Good Time (2017)

Directed by Benny Safdie and Josh Safdie
Country: USA

The filmmaking artistry of the brothers, Benny and Josh Safdie, belong to that independent, neo-realistic wave that is definitely worth checking out. Poignant dramas such as “Daddy Longlegs” and “Heaven Knows What”, definitely career peaks, are treasures very unlikely to be forgotten for those who had the chance to dig them up.

Their latest work, a noir crime-drama film sarcastically entitled “Good Time”, feels more like a downbeat misadventure covered with an intense dramatic wallop. The film, satisfactory as a whole, captures our attention for the most of its duration, however, the directors couldn’t eschew a few uneven, maybe even rudimentary sequences whose intermittence in terms of thrills, together with the persistent sensation of déjàvu that surrounds us, could have compromised the outcome. Still, the Safdies managed to tie everything together, minimizing the damages with the rawness of the scenes and the effectiveness of the performances.

The script, emphasizing the tremendous influence one person can have on another, especially if related, focuses on two brothers who, although very distinct in nature, are connected by an unstable, traumatic past that makes them misfits with a frequent unlawful conduct. Emotionally torn apart and often confused in the mind, Nick (Benny Safdie) shows to be a good-natured young man desperately in need of psychological help. That essential support was being given to him by Dr. Peter (Peter Verby), who reveals a dedicated interest in his case, but the work is interrupted without warning when Nick’s older brother, Connie (Robert Pattinson), an erratic criminal whose conscienceless is barbarous, walks in without permission and drags his brother out of the room. Don’t think he did that because he was worried about him, or because he didn't understand the treatment his brother was being subjected to. The viewer instantly acknowledges that his intentions have an egotistic purpose, a fact corroborated when the following sequence of images shows them robbing a bank, silently and discreetly, wearing rubber masks to hide their faces.

The heist is successful; yet, an unexpected incident impels the police to go after them. Connie just wants to save his ass, leaving behind a disoriented Nick, who ends up in the hole.
 
In a desperate attempt to gather the large sum of money required to bail Nick out of the jail, Connie contacts his precarious girlfriend Corey (great appearance by Jennifer Jason Leigh), whose elderly mother is wealthy but not so fool to give her credit cards. The plan falls flat, but Connie engenders another scheme when informed that his brother was transferred to the hospital after a fight with other inmates.

Ironically, from this point on, the pace wobbles considerably, regardless the introduction of new characters and the creation of situations full of potential that should have given the film a more stimulating perspective. Playing with luck, Connie sneaks into the hospital but picks up the wrong person, a guy named Ray (Buddy Duress), another crooked loser like him who had been released from prison on parole one day before.

After securing the precious cooperation of Crystal (Taliah Webster), a 16-year-old girl whom he totally discards after getting what he wants, Connie and his new partner, fall into a spiral of criminal actions that will complicate their miserable lives even more.

This wild ride, part social commentary, part character study, is not a pleasurable watch, holding a tighter grip in its first half, but failing to surprise in the debilitating second.

The Son of Joseph (2017)

Directed by Eugène Green
Country: France

“The Son of Joseph”, the newest drama from American-born French-based helmer/writer Eugène Green, was magnificently written, but felt a bit clumsy in its rendering.

Divided into five chapters, the film centers on Vincent (Victor Ezenfis), a frustrated teenager who keeps asking his lenient nurse mother, Marie (Natacha Régnier), about the father he has never seen. The answer is always the same: “you have no father”. Needless to say that, finding this secret unacceptable, he resolves to act on his own to finally reach the one who never showed any interest in him.
 
He finds out that Oscar Pormenor (Mathieu Amalric), a vain, self-centered publisher, is the man he desperately searched for his whole life. What he wouldn’t imagine is that Oscar is a satan’s servant, a despicable, greedy bastard who is unfaithful to his wife and doesn’t even know how many legitimate children he brought into this world.

Pretending to be a writer, Vincent infiltrates himself in his father’s arty circles and gets to know Violette Tréfouille (Maria de Medeiros), a disoriented literary critic, who, even appearing in only a couple of circumstances, becomes the funniest and more satisfying character of the film.

Vincent quickly realizes that his biological father is a lost battle, but unexpectedly stumbles upon the latter’s brother, Joseph (Fabrizio Rongione), a natural father figure with a kind temperament, a God believer and a farmer wanna-be, who immediately assumes the paternal role with joy and passion, bolstering it by dating with Vincent’s mother.

Green continues to adopt the same direct filmmaking style observed in his previous dramas, “La Sapienza” and “The Portuguese Nun”.  Yet, here, despite some affinity with the cinema of Alain Resnais, he didn't get away from excessively mechanic dialogues and tacky postures that often catapult the theatrical modes of expression to a greater extent. Moreover, the visual aesthetics weren’t brilliant and we’re only left with the interesting biblical connotations of a tale that could have been more attractive if the tension hadn’t been injected so forcefully. By doing so, it just increased the contrivance of the scenes.

