Feels like it’s been ages since I posted trailers on this blog. It’s truly been a whirlwind year for me. You already know about my short film which consumed the first 2/3 of 2017. As if that wasn’t busy enough already, I also still blogged for TCFF, my hubby and I became US citizens 🇺🇸 in late November… aaaand we’re moving to a new home! 😮
Suffice to say, not only do I not have any time to blog these days… I barely have time to watch things either. But I do make time to watch trailers! I’ve always enjoyed trailers and they always make me excited about movies even when life is extremely hectic.
In fact, since I was home sick today, I watched a ton of trailers as I sat on my bed… and so I thought why not make a blog post of it. In any case, I like to mix up arthouse indies with huge blockbusters, so let’s start with this one…
A Wrinkle In Time
After the disappearance of her scientist father, three peculiar beings send Meg, her brother, and her friend to space in order to find him.
… An intriguing scifi adventure by a female director (Ava DuVernay) w/ an all-star (mostly female) cast (including my girl muse Gugu Mbatha-Raw). Can’t wait to see this next March!
Film Stars Don’t Die in Liverpool
Based on Peter Turner’s memoir, the film follows the playful but passionate relationship between Turner (Bell) and the eccentric Academy Award®-winning actress Gloria Grahame (Bening) in 1978 Liverpool.
… I remember hearing the title but just finally saw the trailer last night and was swept away by it!! I had never heard of Gloria Grahame but I do love Annette Bening and she looks phenomenal here. I haven’t been impressed by Jamie Bell since Billy Elliot but he looks good here. I love stories about star-crossed lovers and a reverse May-December romance where the woman is older.
Set in 1950’s London, Reynolds Woodcock is a renowned dressmaker whose fastidious life is disrupted by a young, strong-willed woman, Alma, who becomes his muse and lover.
Ok so interestingly enough, Andrew Llyod Weber’s Phantom of the Opera also opened around Christmas time (2004), a movie I still unabashedly love despite what the critics say. Now this one is likely gonna be known as Daniel Day Lewis‘ last film as he’s reportedly retiring. It looks pretty intriguing but given December’s packed schedule, I probably end up renting this one.
The Shape of Water
An other-worldly fairy tale, set against the backdrop of Cold War era America circa 1962. In the hidden high-security government laboratory where she works, lonely Elisa (Sally Hawkins) is trapped in a life of isolation. Elisa’s life is changed forever when she and co-worker Zelda (Octavia Spencer) discover a secret classified experiment.
Ohhh this trailer always gives me goosebumps from the first time I saw it in a theatre. The more I read about this film and all the rave reviews about Guillermo Del Toro‘s magical touch, I’m even more intrigued. Talk about the ultimate unconventional love story… starring the reliable Sally Hawkins (who I loved as Anne Elliot in BBC’s Persuasion), this one will run my tear ducts dry for sure.
A social satire in which a guy realizes he would have a better life if he were to shrink himself.
I LOVE the premise of this movie and I sure hope the movie will deliver. But I enjoyed The Descendants and Nebraska from Alexander Payne, and he seems like the right filmmaker to do such a quirky dramedy. Yeah it’s yet anotherMatt Damon flick (this guy is everywhere!) but the story is pretty intriguing I’m still curious to check this one out.
T’Challa, after the death of his father, the King of Wakanda, returns home to the isolated, technologically advanced African nation to succeed to the throne and take his rightful place as king.
Woo wee!!! Forget about what I said about superhero fatigue, I’m still very much in the mood for the genre (and guys in tight-fitting outfit), especially when they look as good as Chadwick Boseman as Black Panther! [meow!] The cast is pure awesomeness… I mean, yes the boys are cool and all that, but I’m all about Angela Bassett & Lupita Nyong’o in the same movie!! Marvel Studios taking a chance on an another indie filmmaker, this time it’s Ryan Coogler and judging from the second trailer, this is gonna be epic!! February can’t come soon enough.
Avengers Infinity War
DC sort of have ‘ruled’ 2017 with Wonder Woman and Justice League. Ok so not exactly ruled the box office given all the talks about how JL underperformed. Well, 2018 will likely bring Disney even more s*&$-load of cash (but then again every year is ‘Disney just take my money’ year since they owned EVERYTHING).
Just three months after Black Panther, we’ve got the whole gang back together. Everyone’s got their faves, but for me I’m most excited to see T’Challa and Capt (sporting longish hair and rugged beard, yowza!!)
Heh I think DC is missing out with the whole Henry Cavill mustache-erasing fiasco, methinks Supes looks pretty darn sexy unshaven… a la Chris Reeve in Superman III😉
Dayum, that Alan Silvestri‘s score in that last slo-mo scene promises us SO much epic-ness. I rolled my eyes when they’re gonna do the last Avengers in two parts (of course, why not stretch those mighty dollars right?) but heck I trust the Russo brothers to bring us something truly worth watching, as the last two Captain America films are on the top list of fave superhero films ever!
Star Wars Episode VIII: The Last Jedi
Having taken her first steps into the Jedi world, Rey joins Luke Skywalker on an adventure with Leia, Finn and Poe that unlocks mysteries of the Force and secrets of the past.
I can’t believe I didn’t include this one. I was actually watching it (three times in a row) as I wrote the post, then got sidetracked by the Jimmy Kimmel episode with ALL of the cast from the new flick (including Laura Dern!). So yeah, even though I wouldn’t call myself a SW fan but I’m actually really looking forward to Episode VIII more and more. Glad I don’t have long to wait (seeing it this Monday, yay!!)
I’ve only seen Looper from director Rian Johnson, which I quite like. I always like the idea of having indie filmmakers joining big franchises (a la Marvel) so hopefully it’ll pay off once again. The trailer certainly promises more drama in the epic saga of the most dysfunctional family in space 😛
Ok last one… I know this one is just a teaser and the movie isn’t out ’til next June! But man Deadpool‘s marketing team ought to win some awards for creativity and pure silly good fun! I hadn’t even heard of Bob Ross before but the teaser made me search for clips of him on youtube and it’s freakin’ hilarious!! I’m not a huge Ryan Reynolds fan but he totally owned this character! Nice to see that kid from Hunt for the Wilderpeople, Julian Dennison, making an appearance in this flick!
Ok these are just a sampling of stuff I’m excited about… what are some recent previews that got your heart pumpin’?
Denzel Washington is at the top of his game in the new movie Roman J. Israel, Esq. from writer/director Dan Gilroy. Having seen and been impressed by Gilroy’s 2014 debut film Nightcrawler (with Jake Gyllenhaal), I was curious what the director had in store for us.
