, five-year-old Yoav (Avi Shnaidman), has the uncanny ability to improvise verse on the spot, but lacks any comprehension of its meaning. To the chagrin of Yoav's practical minded single father, Nira takes the boy under her wing in an attempt to nurture his singular talent. From the beginning there's a blurring of lines between Nira's role as teacher and mentor, that
boils over into outright obsession as she starts to treat him as a possession to mold to her liking. In the end she kidnaps Yoav in a desperate attempt to make him hers.
Larry plays Nira with a certain melancholic charm that gives way to an unhealthy instability. She proves herself to be a talented actor here, but only time will tell if she ever chooses to take on another role.
Kirikou and the Men and Women (Michel Ocelot, 2012): One of my favorite discoveries back in the early days of my time reviewing for DVDBeaver was the work of Michel Ocelot, and none of his films hit me as hard as his 1998 animated masterpiece
Kirikou and the Sorceress. Made in beautiful hand drawn animation, the film told a series of several stories of Kirikou, a newborn who enters the world able to talk and run faster than anyone else in his African tribe. Kirikou is also a kindhearted genius who works to better those around him. Instead of using violence to solve his village's problems, he reasons with those causing trouble and brings peace. It's a gorgeous film that had a 2005 sequel, that, while still very good, didn't match the heights of the original. I didn't even know that there was a third film in the series, however, until I went through the offerings on the Criterion Channel earlier this month. Like the previous films, it’s an episodic story narrated by his grandfather about the infant using his wits to overcome problems--five tales in total, averaging about fifteen minutes a piece. Unlike the first two films, however, Ocelot trades in the traditional hand drawn images for a two-dimensional CG approach. I hate to say it, but I kind of missed the style from the original. It's more of the same of what we've seen from Ocelot's Kirikou films before, but luckily, they're so endearing that a little retread can be forgiven here.
Magic Mike XXL (Gregory Jacobs, 2015): With a few exceptions, I've never been much of a fan of Steven Soderbergh. One of those exceptions was his 2012 tale of male exotic dancers,
Magic Mike. I found Channing Tatum's Mike to be a charming character, and the film to be a lot of fun with some excellent choreography. It was no masterpiece, but still very good. Ever since it's 2015 sequel came out, I've had friends tell me that it was even better than the original. Since I'm unemployed right now, I've been trying to stick to films I can stream for free, but finally gave in and rented this one. And...it's really good too. When we pick up this time, Mike is out of the stripping game. He's still working on his designer furniture company, but recently broke up with his love interest from the first film. When one of his buddies from the Xquisite contacts him, Mike reunites with his old friends who talk him into going on a road trip headed north along the Atlantic border from their Miami starting point. A lot happens along the way, and I don't want to give too much away here, but I will say that there are great appearances from newcomers played by Donald Glover, Amber Heard, and others. The film gives us a portrait of loving friendships between adult men that felt downright wholesome. The leads all turn in wonderful performances, and again, the choreography is outstanding. I had forgotten what a talented dancer Tatum is, and he really shines here every time he busts a move.
Victoria (Sebastian Schipper, 2015): Having never seen a film of Sebastian Schipper's before, or even really knowing anything about
Victoria prior to clicking on it, I wasn't sure what to expect going in. It turns out that it's a film that relies on a gimmick, but an impressive one at that. Like
Russian Ark, released thirteen years prior, the film was recorded in a single two hour take. Unlike the Sokurov, however, the film isn't confined to a single building. Instead, the movie follows its cast of characters around the city of Berlin as they make their march to their inexorable fates. Laia Costa plays the eponymous heroine. Despite speaking little German, she's a transplant from Spain who works in a local cafe. At night she likes to go clubbing, which is where we first meet her. Leaving, she encounters a group of four men led by Sonne (Frederick Lau). The men are simultaneously goofy and charming, but also a little menacing. They ask Victoria to go for a ride in a car. She demurs, believing that the car isn't theirs. She's right, but still runs off with them anyway. They hang out for the next hour, laying the magnetism on thick, but Victoria ends up back at her job opening the cafe. A few minutes later, the men reenter and ask her to do something that will forever change her life. I have to admit that despite the impressive technical feat of dragging that camera around the streets of the city, I found the first hour a little boring. Things really pick up when the film becomes a
crime thriller
but there's no denying that there's a strong disjoint between the two parts. Like
Uncut Gems, the film is ultimately about a protagonist who makes the worst possible choices whenever they can. If that bothers you, then this isn't the movie for you. I found it easy enough to suspend disbelief for both films, though I suppose that Safdies do a better job of showing Howard's compulsions. Here Victoria's motivations are never really explored. Costa is great in her role, but everyone who played a role in pulling this audacious stunt off deserves congratulating.