The absence of score is compensated with an extended live music act, performed with lute and voice, when son and ‘adoptive’ father were immersed in the Louvre's culture. 

“The Son of Joseph” encompasses the following aspects: the artistic, the philosophical, the religious, the parenthood, the drama, the romance, and the satire. Question: was this enough for us to remember it in the future? Answer: No.

Mudbound (2017)

Directed by Dee Rees
Country: USA

American filmmaker Dee Rees has all the reasons to be proud of herself and her career. The outstanding drama, “Mudbound”, arrives in good time since racial discrimination and prejudice is a hot topic, which deserves immediate attention due to the recent escalate of tension. Ms. Rees was able to closely obtain the recognition of both cinephiles and critics with an incredible semi-autobiographical debut, “Pariah”, and since then, has been dedicated to several TV series as well as the Emmy award-winning biopic, “Bessie”, focused on the American blues singer Bessie Smith.

Based on Hillary Jordan’s debut novel of the same name, “Mudbound” was co-penned by Rees and Virgil Williams, starring Garrett Hedlund, Carey Mulligan, Jason Mitchell, Mary J.Blige, Jason Clarke, and Jonathan Banks, who played their respective roles with as much forceful conviction as impassioned soul.

The first scene of the film bestows a lugubrious atmosphere when two brothers, Henry (Clarke) and Jamie McAllan (Hedlund), digging a big hole in the ground to bury Pappy McAllen (Banks), their widowed father, realize that the spot was a former slave’s grave. On the next day, in the company of Henry’s wife, Laura (Mulligan), they ask Hap Jackson (Rob Morgan) for help as he was passing by with his family. Hap is a black tenant farmer who worked all his life in the same neighboring piece of land, just like their ancestors had done in the past.

The story, set in a highly segregated rural Mississippi and spanning from pre-WWII to the subsequent post-war years, winds back to involve us in the hapless life of these characters. All of them have a different yet equally massive emotional weight to carry on their shoulders.

Jamie, the younger of the brothers, departs to war, as well as Ronsel (Mitchell), Hap’s son. When they return, the handsome Jamie, who served as a pilot, is heavily immersed in alcohol, drinking every day to forget the traumas of war. He and his sister-in-law have an ardent chemistry that is difficult not to notice. In turn, Ronsel, wasn’t caught by post-traumatic disorder but arrives with another type of problem in hands. He had a relationship with a British girl in Germany and she just gave birth to his baby. His mind can’t go anyplace else. Moreover, the Mississipi's intolerance toward his ethnic group was the first thing he felt when stepped on that soil again. He couldn't be more articulate in his words: “I kind of miss the wartime. I was proud to serve my country and was seen as a liberator. Here, I’m just another nigger pushing the plow”.

Struggling to readapt to the civilian life, the two veterans understand each other, becoming genuine friends. They open up about their problems and enjoy the good-time moments spent together. However, the situation is seen as outrageous by the town’s fundamentalists, especially Pappy, a snooty, petulant, and spiteful racist who happens to be the local leader of the Ku Klux Klan.
 
Additionally, another type of understanding is shared by Laura and Hap’s wife, Florence (Blige). Both know the difficulties of being a mother and a wife, and a quiet, tonic bond is formed through beautiful gestures from both sides.

The pacific days are gone, when Pappy discovers Ronsel’s secret and forces his own son to choose the punishment for his best friend.

Conjuring up a good slice of American history, “Mudbound” is an effective blend of emotional depth and rigorous craft. Never sloppy, the engrossing drama comes packed with strongly built characters whose natures make us care or despise them, with no space for middle ground. 

This is another triumph by Dee Rees, an important, intelligent voice in the contemporary cinema, who knows exactly which message she wants to convey and what she needs from her cast and crew to make a film look and feel authentic.

Wind River (2017)

Directed by Taylor Sheridan
Country: USA

American actor-turned-director, Taylor Sheridan, gives good indications of his filmmaking qualifications in his sophomore feature, “Wind River”. He’s also a competent screenwriter, author of above-the-average crime thrillers such as “Sicario” and “Hell or High Water”.

His new film, a gorgeously photographed neo-western revenge thriller set in the glacial Wind River Indian Reservation, Wyoming, stars Jeremy Renner and Elizabeth Olsen as Cory Lambert, a federal wildlife officer, and Jane Banner, an extraneous FBI agent in town, respectively. The two meet in the sequence of the intriguing death of an 18-year-old Native American woman, found completely frozen in the snow, barefoot, and with the mouth covered in blood.