This film starts out slow, with Roman (Washington)’s firm in crisis as his law partner dies after suffering a heart attack. Roman’s left picking up the pieces and tying up loose ends in court – something he had not previously done before as he was the behind-the-scenes attorney at the small firm. His (what should have been) normally routine court appearances are a disaster; his tendency to blurt out what he perceives as the truth gets him held in contempt by a less-than-understanding and impatient judge. Without a job and out of luck, Roman (sporting his trademark ‘70s Afro hairstyle) walks the streets of Los Angeles, lugging around a huge briefcase filled with his lifelong passion project. What we eventually learn is that that he hopes to file a brief to bring about a class action lawsuit that will change the justice system for African American sentencing and those already incarcerated.
Roman interviews at a nonprofit run by Maya (played by Carmen Ejogo), but instead of finding a job, he gains an ally in Maya. She is not in the same mindset as her younger staff at the nonprofit are – that Roman is like something from another time that is outdated and out of the current mainstream. Maya believes that Roman should be respected and listed to. They end up developing a personal connection and she calls him to ask him out on a date, even though the talk he gave to some young students at her nonprofit doesn’t go very well.
Roman finds a job at George (Colin Farrell)’s firm, where George acts more like a legal shark, putting profits ahead of people. Roman does gain some valuable mentorship from George, who sees Roman’s scholarly ability to memorize a library of law books as an asset. Surrounded by wealth and unethical behavior, Roman chooses to claim a reward for $100,000 with the knowledge he acquires from taking on a case of a gang member who’s accused of murdering an Armenian store clerk. Once Roman gets his hands on the cash, he suddenly starts living large – taking a day off to get bacon maple-glazed doughnuts by the beach (something he always talked about doing but never had the time), purchasing pricey business suits and getting a modern hairdo, among other things. He takes Maya out on a fancy date and shows off his new suit and hairstyle. Maya shares with Roman some her life struggles with idealism and the reality of life, but Roman seems to lack compassion, even though he actually does feel it, he is really preoccupied with other things. The date ends on a high note as we see that they still have a strong connection.
The movie takes more of a predictable turn as Roman ends up paying the price for his unethical behavior and becomes a sort-of martyr for his cause. His real undoing comes about when he quips “I’m tired of doing the impossible for the ungrateful.” The Roman we met in the begging on the movie would have never said that. Gilroy wraps the movie up neatly, with George doing what Roman wasn’t able to do – filing Roman’s brief in court — and Maya being inspired to mentor her students with Roman’s kind of activism and resistance. This ending in no way detracts from Denzel Washington’s brilliant performance, playing a man who is living with a mild-yet-obviously-present case of autism.
Washington brings his best effort to deliver an outstanding performance — one for which he may soon end up being rewarded for — in a movie that is headed for a predictable and unoriginal ending. As Roman tells us early on in the movie, the “Esquire” in his name means he is “above gentleman but below knight.” Similarly, Gilroy’s movie Roman J. Israel, Esq. is above average but below the greatness that we associate with Denzel’s most recent movies (i.e. Fences, Flight).
Have you seen ‘Roman J. Israel, Esq.’? Well, what did you think?
Directed By: Lee Unkrich, Adrian Molina Written By: Lee Unkrich, Jason Katz , Matthew Aldrich & Adrian Molina Runtime: 1h 49min
Before I get into this review, I want to address one of the main arguments I’ve heard about it: that Coco is a rip-off of DreamWorks’s 2013 film The Book of Life. I don’t think this is a fair assessment. The only major similarity is that they’re both centered around Dia de Los Muertos, the Mexican holiday honoring the dead. Besides that, each movie has different storylines, tones, and animation styles. If there are going to be two movies about a holiday from an underrepresented culture, all the better.
Coco is the story of Miguel (Anthony Gonzalez), a young aspiring musician whose family bans music from their home after Miguel’s great-great grandfather abandoned his wife and daughter (Miguel’s great-grandmother, Mama Coco, played by Ana Ofelia Murguía) to become a famous musician. On El Dia de los Muertos, Miguel breaks into the tomb of his idol, the famous Ernesto de la Cruz (Benjamin Bratt), to borrow his guitar for a talent contest. As soon as he strums the strings, he is transported to The Land of the Dead, where, along with his new friend and guide Hector (Gael García Bernal) he learns more about his family and their past, and the role music has played in it.
This is easily my new favorite Pixar movie. The story is so unique, and there are some surprisingly dire stakes and dark twists, but it’s still accessible to all ages. Yes, it’s a kids’ movie, but it’s a kids movie that is centered around a holiday dedicated to the dead, which isn’t exactly a light subject. The film handles the subject beautifully, though, sending a strong message about the importance of family and remembering lost loves ones, passing stories from generation to generation. And, of course, the end of the movie will make you cry, because PIXAR THRIVES ON YOUR TEARS. If I had to nitpick, I’d say that some of the exposition about Dia de Los Muertos felt like someone reading from a Spanish textbook, not like a grandmother (Renee Victor as Abuelita) explaining it to her grandson (Anthony Gonzalez as Miguel), who would presumably know about the holiday already anyway. It’s not a huge deal, but it still stood out to me.
A strong script like this requires a strong cast to bring it to life, and the cast of Coco is fantastic, but there are a couple actors who especially stand out. Anthony Gonzalez is incredibly talented for such a young actor; he manages to be endearing without being cloying and holds his own alongside veteran performers. Gael García Bernal (AKA my celebrity husband ever since I saw El Crimen del Padre Amaro in college) is wonderful as Hector, giving both excellent comedic delivery as well as genuinely touching, emotional performances.
In addition to the acting, the cast is made up of incredible singers. The music in this movie is easily my favorite thing about it, blending a mix of classic Mexican folk songs with original pieces. The styles range from ranchera to Golden Age Mexican cinema ballads, and it’s all masterfully performed by the cast. Anthony’s voice is angelic but surprisingly full; I was delighted when he first burst into “Un Poco Loco,” his big number he performs with Hector. I had no idea Gael could sing so well (my only experience hearing him was in the baffling cover of “I Want You to Want Me” in Rudo y Cursi), but he has such a warm, rich tone, and his lullaby version of “Remember Me” is heart-wrenching.
I didn’t realize Benjamin Bratt, the actor who voices famous musician Ernesto de la Cruz, could sing as well; I had to check IMDB after hearing his smooth, booming voice to make sure it was actually him singing (the insanely talented Antonio Sol sings for the character for “The World is Mi Familia” and “La Llorona,” but Bratt holds his own in “Remember Me” and “Much Needed Advice”). The musical show stealer, though, is Alanna Ubach as Mama Imelda. Her rendition of “La Llorona” toward the end of the movie is phenomenal. My only complaint is that its her only full song in the movie.
