Editor’s note: A warm welcome to my friend, Simon Yang. This is his first piece for Review Film Review.
Recently I’ve started to pick some Australian films to watch, and Phillip Noyce’s Rabbit-Proof Fence (2002) stood out from a must-see list with its obscure title.
Continue reading “Thoughts on Rabbit-Proof Fence (2002)”
I don’t understand the visceral hate of Cats (2019), the latest offering from Tom Hooper. It’s a perfectly respectable recording of a stage musical performance, touched up with a bit of CGI.
What? It’s meant to be a film, you say? Well, that does change things considerably.
Continue reading “Ceci n’est pas un film: Cats (2019)”
Editor’s note: This piece is part of a series on the 2019 Taipei Film Festival.
Liliana Cavani’s The Night Porter (Il portiere di notte 1974) is probably the most twisted film I’ve seen in my twenty-eight years of life on Earth. Not, it should be said, because of the sexual kinkiness, or even the portrayal of a twisted psyche, but because of what it threatens to do to the viewer’s vicarious identification. From an artistic perspective, it’s a pity the film doesn’t follow through.
Continue reading “Art and the Limits of Morality: The Night Porter (Il portiere di notte 1974)”
Editor’s note: This piece is part of a series on the 2019 Taipei Literature Film Festival.
The German fascists are taking Europe by force. Cities are closed off and raids are carried out block by block. If you disagree with the new regime or don’t have your papers in order, your best bet is to get yourself to Latin America (the US doesn’t want you), but with no flights, you’ll need a ship ticket, and transit visas for each place the ship stops en route. That entails long lines at various consulates, all while the number of ships at port dwindles one by one. Welcome to present-day France.
Continue reading “Love in a Fallen City: Transit (2018)”
The first Monday in May is when New York’s Metropolitan Museum of Art holds its annual Met Gala to raise money for the museum, especially for its Costume Institute; the Gala also serves as the opening night of a fashion exhibition at the Met. The First Monday in May (2016) is a documentary about the preparation for the 2015 iteration of this event, when the exhibition was China: Through the Looking Glass, on the influence of China on Western fashion, in cooperation with the Met’s Department of Asian Art. It turned out to be a record-breaking exhibition.
Continue reading “The Museum Must Be Decolonized: The First Monday in May (2016)”
Look, most films are garbage; that’s just a fact. But sometimes when you go dumpster diving you find something that, when looked at from just the right angle, isn’t too garbage after all.
Continue reading “Dialectics False and True: Captive State (2019) and A. I. Rising (Ederlezi ébredése 2018, aka Ederlezi Rising)”
There seems to a a trend of metafiction in South Korean arthouse. Before Burning (2018) there was On the Beach at Night Alone (Bamui Haebyeoneseo Honja / 밤의 해변에서 혼자 2017), by Hong Sang-soo and starring his real-life mistress (now partner) Kim Min-hee as Young-hee, a former mistress of a great Director (Moon Sung-keun). It’s also a slow burn, with the central affair merely hinted at for most of its running time. But Kim gets two stupendous set-pieces, all facilitated by alcohol, and she burns it all down.
Continue reading “The Interpretation of Dreams: On the Beach at Night Alone (Bamui Haebyeoneseo Honja / 밤의 해변에서 혼자 2017)”
Okay, here we go. Green Book (2018)—directed by Peter Farrelly; written by Farrelly, Brian Hayes Currie, and Nick Vallelonga (son of the main character) based on his father’s letters and tape recordings and an interview with the other main character; shot by Sean Porter; edited by Patrick J. Don Vito; and with music by Kris Bowers—is a tonal, cinematographic, acting, and musical achievement, and a thematic disaster. The editing is acceptable. Based on the true story of Italian Tony “Lip” Vallelonga (Viggo Mortensen) driving Dr. Don Shirley (Mahershala Ali) to his musical trio performances throughout the Deep South in 1962 by relying on Victor Hugo Green’s The Negro Motorist Green Book, which is a guide to the spaces and hours that are safe for a Black person to be at, the film features an entirely conventional and by-the-numbers mismatched buddies road movie plot that’s revitalized by the two leads’ performances. Mortensen plays Vallelonga as the trashiest kindhearted Italian man in the Bronx, while Ali’s Shirley is the epitome of tortured dignity and class. But the writing navigates deliberately into a racial minefield, careful to step on every single mine it can find.
Continue reading “Racism: Solved? Green Book (2018)”
It opens like a blatant rip-off of Sherlock Holmes (and indeed the story is adapted from A Scandal in Bohemia), but Zero Effect (1998) subtly shifts from character study to whodunit—and then back to character study, as if it needed to ground its true character development in an actual story, after which the story could be thrown away.
Continue reading “Thoughts on Zero Effect (1998)”
Utøya: July 22 (Utøya 22. juli 2018) is a stunning technical and moral achievement. Directed by Erik Poppe and written by Anna Bache-Wiig and Rajendram Eliassen based on survivor accounts, the Norwegian film depicts the 72-minute-long summer camp mass shooting on the small island of Utøya on 22 July 2011—as a one-shot in real time. Norway’s only mass shooting in modern times is a raw point of trauma, and the shoot had psychotherapists on hand for crew and (especially) cast. David Ehrlich has written a delicate and powerful review; I want to dig a little deeper into the moral-aesthetic aspect.
Continue reading “Thoughts on Utøya: July 22 (Utøya 22. juli 2018)”