Without hesitation, Cory, who found the body, undertakes the mission of helping Jane deciphering the mystery. Besides knowing the victim’s father well, to whom he promised justice, he also had lost his own daughter three years before because of the bitter cold. The incident turned his life upside down and the unbearable pain caused him and his wife to split up.

The autopsy reveals that the young woman was raped multiple times while the blood in her mouth was caused by inhalation of the sub-zero air, which means she was desperately running from someone or something when the temperature was around -20ºF.

Her missing new boyfriend, Matt (Jon Bernthal), was immediately appointed as the prime suspect, but his dead body was also found in the snow a few days later.
Jane, struggling to understand the dynamics of the locals, as well as their behaviors, decides to gather her team and head toward the oil drilling camp where Matt was working, in an attempt to find something in his trailer and obtain more information from his co-workers.
While the painful truth is revealed to us through flashbacks, a wild shooting puts Jane in danger.

After the culprit has been identified, Cory will chase him mercilessly as he always does when a wild predator is in the vicinity. He knows he has two options to deal with the case: to follow legal procedures and hand him over to the authorities, or opt for a totally different type of law, commonly known as ‘an eye for an eye’.
 
Sheridan’s ambition is perhaps a bit too uphill, yet, even if you won’t have your jaw dropping with the revelations, the storytelling delivers more positive than negative aspects. Unlike “Hell or High Water”, this is not a masterpiece but rather a solid, well-mounted film supported by a plausible story that raises moral questions.

On the technical side, I could only discern benefits when one looks at the impressive efforts developed by editor Gary Roach (“Gran Torino”; “Prisoners”), cinematographer Ben Richardson (“Beasts of the Southern Wild”), and the outstanding team of composers and longtime collaborators, Nick Cave and Warren Ellis, who effectively designed eerie drones and vibes to work in consonance with chants and whispered words.

At the end, we have an eye-opening statement on the screen saying that only Native American women are not included in the missing persons statistics. The number of cases related to this ethnic group remains unknown.

Blade Runner 2049 (2017)

Directed by Denis Villeneuve
Country: USA

The most awaited sequel to the acclaimed science fiction thriller “Blade Runner”, dated from 1982, is now out by the hand of prodigious French Canadian director Denis Villeneuve. He had already shown a knack for the sci-fi genre with the understated yet magnetizing “Arrival”, and now managed to assure this new, well-told, and utterly satisfying “Blade Runner 2049”. The script was penned by Hampton Fancher, who was also co-responsible for the preexistent fictional account, and Michael Green, writer of “Logan” and “Alien: Covenant”.

The film starts quietly and finishes with a nerve-wracking excitement, using straightforward methods that distinguishably eschewed narrative obscurity or any type of sloppiness in its smallest detail.

32 years have passed since the happenings displayed in the first installment and the LAPD ‘Blade Runner’ named 'K' (Ryan Gosling), moved by an acute curiosity and inflexible sense of truth, digs in prohibited matters and unveils a secret that can lead to catastrophic consequences. As a very special Nexus-9 replicant, a bioengineered human, he enjoys the strong sensation of real life and human comfort felt in every interaction with Joi (Ana de Armas), his treasured holographic girlfriend. 

Tenacious in will and assertive when it comes to act, 'K' contests absolute truths, stalks explanations while wallowing in ruined cities, and uses vague memories from his childhood to track Rick Deckard (Harrison Ford), a former ‘blade runner’ whom he suspects to be his father. After a complicated first contact, the solitary ‘runners’ ultimately get along, enjoying the elucidative conversations and the company of each other. However, they will have the obnoxious Niander Wallace (Jared Leto), the super-weird CEO of the current leading manufacturer of replicants, hunting them down. The latter orders his loyal, unblinking, and highly efficient executioner, Luv (Sylvia Hoeks), to exterminate them from the face of this unilluminated Earth they live in.

Astute and functional in the way it was mounted, “Blade Runner 2049” shines with fantastic performances by Gosling, Hoeks, and Ford, and also impresses on the visual side, thanks to the incalculable efficiency of Roger Deakins, the British director of photography who has been working for the Coen brothers since the unparalleled Barton Fink.

Not being the astounding masterpiece that everybody wanted it to be, the film still rises to the occasion, producing moments of sheer fascination, maintaining high levels of consistency in its narrative, and creating excitement through gimmick-free action scenes which were carefully designed to prevent excesses.

American Made (2017)

Directed by Doug Liman
Country: USA

Based on a true story, “American Made” just validates the rumors that CIA agents are or had been involved in drug trafficking, in a clear exertion of influences and abuse of power to stuff their pockets with large sums of money.

That was exactly the story of Barry Seal, comfortably impersonated by Tom Cruise, a devious former TWA pilot in the late 70s who abandoned the job to operate clandestine missions for the CIA, including gun deliveries to the Nicaraguan Contras in Honduras. His actions consisted in flying a small plane toward uneasy South American countries in order to drop off and pick up sensitive merchandise. However, seduced by abundant hard cash, he started smuggling cocaine for a Colombian trio of avid drug lords such as Jorge Ochoa, Carlos Lehder, and Pablo Escobar.