The only thing more vibrant than this film’s soundtrack is, of course, its animation. Pixar has really outdone itself with this movie. It’s as technically impressive as its predecessors, with incredibly realistic detail, but Coco is so much more colorful and imaginative than anything I’ve seen from them so far. Their interpretation of the Land of the Dead is breathtaking, and the way they animate the movement of its skeletal citizens is so creative. I especially love the brightly-colored alebrijes, these fantastical creatures ranging from cute and goofy to majestic and intimidating. There’s too much to take in in one viewing-so, obviously, I plan on watching this multiple times.
Not only is this my new favorite Pixar movie, it’s my favorite movie I’ve reviewed this year. It’s incredibly well-written, the acting is solid, the music is moving, and the animation is visually stunning. I strongly recommend checking this out if you get the chance. You will not be disappointed.
There are films you’d readily see just for the cast and this is one such a film. I’m familiar with Agatha Christie’s work though I can’t claim I’ve actually finished even one of her books from start to finish. I did however, see the episode from British ITV production of the Agatha Christie series starring David Suchet a couple of years ago, so the plot is still quite fresh in my mind. The latest adaptation featured Kenneth Branagh as the Belgian super detective Hercule Poirot. Branagh also served as director, based on a script by Michael Green (who’s had quite a year as he also wrote Logan and Blade Runner 2049).
The opening sequence in Jerusalem seemed too whimsical and decidedly over-the-top, and I’m not just talking about Poirot’s outlandish mustache. I read in a review somewhere that Branagh can’t decide which fake mustache given to him from the makeup department so he basically just wore them all in a row. I think that enormous mustache probably has its own trailer, too! That establishing scene introduced us to a god-like figure who’s an absolute genius in cracking criminal cases. It also revealed his quirky OCD personality, so obsessed he is with balance that when he stepped one foot on manure, he immediately had to do the same with the other foot.
For a story famous for being set on a train, the film took its time to finally get there. But once there, the train set pieces is really quite glorious, filled with lavish set pieces and even more gorgeous passengers decked in 1930s costumes. Despite the rather sluggish pacing, I enjoyed myself thanks to the amazing cast. A movie with Dame Judi Dench is an automatic must-see in my book, though sadly she didn’t get to do anything in this film. But to be fair, most of the actors here seemed to have spent more time in costumes than learning their lines. She’s still memorable here, as is Olivia Colman as Dench’s German maid.
It’s tough to be memorable in a large ensemble cast as this one, but I’d say the film’s MVPs are Michelle Pfeiffer as Caroline Hubbard, Daisy Ridley as Mary Debenham, Josh Gad as Hector MacQueen, and Leslie Odom Jr. as Dr. Arbuthnot. Oh, and hello Tom Bateman as train director Bouc (never seen this tall, dark and handsome Brit before but I sure hope I’ll see more of him!) It’s interesting casting to have Johnny Depp as Ratchett given his dire reputation of late. Branagh’s performance is often borderline over the top as well which in itself can be distracting. But I thought his monologue after the big reveal is pretty good and provides the high emotional point of the film. I love La Pfeiffer in this scene too, I’ve missed seeing her in movies. She’s one of those veteran actresses I wish would still get many intriguing roles.
I’m not going to talk about the plot here, but Branagh took some interesting creative licenses with how the story came to the big reveal. He also tried to vary the scenes of each passenger interrogation as to not bore the viewers, some work better than others. I love Branagh’s direction in Cinderella but here he seems too preoccupied with camera work (esp. the bird’s eye view angle) that the film feels rather haphazard at times. The dynamic camera angles adds energy to an otherwise stuffy whodunnit drama, but at times can be quite distracting as well.
Overall it’s a decent adaptation, but I’m not sure if it’s really all that necessary. I feel like the rich story would’ve been better served as a miniseries. There are parts that feel emotional, especially as we get to know who the passengers really are, but I think the film lacks any real suspense. That said, I still enjoyed it thanks to the committed cast, the stunning set pieces and the gorgeous score from one of my fave composers (and Branagh’s regular collaborator) Patrick Doyle. The ending seems to hint at ‘Poirot will return’ a la another titular character James Bond. Not sure I’d be so eager to return to another Poirot adaptation from Branagh though. I guess I’d recommend this if you like the cast, though if you’re a Christie fan you’d probably be more satisfied with re-reading the novel.
Have you seen the latest adaptation of ‘Murder on the Orient Express’? Well, what did you think?
Directed By: Greta Gerwig Written By: Greta Gerwig Runtime: 1 hr 34 minutes
So at this point I think that my opinion of Lady Bird is wrong – if it is possible for an opinion on a piece of art to be wrong. The vast majority of everyone seems to have decided that Lady Bird is a piece of subtle genius, a near perfect discussion of adolescence and mother/daughter relationships.
But the movie didn’t do it for me.
Lady Bird opens on a mother and daughter traveling in a car as the last several moments of The Grapes of Wrath fill the silence between them. The monologue ends and Christine “Lady Bird” McPherson (Saoirse Ronan) removes the cassette tape from the tape deck, puts it back in its case, and takes a moment to sit in a harmonious sniffling silence with her mother (Laurie Metcalf). It is one of the few moments of harmony between the two characters and, like every other such moment, it quickly devolves in an argument, which itself terminates with a very dramatic, perfectly indie exit from the vehicle.
Lady Bird’s primary asset is its perfect grasp on indie films as a genre. Lady Bird perfectly encapsulates the quirky real-world aesthetic that makes indie movies so much fun through muted cinematography, a subtle script, and understated performances.
The cast in Lady Bird was incredible. Beanie Feldstein was charming as Julie Steffans, Lady Bird’s best friend. Lucas Hedges played a heart rending Danny O’Neill. Laurie Metcalf (again, the mother character) broke my damn heart on her drive around the airport out of the park, which was an especially marked achievement considering that that portion of the story made no sense. Having loved Saoirse Ronan in movies like Brooklyn and Grand Budapest Hotel, I was surprised to find her completely uninteresting in Lady Bird. Ronan’s performance was a steady monotone, which was a jarring choice considering Lady Bird’s tumultuous inner life. Lady Bird is constantly rebelling, but her exterior is placid to a fault.
I also took issue with the development of two characters: Kyle Scheible (Timothee Chalamet) and Marion McPherson (Laurie Metcalf). Kyle Scheible was simultaneously filling two icky boyfriend tropes: the pseudo-intellectual and the popular kid, which meant that some of the best jokes were at his character’s expense, but also that he did not make sense as a person. Kyle Scheible always existed on the periphery of a group of beautiful people, ignoring them for books about philosophy or history.
Similarly, Marion McPherson, played to a tee by Laurie Metcalf, made no sense. Perhaps my own childhood, being the average thing that it was, did not prepare me to believe that it is possible for a mother to be so petty with so little reason, but don’t think that’s it. I can buy a mother who is a flawed human and says the wrong thing and, despite it all, is still probably a better mother than she had growing up. What I cannot buy (and excuse me for being vague – I am trying to avoid spoilers) is a mother who reacts in extremes that wind up hurting her more than her victims.
