My review of The Blond One (Un Rubio 2019), based on a 2019 Taiwan International Queer Film Festival media screener, has been published by The News Lens International. Check it out here!
What if the titular protagonist of Constantine (2005) was a mixed-martial arts fighter? What if he was really, really good? What if he could burn demons with his bare hand? Writer-director Kim Joo-hwan’s The Divine Fury (Saja / 사자 2019) answers these questions we never thought we had.
Editor’s note: This piece is part of a series on the 2019 Taiwan International Queer Film Festival.
My Days of Mercy (2017), Tali Shalom-Ezer’s death penalty lesbian rom-com written by Joe Barton, is a strange bird. The basic structure is very similar to Up in the Air (2009), with Ellen Page playing the George Clooney audience surrogate role, and Kate Mara as the Vera Farmiga outsider role. But whereas that film used its downtime to explore the depths of the Clooney character’s loneliness (with the help of Anna Kendrick), here the second focus is a serious, nuanced exploration of the aftereffects of execution by the state (with the help of Amy Seimetz and an adorable Charlie Shotwell).
My review of Postcards from London (2018) has been published at The News Lens International as part of coverage of the 2019 Taiwan International Queer Film Festival. Check it out here!
Vampire films are inevitably an allegory for something or other, and Neil Jordan’s Interview with the Vampire: The Vampire Chronicles (1994) (which is told through an interview with a vampire), which Jordan wrote uncredited based on Anne Rice’s book and first draft, is no exception. Tom Cruise of all people plays the vampire Lestat, who turns Louis (Brad Pitt) out of loneliness, and saves the “life” of Claudia (an outstanding eleven-year-old Kirsten Dunst) by turning her as well—she becomes the daughter of the two men’s subtextual marriage. Strangely, Claudia’s also the only character with whom we can fully identify.
In our era of resurging fascism, Israeli writer-director Nadav Lapid (and co-writer Haim Lapid) gives us Synonyms (Synonymes 2019), a primarily French film about the fascist prostitution of national identity. It’s an anti-bildungsroman, in which the protagonist starts off not knowing what he wants, and ends with the realization that what we wants can’t be found.
I’m not gonna lie, Polder (2015), a Swiss-German co-production written by Samuel Schwarz and directed by Schwarz and Julian M. Grünthal, is a mess in three languages. The messy sci-fi has sequences in German, Japanese, and Chinese, but the incoherence has less to do with the multilingual conception and more to do with the complicated plot’s lack of context.