Caught several times and temporarily arrested for his wrongdoings, Seal was always called back to the CIA and treated with patience and consideration by the case officer who hired him, Monty Schaffer (Domhnall Gleeson). He continued playing on both sides at his own convenience until exposed as an undercover agent and turned into a priority target for the traffickers when a compromising picture of him, meant to show the success of President Reagan’s War on Drugs campaign, was exhibited on the American TV.

Despite continuously chased by the DEA, the US Customs Border Patrol, and the FBI, the fearless and reckless pilot, known as ‘the crazy gringo who always delivers’, was always taken good care by the Medellin cartel, even when forced to cope with their own ways of dealing with annoying situations. This scenario was brought to our eyes when Seal’s unscrupulous brother-in-law, JB (Caleb Landry Jones), arrives at Seal's remote residence, strategically located in the quiet city of Mena, Arkansas, to stay and steal the family’s laundered money.

Doug Liman, mostly known for the "Bourne Identity" and "Edge of Tomorrow", directed from a tottering script by Gary Spinelli. He engages in a very active style that, sadly, also feels emotionally dried out, showing no space for big reflections. The narrative wasn’t always on the right track and some of the performances lacked the shine that would possibly elevate an interesting true story into a less flat fiction film.

The appropriate emulation of the looks and vibe of the 80s was one of the few beneficial aspects of a painfully vulnerable exercise whose lack of originality was exasperating. “American Made” might be able to entertain now and then, but it's just another vain attempt to squeeze the silly life of a scoundrel into two hours of a second-rate cinematic romp.

Thor: Ragnarok (2017)

Directed by Taika Waititi
Country: USA

I’ve always thought that the most successful action-packed Marvel flicks were those brought up with a strong sense of humor. Thus, no one better than the New Zealander sensation Taika Waititi, director of gems like “What We Do in the Shadows” and “Hunt For the Wilderpeople”, to tackle “Thor: Ragnarok” with equal doses of energy and folly.
 
This fanciful parody, produced by Marvel Studios and distributed by Walt Disney, is not suitable for kids, embracing wild action scenes inflamed with vertiginous special effects.
 
Whether by land or air, the battles are numerous, fantasized with plenty of variety to satisfy the action genre aficionados.
 
The screenplay is a product from the mind of three comic book writers/enthusiasts: Eric Pearson, Craig Kyle, and Christopher Yost, who besides formulating a fun story flooded with better-than-serious, vibrant characters, were also able to infuse a cutting humor that ranges from stupefying deadpan to corrosively sarcastic.

Thor (Chris Hemsworth), the god of thunder, even deprived of his precious hammer, will join forces with other mighty warriors - his longtime friend Hulk (Mark Ruffalo) and his artful brother Loki (Tom Hiddleston) - to save the Asgard people from the ambitious, powerful, and malevolent goddess of death, Hela (Cate Blanchett). Eccentrically, the latter happens to be Thor’s sister, recently returned from the exile after the death of their father, Odin (Anthony Hopkins).

Before the final confrontation, set ablaze by the presence of the fire demon Surfur, Thor becomes trapped in a garbage planet ruled by the Grandmaster (Jeff Goldblum), a sadistic loony that dominates everyone through a controlling chip implanted on their neck.

Waititi makes a proper use of the technology available to create an enormous visual spectacle on several scenes. The highlight is a ravaging fight between Thor and Hulk who, completely out of control, didn't recognize the Avengers teammate. 
I know! By now you must be thinking you really have to watch this, right? But there's more! 

There is lots of space for silliness here, yet “Thor: Ragnarok” is one of the most absorbing, even unpretentious Marvel-based films in years, and that’s because Waititi, in a bold move, did not take it too seriously. He just needed Led Zeppelin’s “Immigrant Song” fueling the furious, heroic confrontations and Cate Blanchett, who was absolutely marvelous in her evil role.
Have a ‘Thor-o-ly’ fun matinée!

Most Beautiful Island (2017)

Directed by Ana Asensio
Country: USA

With the title "Most Beautiful Island", actress-turned-director Ana Asensio alludes to Manhattan, New York. The film, an auspicious directorial debut inspired by true events, won the best narrative feature at SXSW Film Festival and has drawn positive reactions wherever it has been exhibited.