Worse, the end of the movie felt forced. One bad college party makes Lady Bird appreciate her upbringing and the values she was raised with. Although I understand the impulse to wrap the story up neatly, the reason behind the revelation was not there, so it just felt awkward.
Ultimately a few amazing performances and general indie charm are not enough to save Lady Bird. If nothing else interesting is playing, I would still suggest watching it. It’s worth it for the the constant stream of early 2000s nostalgia that runs through the entire movie and a few powerful moments: the hug between Lady Bird and Danny O’Neill (you’ll know it when you see it) and the mother’s drive through the airport are two such moments that come to mind.
Lady Bird has its moments.
Holly P. is a twenty-something millennial who enjoys shouting at people on the internet, riding her bicycle, and overbooking her schedule. She prefers storytelling that has a point and comedy that isn’t mean. Her favorite movies are Aladdin, the Watchmen (even though the book was way better), and Hot Fuzz. She’s seen every Lord of the Rings movie at least a dozen times. You can follow her @tertiaryhep on twitter or @hollyhollyoxenfreee on Instagram. She’s also on Tinder, but if you find her there she’ll probably ghost on you because wtf is dating in the 21st century.
Have you seen ‘Lady Bird’? Well, what did you think?
It’s been almost two weeks since I saw Thor: Ragnarok and I’m still giddy thinking about it. In fact, I had just seen Justice League two nights ago and honestly I’d rather write about the latest Thor movie, and this is one I’d readily watch again.
Let me preface this review with the fact that I’m a huge fan of its director, New Zealander Taika Waititi, ever since I saw What We Do In The Shadows and Hunt for the Wilderpeople a year later. Those two rank as one of my favorite films of all time. In fact, even with an all star cast that includes my personal cinematic heroine Cate Blanchett, I’m most excited about Thor: Ragnarok because of Waititi. And boy did he deliver!!
It opens with our Asgardian hero, sans his Mjölnir hammer, being chained by a creature named Surtur who plans to destroy Thor’s planet by fulfilling the propechy of Ragnarok. Chris Hemsworth is definitely much more comfortable in the role, having played Thor half a dozen times by now. But here he gets to show off his comic chops as well. He manages to escape, gets his Mjölnir and fighting mojo back and he returns to Asgard. It’s always a hoot seeing Tom Hiddleston’s Loki (I actually like him more than Thor from the previous films). I’m not going to spoil it for you but what he discovers there is one of the most comical bits of the movie. Let’s just say Taika made a great use of a famous A-lister that could’ve played like an SNL skit if it wasn’t handled properly. Love seeing Sam Neill making a quick appearance too.
The following scenes takes Thor and his half brother Loki to earth, trying to figure out the wherebouts of his father. The scenes involving them and Dr Strange (Benedict Cumberbatch) is funny stuff as well, peppered with Taika’s brand of quirky humor. As it turns out, it itsn’t just Loki who wants to take over the rule of Asgard, and this time she wouldn’t stop at that. With a name like Hela, of course she wants to rule the entire universe and unleash hell! Miss Blanchett relish on the opportunity to be a sexy, leather-clad, rockstar-ish goddess from hell, with another easy-on-the-eyes actor from Down Under Karl Urban as her lackey. Yes she seems to be purposely chewing the scenery but it works, and it’s fun to watch.
It’s clear the two brothers are no match for Hela and so Thor gets banished to a planet of scraps where his next crazy adventure begins! The new characters Taika introduced here, Valkyrie (bad-ass Tessa Thompson), the Grandmaster (the eternally amusing Jeff Goldblum), a rock creature Korg (voiced in a hilarious high-pitched voice by Taika himself) are all memorable! Even Rachel House (who was hilarious in Hunt for the Wilderpeople) got some hilarious one liners in the movie. I LOVE Valkyrie and Korg I wouldn’t mind seeing more of both of those characters in future Thor movies or even a spin-off! I also love seeing Idris Elba back as Heimdall, who became the loyal guardians for Asgardians. This is perhaps my favorite ensemble cast of all superhero movies.
I read that Taika has always wanted to make the latest Thor movie more comedic, whilst making some creative updates the character and its universe. Well he certainly’s done the job smashingly well! Yep, the term ‘Hulk Smash’ would apply to this movie and all the scenes with Hulk (Mark Ruffalo), both as Bruce Banner and the big green creature, are massively entertaining. Everyone seems to be having a blast making this and it shows. But just because it’s chock full of hilarious bits, it doesn’t mean there’s no plot here. The story actually holds up and there’s even some nice moments between Thor and Valkyrie that points to her past as Asgard’s defender. There’s a hint there might be something less-than-platonic between these two and you know what, I’d welcome it! It’s certainly more interesting than Thor and Natalie Portman’s Jane.
I’m glad that Marvel once again took a chance on an indie director (following the success of the Russo brothers with the Captain America movies) and Taika Waititi is one of recent filmmakers I discovered who I REALLY want to see making it big. I love that he pushed for more Indigenous representation in his films. Apparently he hired many Aboriginal crew members and the film was shot in Australia. There are quite a few in-jokes for Kiwis and Australians, like the Aboriginal flag colors and the spaceships named after types of Holden, Australian-made cars. My relative actually owned one of those when I was growing up in Indonesia!
SPOILER ALERT! (highlight to read) I don’t know if anyone else noticed this but the plot has a bit of social commentary about how the White people conquered a lot of the Indigenous land. When they’re inside the Asgardian palace, Hela said something about the dark history of Asgard… how Odin used to conquer different planets and wanting to rule the universe, with her by her side. But then Odin gained a conscience and became a benevolent ruler, thus banishing Hela because she didn’t share his vision. She said ‘where do you think we got all of this gold from?’ When I heard that, it sounded like a commentary about colonial privilege, Aboriginal and Torres Strait Islander children being the ‘stolen generation’ and white Australians living on someone else’s land. Even the Grandmaster’s line ‘slaves is such a harsh word, I prefer “prisoners with benefits”’ sounds like a sarcastic jab against people calling an awful thing differently as if that would actually lessen its awfulness.
Well, I’m curious if people notice those things or not. One thing for sure, this has become one of my all time favorite movie, not just my favorite Marvel movie. The actions scenes are definitely fun to watch. There are bombastic fight scenes but they don’t feel overlong or overdone like in some other superhero movies. There’s even an entertaining spaceship chase and of course the Thor vs Hulk battle promised in the trailer is still epic and fun! That ‘friend from work’ line is one of the many quotable quips from Taika Waititi’s movies I’d use again and again.
