I walked into this one cold, not knowing a thing about it—if I hadn’t, I probably wouldn’t’ve walked in at all. Imitation Girl (2017), by writer-director Natasha Kermani (who also has a music credit), had me wanting to crawl out of my skin or, failing that, drop down in front of my front row seat to do some pushups, because I detest fish-out-of-water stories, and this film has three of them: adult film star Julianna (Lauren Ashley Carter) trying to improve her life but being utterly unprepared, an alien (also Carter) who seems to be a benevolent version of the alien from Under the Skin (2013) slowly acclimating to human society, and Lauren Ashley Carter herself doing her best to pretend fluency in Farsi, because that’s the main language of the family the alien joins. For me, it was pure torture.
The quickest way to describe Men in Black: International (2019) is to call it a Marvel film that’s more allergic to sincerity and features worse acting. Chris Hemsworth and Tessa Thompson are both fine actors, but here the former (when not doing action scenes) is reduced to his Ghostbusters (2016) shtick, and the latter coasts along on a broad and blunt comedic performance. They do provide a handful of the obligatory GIF-able moments though, so mission accomplished!
This will be less a review of Hudson Hawk (1991), the Bruce Willis passion project directed by Michael Lehmann, and more an excuse to say two things about how I look at films.
Editor’s note: This piece is part of a series on the 2019 Taipei Literature Film Festival.
We in the West know about Soviet Realism, the dictum that art must be about how the State and Party lead the people to prosperity, but how does a society feel with only one kind of art? Dovlatov (Довлатов 2018), directed and cowritten by Alexei German, Jr., with Yuliya Tupikina, gives us a glimpse by following famous-late-in-life Russian émigré writer Sergei Dovlatov (a tone-perfect Milan Marić) around Leningrad for a week in November 1971 as he suffers isolation, rejection, indignities, and the loss of friends to death, arrest, and emigration—the lattermost an option he would finally take in 1979.
Marketed as a midlife erotic coming-of-age film, The Lady Improper (Feifen Shounü / 非分熟女 2019), directed and cowritten by Jessey Tsang Tsui-shan with Link Sng based on Anna Lai Yuet-San’s story, follows Siu Man (Charlene Choi Cheuk-yin), whose husband and apparent first love (Deep Ng) has left her because penetrative sex is too painful for her, and who now has to navigate Hong Kong, her family restaurant’s impending closure, her father’s failing health, and her own desires as a single woman. The film is incredible for how one rotten apple—the script—spoils a truly stellar bunch.