Besides directing, writing, and co-producing, Ms. Asensio also stars as Luciana, a struggling undocumented immigrant who lives in New York and gets intriguingly cornered after accepting a one-time job recommended by her Russian friend Olga (Natasha Romanova). Apparently, the latter is doing ok and shamelessly admits she uses men in order to make some extra money. By stating that everything is possible in New York, a city with so many opportunities, she attempts to cheer up Luciana, whose rent remains unpaid. What this ex-model finds super annoying is taking care of children, a sensitive matter for Luciana, who lost her little baby in an undisclosed accident while living in her country of origin. Embracing several day jobs, including babysitting two spoiled kids, Luciana lives in permanent financial affliction, a situation that becomes even harder to see when, penniless, she is forced to sneak into the doctor’s office to implore an examination.

After hearing Luciana's complains about money and the not-so-absurd possibility of becoming homeless, Olga decides to give her an address for a job she normally does but cannot take it this time. Apparently, the uncomplicated gig consists solely of attending a party in a black dress, a generously paid task taking into account the number of hours required. Following meticulous instructions that lead her to uncanny places filled with obnoxious characters, Luciana gets ultimately trapped in a dim-lit basement with a spine-chilling doorman (Larry Fessenden) blocking her way out. A weird, obscure meeting session begins, managed by an authoritative woman named Vanessa (Caprice Benedetti). A few other girls, equally dressed in black, wait to be called into a room after being introduced to a group of prosperous men and women. Luciana’s consternation escalates when she sees that Olga, unusually silent and avoiding eye contact, is among the girls.

Sex business immediately pops into our minds, but Asensio delivers a less obvious and far more surprising alternative to spellbind and stir tension. Slyly and motionless, this group embraces a totally different concept of pleasure, rejoicing as they play with the lives of others within a quirky, degenerate routine.

Competently shot, sometimes bluntly edited, "Most Beautiful Island" is an engrossing indie film that feels very New York. Not stretched beyond the limits of necessary - its duration is one hour and twenty minutes - the film unveils hidden aspects of a city where, literally, anything can happen, and I mean for better and for worse.
 
The imperfections are counterbalanced with one of those experiences that will make ruminate about the obscene prepotency of wealthy people who exploit, in one way or another, the honest, the desperate, or the simply adventurous in order to satisfy their despicable whims and vice.

Columbus (2017)

Directed by Kogonada
Country: USA

If there is a recent debut feature that has been stirring a massive, positive buzz out there is “Columbus”, a drama with an exceptional architectural orientation, both materially and emotionally.
 
The film, written and directed by American-Korean Kogonada and shot over 18 days, stars Haley Lu Richardson as Casey, an architect wanna-be, and John Cho as Jin, a Korean-born American-raised translator. Both characters are facing severe family issues that keep them stuck in their personal lives. Can they help each other in order to escape the impasse?

Casey, an architecture enthusiast, forces herself to stay in Columbus, Indiana, to take care of her mother, Maria (Michelle Forbes), a former addict whose whereabouts are not always accurate. On the other hand, Jin postpones his return to Korea, where he works, while waiting for developments in the health state of his estranged, architect father, who is in a coma.

When not together - smoking in a corner, driving aimlessly throughout the city, or exchanging thoughts about their personal concerns and dreams - Casey and Jin occupy their time in different ways. She works at the local library, where she usually engages in a conversation with her co-worker, Gabriel (Rory Caulkin), a Doctoral student friend who slowly and prudently unveils his feelings for her. Jin often gets bored at home, revealing a hazy infatuation whenever Eleanor (Parker Posey), his father’s assistant to whom he was attracted in the past, is around.

Among graceful aesthetic shots, where architectonic structures and symmetries are given a special emphasis, Kogonada uses elementary filmmaking processes to highlight real people within an honest, plausible story.

Still, despite the narrative self-assurance and devoted performances, I found a few lingering, torpid scenes sculpted with strategic tonal approaches while the dialogue is leisurely rendered. It’s a mature script that reveals inconstant developments when brought into play, especially pace-wise.
 
Luckily, there’s a strong humane side that brims from the characters’ openness to give and receive unconditionally, restoring the possible gaps and quibbles of a minimalist drama that blends the merits of a stylish building design with the mighty powers of the heart.

Our Time Will Come (2017)

Directed by Ann Hui
Country: Hong Kong / China

Ann Hui is one of the strongest cinematic voices from Hong Kong these days. Even if her last work, “The Golden Era”, wasn’t so striking as one would expect, illustrious dramas such as “Boat People”, “The Way We Are”, and “A Simple Life” still live in my mind.

Her new outing, “Our Time Will Come”, was written by Jiping He (“The Warlords”) according to real characters and events and depicts an important chapter of Hong Kong history, namely, the fight of the local people against the Japanese occupation in the early 40s.

Xun Zhou ("Flying Swords of Dragon Gate") is Lan Fang, a tenacious primary school teacher, who moved by a strong sense of justice and duty, decides to leave her aging mother (Deannie Yip) and the domestic comfort to join the Dongjiang Guerrilla, a special faction created to rescue important intellectuals - artists, writers, scholars, and filmmakers - whose voices were silenced and bodies put under lock and key. 
With the schools closed and her fiancé, Kam-wing (Wallace Huo), operating undercover on the enemy side, Lan is easily dragged to the Guerrilla’s missions, becoming a respected captain after receiving an invitation from Blackie (Eddie Peng), a feared leader who convinced her with words of praise and a couple of dumplings.