You would think it’d be tough to live up to the super fun trailer w/the rousing Led Zepellin’s Immigrant Song, but the movie manages to do just that… and then some! So yeah, Thor doesn’t just get a spunky new haircut but Taika gives him a whole new attitude and refreshing new take on his franchise. The funniest bits in the trailer is still hilarious in the movie, there’s so much joy and laughter in the whole theater. Like a joyful, thrilling amusement park ride, you can’t wait to get on it again as soon as it’s over!
Well, what did you think of ‘THOR: RAGNAROK’? Did you enjoy it as much as I did?
Only the Brave, based on the true story of the Granite Mountain Hotshots, is directed by Joseph Kosinski (Tron: Legacy, Oblivion) and is loosely based on an article in GQ, ‘No Exit’, written by Sean Flynn. The film stars Josh Brolin, Miles Teller, Taylor Kitsch, James Badge Dale and features Jeff Bridges and Jennifer Connelly.
What most people know about the Granite Mountain Hotshots is that they are a young crew of specialist wildfire fighters, tasked with job of fighting wildfires head on.
According to GQ:
Hotshots are invariably referred to as elite firefighters, which suggests years of training, high-end equipment, and a mastery of the mechanics of wildfires. But none of that is required. The entry-level qualifications are a few dozen hours of classroom instruction and a decent level of fitness, and the primary tools are chain saws and Pulaskis, a specialty tool combining an ax and an adze. Hotshots also tend to be young…and few of them make a long career out of it.
During a routine assignment of fighting a wildfire in Yarnell, Arizona in June 2013, a total of 19 Granite Mountain Hotshots were lost to the wildfire and it resulted in the greatest loss of firefighters since 9/11. This was known as the Yarnell Hill Fire. The lone survivor from the 20-man crew was 21-year-old Brendan McDonough (Teller). The pace of the movie starts out really slow, as tells the real life story of Eric and Amanda Marsh (Brolin and Connelly), a married couple who struggle through normal relationship ups and downs, living on a ranch outside Prescott, Arizona. Eric “Supe” Marsh is the superintendent of a hotshot crew of firefighters who are training to be certified to fight wildfires for the Prescott Fire Department. His second-in-command is Jesse Steed (Badge Dale) and the young hotshot crew trusts the both of them with their lives.
After sever weeks of intense training, in walks Brendan “Donut” McDonough (Donut is the nickname given to him by the more experienced hotshots, the same way a pledge gets one from his fraternity brothers during pledging). Donut went to the firefighters post in Prescott, where the hotshots were headquartered, with a mission. He knew a couple of guys from an EMT class he’d taken at a community college and he’d overheard them mention that Granite Mountain was hiring. But he was a stoned kid, straight out of serving a three-day sentence for theft and those guys knew him, too. No jobs, they told him. The veteran yet overly cocky hotshot Chris MacKenzie (Kitsch) told him straight up, all the positions had been filed. But Eric Marsh overhead McDonough asking and offered to interview him on the spot.
You see, Marsh saw something in McDonough, something he saw when he looked at himself in the mirror — a former addict who was looking for a second chance. McDonough recently had become a father and had to clean up and take more responsibility. And with that responsibility came sacrifice. Yet little did McDonough know just how much sacrifice being a hotshot was really asking of him.
As we get ever closer to the inevitable, harrowing ending in Yarnell, we get to see the hotshots for what they were – husbands, fathers, boyfriends and members of Prescott Arizona where Duane Steinbrink (played by Jeff Bridges) is not only the wildland division chief for the city of Prescott by day, but also a mighty fine singer at night with his country band called the Rusty Pistols (yes, Jeff Bridges sings for a bit in the movie). The entire hotshot crew celebrates that night as they bask in the glory of saving the ancient juniper tree during the Doce Fire.
The standouts of the movie are Josh Brolin and Miles Teller. Both actors show a broad depth of acting superiority and might. Brolin is fierce as Marsh, the hotshot superior — tough and calculated, yet humanly fragile, especially when confronting his wife Amanda (Jennifer Connelly at her best) with issues related to spending a long time apart. Teller is the rookie hotshot, out to prove himself after being known as junkie for all of his life. He brings a tender, yet sincere face to the hotshots and makes the audience feel like they can relate to him. As Donut is tasked with being the lookout for the hotshots in Yarnell, thus separating him from the other and ultimately sparing his life, Teller draws you in and makes you feel what he is feeling, deep down in your gut.
Overall, Only The Brave is a must see movie, whether you want to honor those who gave up their lives to save others from wildfires, or whether you want to see some of the finest storytelling and acting out this year. I would be surprised if you walk out of that theater and don’t feel like you’ve been sucker punched in the gut from that real life human emotion, precisely the kind the producers and director want you to feel when it’s all said and done.
Have you seen ‘Only The Brave’? Well, what did you think?
One of my favorite film genres is sci-fi mystery. It’s also a genre indie filmmakers have thrived at, which includes some of my favorites such as Never Let Me Go (2012), The Machine (2014), Ex Machina (2015), and one of my faves that screened at Twin Cities Film Fest in 2014, Time Lapse.
One of the most intriguing films that played at TCFF this year is a feature film debut by Canadian filmmaker Sasha Louis Vukovic. I had the pleasure of meeting Sasha as well as lead actress Teresa Marie Doran briefly during the film fest, but we didn’t get to connect for the interview until after.
Thanks to FC blogger Holly Peterson for the review and interview questions!
In the summer of 1929 -at the end of the golden age of exploration- an expedition of Ivy League University Botanists enter an uncharted forest on the North American frontier. Tasked to study the native flora, the students unearth a deadly organism and are soon in a fight with nature itself, where they must use their limited resources to understand, survive and escape the wild and terrifying forest that surrounds them.
FlixChatter review (courtesy of Holly Peterson):
A misunderstood villain is not a new idea. Excessive violence perpetrated at the hands of a gentle being goes back at least as far as Mary Shelley’s Frankenstein in the 1800s and I am sure I could come up with an earlier example if I weren’t so gosh darn tired right now.
Point is, that although audiences are used to villains being villainous, we also understand that sometimes a villain just doesn’t have the right tools to express their good will. Everyone would get along fine if they could just talk out whatever is bothering them.
But what happens when a dealer of death, a perpetrator of violence, is not just misunderstood, but completely oblivious? What if it isn’t even sentient?
That’s the story Flora chooses to explore.
A group of intrepid young scientists treks out to a secluded forest to study it, only to find that their point of contact has gone missing. As the scientists try to unravel the mystery of this disappearance, they also begin to study the forest, which they gradually realize is more dangerous than they anticipated. Flora builds a sense of creeping dread with an intense score and several one-off scenes of tempers flaring and traps being set that you can’t help but expect to snap whenever the score begins to build again.