Everything gets complicated when Lan’s mother decides to actively help her daughter and the cause by passing critical information, ending up arrested and tortured by the Kenpeitai (the military police arm of the Imperial Japanese Army disbanded in 1945).

Ms. Hui attempts to consolidate the realism when simulating a fictional interview with a former young messenger, Ben (Tony Leung), set in the present day and shot in black and white. In the film, this humble man had the privilege to meet the film’s heroine during those tumultuous times and still works as a cab driver.

Even low-key and a slightly stagy at times, the film manages to project this particular story in a way we can understand the wider historical context. Ann Hui fulfills this requirement through a sturdy directorial hand and clear storytelling, even considering her inability to transform “Our Time Will Come” into a thrilling film. In opposition to being a bit too relentless with sometimes wobbly spy moves and episodic brittle war scenes, the film boasts authenticity in its performances, using a legendary symbol of feminine independence and revolutionary resistance to remind us of the sacrifices and efforts put up by the oppressed minorities in response to a cruel occupancy.

The evocative cinematography by Nelson Lik-wai Yu, habitual first choice of Jia Zhangke, is one of the film’s highest pleasures.

On the Beach at Night Alone (2017)

Directed by Hong Sang-soo
Country: South Korea

Prolific Korean writer/director Hong Sang-soo keeps pursuing both inner sensitivities and the truth in human relationships with a cinéma vérité that enchants with simplicity. Sang-soo remains faithful to a simple yet highly efficient filmmaking style that goes against any contemporary cinematic trend that attempts to turn everything visually spectacular through fabricated settings, eccentric special effects, or excessively pre-staged situations. Instead, he prefers tackling a good emotional story by taking advantage of an observant sincerity, naturalistic performances, and a forthright approach. Gentle dramas such as “Oki’s Movie”, “The Day He Arrives”, and “In Another Country” (featuring Isabelle Huppert) are highlights of an undeviating career that incorporates three more titles this year: “Claire’s Camera”, featuring Ms. Huppert once again, “The Day After”, and “On the Beach at Night Alone”, the object of this review.

Just like the former two titles, the latter stars the talented Kim Min-hee (“The Handmaiden”), winner of the latest Silver Berlin Bear, who has been the director’s inspirational muse since the release of the well-received “Right Now, Wrong Then” in 2015. The film comes wrapped up in autobiographical controversy after Sang-soo has admitted his extramarital affair with Min-hee at a press conference in Seoul.
  
Feeling abandoned after the terminus of an affair with a married man, the celebrated yet stranded actress Young-hee (Min-hee) flies to Hamburg, Germany, where she finds solace in the company of a longtime friend. The disenchantment with her actual life is quite perceptible when we listen to their conversations. She wonders if her lover misses her like she misses him and even tests her friend with “should I come living here with you?”.

Unfitted, she returns to the Korean coastal town of Gangneung, where she reunites with some old friends at a restaurant. This section is a staple in the director’s written statement since food and drinks always play an important role in his narrative process. At the dinner, she gets tipsy in just a few minutes, proclaiming her male friends unqualified to love or be loved, except Jun-hee (Song Seon-mi) with whom she has a special chemistry.
 
After being rescued of her dreams while lying down alone at the beach, she is taken to drink with her former director/lover, an encounter that gains extra dramatic agitation. There is a thin line separating loneliness and friendship here, an idea reinforced by the main character herself when she admits her emotional complexity and destructive side. Also, one can feel a strong sense of misplacement and surrender that translates into emotional aggressiveness rather than resilience.

Sang-soo operates the camera in a very efficient way, regardless if he opts for static or dynamic shots, occasionally complemented with zoom ins and wide pans. His lucid quests for the meaning of love, consistently clever and exclusive, keep enriching the contemporary cinema with modesty and virtue. Hence, “On the Beach at Night Alone” brings some truths attached and is definitely worth exploring.

The Villainess (2017)

Directed by Jung Byung-gil
Country: South Korea

Drawing from a promising script he co-wrote, Korean director Jung Byung-gil (“Confession of Murder”) squanders the chance of doing something original or memorable with “The Villainess”. Sadly, the crime thriller in question brings an assemblage of stale clichés that, although fast-and-furious, only increase tiredness along the way.

Byung-gil goes straight to the point, showing a ravaging skinny woman annihilating an entire gang in a short period of time. She is Sook-hee (Kim Ok-bin), a trained assassin since a young age, whose traumatic memories of a difficult childhood bolstered her lethality and resilience.
 