My one quibble with the film is that it wants its audience to see that it is diverse and doesn’t trust us to notice without calling it to our attention. This is problematic because it really isn’t that diverse to begin with. Half of the characters are white males. The Asian character goes off on a weird, unnecessary tangent about his heritage. One of the female characters has a really awful emotional speech about how she’s “just a nurse” because “they” wouldn’t let her study. The other female character doesn’t even get to tell her own story – it is told by a man behind her back and is an annoying soapbox moment about how talented and unappreciated she is because other people in her field cannot see beyond her gender. There is nothing wrong with a character facing adversity because of their gender or their race, but when six people are stranded in a forest, that is probably the adversity we should focus on.
Of course, there were a couple “DON’T GO INTO THE DARK CREEPY HOUSE BY YOURSELF” variety moments, but I think that’s kind of par for the course as far as horror/suspense goes. Humans don’t always use their best judgment and for the most part I thought the “what are you thinking!?” moments felt pretty organic.
The actors’ performances are solid and it is a compelling experience to watch a group of people fight for their lives without fighting against anything. Definitely worth a watch!
Sasha Louis Vukovic is a filmmaker from Toronto, Ontario, Canada. A graduate of the New World School of the Arts in Miami, Florida, and the Chicago College of Performing Arts, in Chicago, Illinois; his 2017 debut feature, Flora, won Best Feature Film at the London International Science Fiction Film Festival, and Best Original Screenplay at the Amsterdam International Film Festival.
Q: Where did the idea for the story come from?
The idea for the story came from my personal lack of knowledge about my ecosystem. I was amazed by how little I knew or understood about the Flora that surrounded and interacted with me everyday. So many people come and go through life subsisting and relying on Flora with very little thought of the life of those organisms. I was also fascinated with creating a non-malicious antagonist. A villain with no villainy. Something beautiful and strong.
Q: What was it like shooting a period piece on a budget?
It was excellent fun. And actually a great creative box within which to imagine and create. Every element of the script was written with budget/period in mind. So I actually found it to be quite an interesting puzzle. The period was far more boon than bane.
Q: What was the most challenging part of the shoot?
The most challenging part of the shoot was by far contending with Nature. As the entire film is shot outdoors, we dealt with bugs, rain, heat, wild rivers, storms and dense forests. In many moments it felt as if we as a team were on an expedition into a dense wild forest as well. Thankfully a little less toxic than in the film.
Q: What is it like writing a script about / acting against a non sentient “villain”?
Again, a wonderful challenge. Creating action sequences in which characters are ostensibly running from a stationary pursuer was intersting.
A lot of the film focuses on the eeriness of how silent the forest is, coupled with the mystery of what befell the past humans who inhabited it. That way, suggestion and ambiguity does a great job at allowing the audience to build up a monster in their heads.
Then, the key is creating a believably toxic environment, from which there is an immediate need to escape. Think about the urgency that befalls people during an earthquake or hurricane. Flora is about non-symbiosis, about what happens if we have to run from nature.
Q: How did you find your composer?
Our composer Nathan Prillaman is incredible. He was introduced to me by one of our lead actors/executive producers Dan Lin.
Nathan and Dan went to school together as kids and right around the time that we were hunting for our Composer, they ran into one another -for the first time in years- at a dim sum restaurant. It was fantastic luck, and lead to a great creative partnership.
Thanks Sasha for talking to us about your film!
For more info about the making of the film,
check out this article from Sound & Picture magazine:
There aren’t enough days in TCFF to post all the reviews. In fact, I still have a few more TCFF reviews coming your way next week, which will be interspersed with new release reviews such as Only The Brave, The Foreigner and The Snowman.
Thanks to TCFF blog contributor Andy Ellis for these reviews. Definitely something to check out when it’s released near you.
The Ballad of Lefty Brown review by Andy Ellis
If there is one thing that makes The Ballad of Lefty Brown stand out from other westerns it’s Bill Pullman‘s performance. The story itself is a different take on the revenge-type western, because the underdog takes center stage. Lefty Brown (Pullman) witnesses his partner get murdered in front of him, and vows to find the men responsible.
For a western it’s great. There’s plenty of gun fights and suspense to go around. And there are definitely scenes that allow the supporting cast to shine. Peter Fonda plays Edward Johnson, Brown’s partner, and does a great job with the limited screen time he has. Kathy Baker is great as his wife Laura playing a woman is suddenly dealing her husband’s death, keeping the farm going, and finding out who killed her husband. Tommy Flanagan shines as the hardened Federal Marshal Tom Harrah and a longtime friend of Johnson and Brown, who is still trying to overcome a tragedy from his past. Jim Caviezel and Diego Josef also have great supporting parts that make for very memorable scenes.
This, however, is Pullman’s film. If there ever was role that would should garner him some sort of acclaim from critics and awards voters, this would be it. He transforms into Brown, a sidekick with a who no one sees as someone who is capable of successfully avenging his partner’s death. He’s got a bad limp so he’s not always the smoothest at moving, may be mentally slow, and other peculiarties as well.
He overcomes all of that, with a few missteps along the way, with a determination to get justice for his friend. Even with everyone telling him someone else will take care of it, he’s going to get it done or die trying. Everyone can come along for the ride if they want.
Yes, the story is about revenege. But it’s also about one man with a really big heart. And despite all the obstacles in his way won’t even let the possibility of death get in the way of getting justice for his partner, a man who gave him everything.
Little Pink House Review by Andy Ellis
Academy Award-nominated actress Catherine Keener (Get Out, 40-Year-Old-Virgin) may find herself in the running again with Little Pink House. Adapted from the book Little Pink House: A True Story of Defiance and Courage by Jeff Benedict, it’s centered around Susette Kelo (Keener) and the events that led up to the U.S. Supreme Court’s 5-4 decision in the Kelo vs. City of New London. The decision allowed the government to bulldoze neighborhood property for the benefit of a multibillion-dollar corporation.
The story consists of many characters, but there are two that stand out the most: Keener and Jeanne Tripplehorn who plays Charlotte Wells. She’s hired by the governor of Connecticut to convince the citizens of New London to let the government buy their homes. Tripplehorn delivers a great performance as Wells who is undeterred by any obstacles put in her way, but you still really hope she fails.
Keener, who resembles the real-life Kelo pretty well, delivers a great performance of a woman starting over. She just wants to be able to live in her home, but when Wells and the government try taking that away she’s determined, passionate, and rarely loses her composure.
These two women lead a talented supporting cast including Aaron Douglas, Miranda Frigon, and Callum Keith Rennie. They and many others all contribute special moments to the film.
The fact that this is a true story makes it that much more powerful. It’s a story about defiance, courage, and hope. Despite its outcome, this is a movie that have you cheering from your seat.
Have you seen these films? Well, what did you think?
I’ve mentioned several times that my favorite parts about covering Twin Cities Film Fest is about discovering new films, filmmakers and talents. Well, one of my favorite discoveries in all three fronts comes courtesy of this coming-of-age drama, DARCY.
Gus Birney, the young starlet of TV’s “The Mist” (based on a story by Stephen King) is making her feature film debut in the independent narrative feature DARCY. DARCY marks the first narrative feature film debut for co-directors Heidi Philipsen-Meissner and Jon Russell Cring. In co-directing DARCY, both John and Heidi made it a priority to consider both gender viewpoints when interpreting the script and its characters’ behaviors, another factor not lost by the film’s cast. Most of the production’s crew was carried by women below and above the line. The film’s ensemble cast includes: Johnathan Tchaikovsky (“Keep The Change”), Paulina Singer (“The Intern”), David Thornton (“The Notebook”) and Bernadette Quigley (TV’s “Mr. Robot”). The 17-year-old newcomer is the daughter of veteran New York actors Reed Birney (Netflix’s “House of Cards”) and Constance Shulman (Netflix’s “Orange Is the New Black”).
My review of the film:
Billed as “A girl’s awakening in the sunlight of harsh reality,” DARCY is a coming-of-age tale about an innocent teenage girl living with her parents in a seedy motel on the edge town who meets a stranger that changes her world.
The film presented the contrast between the unwholesome surrounding of her family business and Darcy’s innocence and being so sexually ‘green.’ Casting is so important in any film, but especially a film like this where it hinges on the believability of the protagonist. Fortunately Gus Birney did a fine job and you’re immediately taken with her as she attempts to navigate her life without much guidance from her parents. We see the world through Darcy’s eyes, and frankly in this world there’s really no good role model for a young woman. Even her mother at times behaves inappropriately with seductive male costumers coming to her motel. One thing her mom said to her is one every teen should take to heart however… “Don’t be in such a rush to be grown up. It’s not what you think it’ll be.”
The film gets more interesting with the arrival of a stranger… a brooding young writer Luke whom Darcy takes an immediate liking to. I like the moment of their meet-up, innocently enough when she was working the front desk and he came down to borrow a pencil sharpener. The chemistry between the two leads, Birney and Johnathan Tchaikovsky, is palpable. It’s fun to watch them being drawn to each other but each hesitate to get too close. The film takes its time to reveal just what’s really going on with Luke, which adds to the mystery.
Sustaining the motel is the practice of taking in occupants who have until only recently been incarcerated, an arrangement that Darcy’s parents have arranged with the Department of Corrections for a price. Naturally there are unsavory scenes in this seedy operation, but they’re not gratuitous. I have to say I’m not fond of those scenes but they’re there to serve a purpose, to fully understand the world Darcy lives in. Kudos to co-director Heidi Philipsen-Meissner who had to wear multiple hats as a performer as well in the role of Toni. I also think the scenes between Darcy and Luke, the heart of the story, is beautifully-shot and acted.
The film takes place over one Summer. It’s an honest, realistic portrait of an innocent young woman on the brink of adulthood. Don’t expect a neat resolution tied with a big red bow, because often times, life just doesn’t turn out that way either.
Q: Congrats on your debut feature film! What’s the inspiration behind this project and how much of the story was inspired by real life?
JON: I think when you start from real life and then expand upon it you can find a really cool alchemy in writing. I lived in a motel for over a year and my wife and co-writer has brought a lot of her personal family experiences. Then you stop judging your characters and see where they take you.
Q: Looks like you changed the name from This Is Nowhere to Darcy, what’s the reasoning for the title change?
HEIDI: I think it was just part of our journey along the way. When I started making this first feature, it was with the idea of making it for a super micro budget on a weekend with friends in the biz… and, thus, the title THIS IS NOWHERE felt especially real… almost like a rallying cry… and had to do with the location of where our main character, Darcy, lived and the place that she was in the world: Nowhere. But as the journey of making this film continued, and I worked with one of my mentors Larry Jackson (Mystic Pizza) and Jeff Dowd (aka The Dude) in getting it out there to test audiences prior to completing the final edit, it became evident that the title THIS IS NOWHERE, did not fully encompass the center of the story. Darcy may have felt like she was “nowhere,” and we wanted to take the audiences on that journey through “nowhere,” but, truly, in the end, it was about DARCY… this girl on the cusp of womanhood, who would most definitely not stay “nowhere” in her life.
Q: What makes DARCY different than other coming-of-age films or those dealing with youth growing up?
JON: I grew up on great coming of age films but there always seemed to be this escapism of trying to create your own world outside of adult influence. Sort of the Charlie Brown syndrome. My experience growing up is that your life and decisions are dominated by those older than you. Everybody in this film is trying to get by, but it all comes from a self-centered place. That tends to lead to dark conclusions. Darcy isn’t a simple story, but neither is life.
HEIDI: The majority of coming-of-age that I have seen, i.e. Stand By Me, What’s Eating Gilbert Grape, Anne of Green Gables…. Have either been more about the coming of a young male’s life, or very rose-colored and about the coming-of-age about a young female as directed, editing and created by a male. Those are very different eyes and things you focus on… the male gaze versus the female gaze. And, honestly, in many ways, I often most thought about the story of “Lolita,” only we’ve completely turned Lolita on its head and made it about seeing the world through Lolita’s eyes if we could.
Further, this film does not steer clear of those unfortunate experiences that youth sometimes witnesses when the responsible adult is nowhere to be found. (If anything, it’s a wake-up call to our society that we are not connecting to our young ones and losing our sense of connection to those in our communities who don’t necessarily “fit in.”)
Many films try to do the opposite – pretend that all is perfect in the world in spite of life’s hardships. But this one looks at the resiliency of a girl who refuses to be a passive bystander in her own life, even though she has to behave like one to keep the adults in her world from getting on her case even more.
Q: How did you end up collaborating together as directors and what has the experience been like?
JON: We admired each other’s singular creative projects so collaboration made sense. It also is a story that needs multiple voices, male and female, to tell it. It has been a fabulous process.
HEIDI: In what the big film industry meccas of NYC and LA consider “nowhere” – upstate NY – Jon and I saw talent in each other and the drive and passion to want to do more. Though we are both Type A personalities in our own ways, we found that the fact that we were bringing two different genders together as directors to create the fully equal perspective in our film made the collaboration all the more exciting, fulfilling and eye-opening, while allowing both of our voices to be heard.
Q: Heidi, you also had a supporting role in the film. How does acting in the film help you tell the story as a filmmaker?