The superior fighting skills and instant killing instinct she evinces quickly call the attention of the South Korea’s intelligence agency which forces her to enroll in one of their obscure projects comprising several dangerous missions with assigned targets. Before starting to execute these preys under the tight supervision of the agency’s glacial chief, Kwon (Kim Seo-hyeong), Sook-hee is submitted to a facial plastic surgery, psychologically revitalized, and persuaded to join them for ten years in exchange for a lifetime pension and total freedom when the service time is over.

Often, especially while on duty, harrowing situations from a tumultuous past assault her mind and are presented in the form of flashbacks. Despite so, it was still difficult for me to connect with this mysterious character, who is relocated to an apartment with her little daughter in order to live a discreet, ’normal’ life. Rejuvenated and with a new identity, this gal is able to smile again, gaining extra confidence when a young neighbor and widower, Hyun-soo (Bang Sung-jun), gains her trust and her heart. Big disillusion, though, when she finds out he’s an undercover agent sent to control all her moves.

In fact, the romance gets emotionally vibrant, becoming the prettiest part of a tale whose situations keep oscillating between the easily tolerable and the terribly bad. There are plenty of bloody scary faces, shots in the head, physical torments, nauseating throat slashes, and a scene captured with visual panache of a few bikers dueling with swords in a narrow tunnel. It’s simultaneously excessive and spectacular, and is exactly this intermittence in terms of satisfaction that accompanied me throughout.

To give you a better idea of what you can expect, think about a dark crossing between the psychological harassment associated with the cinema of Takashi Miike and Shion Sono, the vengeful path and romping rage of "I Saw the Devil", and the espionage thrills of "La Femme Nikita". 
The description above might sound appealing for action hunters, but as a matter of fact, and when deeply analyzed, “The Villainess” is simply an overlong, unarticulated, and impotent thriller that opted for the easiest way to impress.

The Death of Louis XIV (2017)

Directed by Albert Serra
Country: France / Spain / Portugal

The purist cinema of Catalan Albert Serra was never easy to assimilate whether due to its deliberate fluctuating pace or challenging topics, yet, in my eyes, it’s always fascinating. If last year’s “The Story of My Death” managed to aggregate a few more followers of Serra’s singular indie style, the heavy historical drama "The Death of Louis XIV" will divide audiences since the prolonged cheerlessness related to the unhealthy state of the cited French king, who reigned for 72 years and died slowly of gangrene at 76, can be frustrating, gloomy, and distressing.

The script, penned by Serra and Thierry Lounas, was inspired by the Duke of Saint Simon’s memoirs, focusing exclusively on the last days of the King. You'll witness his gradual disappointment, whimsical exasperation, and occasional despair, as well as the vain efforts of a group of experienced medics who were trying to solve the puzzle related to the sovereign’s ailment.

The first scene of the film got stuck in my head. Louis, flawlessly performed by Truffaut/Godard’s protégé Jean-Pierre Léaud, sunk down in a huge chair with a weary expression on his face, saying he would love to join the guests in his grandiose salon but couldn’t find the strength to do it. His prostrated eyes only sparked when his dogs were allowed to come near him, a very rare situation since Dr. Fagon (Patrick d'Assumçao) has prohibited any contact with the animals.

A group of loyal friends, stationed around his bed, applauds gleefully whenever his appetite returns, but his unresponsiveness for the court’s matters is quite visible, especially when the Duke of York insists about unlocking funds to finance a security construction plan.
Feverish and nauseated, Louis grows weaker each day that passes and his leg problem has no immediate solution. Both Fagon and Blouin (Marc Susini), the king’s most devoted servant, end up agreeing in summoning the best doctors of the Faculty of Paris. However, and since their theories also reveal to be useless, the last hope is Le Brun (Vicenç Altaió), a confident healer from Marseille, whose vague mystical creeds are regarded with deep suspicion by the medical team.

The lugubrious, dusky atmosphere encircling the story requires patience and nerve, but is also poised, touching, and mature. The settings, impeccably mirroring the era, were depicted with a keen eye for detail and it's noticeable the triumphant aptitude to combine colors and shadows within the impressionistic image compositions. Each Rembrandt-like close up gives us instant access to a particular state of mind, such is the power of the human expression captured by the frames. While Jonathan Ricquebourg’s jaw-dropping cinematography is purely revivalist, the direction, one of the most accomplished I’ve seen these days, is filled with incantatory rigor.

Totally shot indoors in a conscious yet agonizing delirium, "The Death of Louis XIV" is a long, slow, and arduous walk toward an inevitable death. 

Mother! (2017)

Directed by Darren Aronofsky
Country: USA

Only very few great filmmakers didn’t stumble in their careers. Stanley Kubrick is certainly one of them, occupying the top of a list that also includes Billy Wilder, Luis Bunuel, and David Lean. As an example of the present time, I can point Paul Thomas Anderson.
 