HEIDI: When you get into the skin of one of a complex character like, TONI, who is, in effect, both a prostitute, but also a mother and wife, you have to do a lot of research grounded in reality to understand her. You just get so much closer to the creative, evolutionary process of exploring the emotions, the forces driving her, as well as what is holding her back.
You can’t fake those emotions – at least, I can’t. And understanding TONI –who was, in essence, a “Darcy” without a safety net who never left “nowhere,” but fell in through hard times, sex abuse, violence, drug use, probably mental illness, desperation and, ultimately, only had one thing keeping her going: the love for her child, Peanut—was a huge part of unlocking the key to the rest of the characters for me as a director.
When I act and direct, this experience does two things for me: First, it keeps me grounded in what my fellow actors have to go through and ensures that I respect their process (because I am going through the same thing), it bonds me closer to them, and, second, it gets my head in the game as a director as to what the story is all about… grounding me in the truth of the imaginary circumstances.
And – okay, I lied – there are three reasons – lastly, it enables me to do something with all of that emotion and energy I am processing as a director. When you are a director, it is more of an analytical process than emotional… and I love being able to go through the full journey to bond with my fellow actors, while steering the “directorial ship” as well.
Q: I’m really drawn by the relationship between Darcy and Luke. Could you tell us a bit about casting Gus and Johnathan specifically?
HEIDI: First off, I have to give props to our Casting Director Caroline Sinclair – I met her while coordinating and working with her on several features prior to producing and directing my own and I never dreamed that she would say “yes.” But when I approached her with the script, she loved it from the beginning and was one of my biggest supporters as both a producer and director.
Caroline is the one who said, “I think you REALLY have a special script, here. Don’t rush this. Give it time and when you are ready, let’s cast it with some great actors.” And she did just that.
Finding “Darcy,” was no easy task. She had to be able to portray that very special age of 15… you know, we are different, much different, developmentally at 15 than we are… even a year later..
And even when my Executive Producer Kathryn McDermott was urging me, “Don’t cast a child. It’ll be brutal on our schedule, our budget and the expectations of working with child labor laws,” I couldn’t help but see something in Gus that we hadn’t seen in the 18-year-olds coming in. It was that naïve innocence, but also that “I’m becoming an adult and I will conquer the world!”
We girls do think that way – you know—until, unfortunately, as we get older and we are told that we are only special in how we help to define a man in our lives.
I also want to give props to Tracy Nicole Cring… she is the Co-Writer, Director of Photography and Muse of Darcy. I believe, deep down, that she is the original Darcy… Tracy, Jon and I had gone over and over in our creative visualization of art works and styles of the way we saw Darcy.
And so, when Gus walked in, tall, lanky, a bit like a dear-in-headlights, on the one hand, somehow evoking an old English painting, like John William Waterhouse’s The Lady of Shalott, yet fully modern with an undercurrent of tough-girl faith in her dreams, maybe it was subconscious from all the prep we had done, but something just “clicked.” That was it. She WAS Darcy.
As an aside, Kathryn McDermott, who teaches Production Management at the Motion Picture Institute of Michigan, and was my teacher and mentor in film school, tells me that she now has a “caveat” when it comes to teaching her students. The case of Gus Birney and “Darcy” is the only one, she says, where it went “right;” otherwise, she still advises against hiring children on your first feature on a low budget.
In the case of Johnathan Tchaikovsky, who plays “Luke,” that was truly magically, as well. We had done several castings by that time and were, originally, looking for a character with a southern accent, most likely from Tennessee, and the rest of the look – i.e. cowboy hat, boots, torn jeans….
And then, right at the very end, one of the last to be seen, in walks this guy from the Bronx, who reminded me of a young Robert DeNiro, yet had something very zen like Richard Gere in “A Master and a Gentleman.” I’ve never experienced it until that day – this actor literally came in and TOOK that role. He owned it. There was no one else who could do it or WANTED it as much as he did.
And I’m happy to report that both actors were so committed from day ONE. They never backed down or gave us any reason to regret casting them.
JON: Gus Birney is a star. When she came in we knew there was something truly special there. Jonathan reminds of me of a young Brando and their chemistry together was palpable. These characters are struggling with appetites and they break your heart. Their relationship is complicated and evolves and I am also struck by the depth these actors brought.
Q: The nature photography is really beautiful, it’s as if it’s a deliberate juxtaposition to the seedy motel setting. Where’s the filming location?
HEIDI: Again, that was a deliberate action. In partnering with Tracy, our Director of Photography, and all of the creative visuals that we had accumulated to emulate a certain look, we came up with this idea of making the interiors feel so uninviting, cramped, crowded, dreary, lonely, even a bit frightening… while the outdoors would be the opposite: inviting, free, full of life, hope, peace of mind. I have to give kudos to the entire team for making that happen.
We shot the film on location at the Catskill Mountain Lodge in Palenville, NY and in downtown Catskill, NY. Gorgeous – gorgeous countryside there.
JON: We shot in the Catskill region of New York. Tracy Cring as Cinematographer wanted that feeling of two worlds. Where Darcy lives is so completely different from the beauty once you exit the motel. The grass is definitely greener outside.
Q: Lastly, this film is brutally honest and doesn’t have a perfect ending tied w/ a big red bow. What is the main thing you like people to take away from the film?
HEIDI: Not sure if you read my blog in the Huffington Postthis past week, but that pretty much sums it up. For me, as a women director, I did not want a “happy bow” ending – and that’s certainly not what Jon and Tracy wrote as co-writers.
As an aside, I will admit that we DID try it after being advised from outside sources – re-edited the entire ending and made it “happy,” –but it didn’t work; our test audiences were too smart and knew that it just didn’t feel right. They rejected it.
And these days, in the wake of the Weinstein sexual harassment cases, I guess you could call it a disruptive innovation statement very true to current times: We women are not going to pretend that our world is rosy when it is not. And the men who respect and love us don’t want us to. At some point, something needs to be said about how we are forced to keep a smile on our face while enduring harassment and abuse and discrimination. But that means facing the flaws and the struggle NOW.
Darcy’s future may very well be rosy – but not just yet.
JON: I really believe it’s a message of empathy. Caring is a political act nowadays. When you live with these extremely flawed people I hope you can feel something for someone who is struggling. It’s easy to box people up and say this is all they will ever be. This film turns those conventions around. As far as the ending, I find tragedy doesn’t come obviously. We survive our own mistakes.
Heidi, Johnathan & Jon took a fun selfie
Even after getting off the plane, Johnathan was in a jovial mood
So much fun meeting the DARCY cast/crew!
It was so much fun meeting Heidi, Jon and Johnathan at their hotel. It’s palpable Heidi and John had an effortless rapport as they could practically finish each other’s sentences. As we’re about to wrap up on our interview, Johnathan arrived from the airport! What a lovely bunch, definitely one of the highlights covering TCFF for me this year.