This introduction is just to say that this is not the case of the American helmer Darren Aronofsky, who conquered me with superlative works such as “Black Swan”, “The Wrestler”, “Pi”, and “Requiem For a Dream”, but failed to engage with trifles like “The Fountain” and “Noah”. However, if the latter two demonstrated to be shaky and debilitated in their conception, his brand new thriller, “Mother!”, feels highly formulaic and infuriatingly decrepit, not to mention pathetic.

Forcing ambiguity and obscurantism, the director not only messed up his writing with futile symbolism, but also didn’t give names to any of the characters.
Javier Bardem plays a vain literary author who is struggling with writer’s block. He lives secluded somewhere in the country with his insecure, childless wife, embodied by Jennifer Lawrence, who manages and fixes everything in the huge house when not paralyzed with uncanny seizures.

Even still bonded by love, their life is immersed in cold monotony for quite some time, and nothing better, according to the novelist, than housing a weird, dysfunctional married couple to stimulate creativity. 
The strange man (Ed Harris) is a doctor and also a staunch fan of the writer. In fact, he is dying, and the kind invitation to stay with his idol for an indefinite period of time is accepted like a grace. He brings his nosy, impertinent wife (Michelle Pfeiffer) to stay with him, causing discomfort and anxiety in the confused Lawrence. Serious trouble coincides with the arrival of the strangers’ unbalanced sons.

Up to this occurrence, one still searches for something palpable, giving Aronofsky’s plot the benefit of the doubt. Illusion! From this moment on, the film falls into ludicrous situations, including anarchic home invasions, which not even Lawrence's charm was able to repair. Moreover, Bardem’s character, choosing fame over family, feels phony in his vanity. The actor was never accomplished in his role.

"Mother!" may be visually arresting but it’s hollow at its core, embracing an implausible, nearly-surreal darkness that is inept and devoid of any sense.
As one of the worst movies of 2017, this is a clear sign that Mr. Aronofsky needs urgent help for his next script.

The Road to Mandalay (2017)

Directed by Midi Z
Country: Myanmar / Taiwan

The acerbic art-house drama “The Road to Mandalay”, a Taiwan-Myanmar-France-Germany coproduction, depicts a story centered on the adversities of illegal immigration and comes embittered by an immoderate, destructive relationship.

Burmese filmmaker Midi Z directs from a tight script of his own authorship, returning to the fictional film after releasing two documentaries in the last couple of years about jade diggers in Myanmar, “Jade Miners” and “City of Jade”.

The long opening shot shows us a woman and a man crossing a riverside on a floatable rubber ring. She is Lianqing (Wu Ke-xi), 23, a Burmese from the water-less region of Lashio, and he is an escort paid to take her to Thailand, whose border is delimited by the other margin. From there, she proceeds to a van that will finally take her to Bangkok, where a friend should be waiting for her.
 
Unexpectedly, an unselfish young man from her hometown, Guo (Kai Ko), makes his expensive front seat available to her and jumps into the trunk. Once in Bangkok, he tries to persuade her to work with him in his cousin’s textile factory, an opportunity that eventually occurs after Lianqing realize that times have changed and no respectable company, small or big, will hire her without a work permit. 

Before starting to work in there, obviously off the books, she was washing dishes in a small restaurant but ended up arrested during an overnight police raid. It was Guo who bailed her out, yet Lianqing, unresponsive to his romantic advances, refuses to follow his ideas. Besides their clashing personalities, they want totally different things from life. While she’s willing to risk everything to get the papers that would allow her to work in the city and consequently apply for a Thai passport, he intends to return to Burma to open a small store to sell clothes imported from China.
It’s curious how this conflicting situation sometimes weighs more than the immigration problem itself.

Avoiding overdramatic strategies or major fusses, Midi Z resorts to a slow, steady pace to set the highly articulate storytelling in motion. It is bolstered by the inherent sadness of the score, magisterially composed by Lim Giong (a recurrent choice by Jia Zhangke and Hou-Hsiao Hsien), and the dispiriting visuals captured by the debutant cinematographer Tom Fan.

Bitterness and disappointment escalate as the desperate Lianqing considers a new tactic - remarkably insinuated through an intelligent surreal scene - in order to solve her problem.

When the tale seemed to get closer to a happy ending, a brutal final blow is applied, suspending our breath for a few seconds. The deliberate visual abruptness devised by another Zhangke’s regular, the editor Matthieu Laclau, only emphasizes the raw tones adopted throughout.

Both Wu Ke-xi and Kai Ko were phenomenal in their performances and Midi Z has probably in “Mandalay” his best work so far.

The Woman Who Left (2017)

Directed by Lav Diaz
Country: Philippines

Filipino drama “The Woman Who Left” is no easy watching, requiring redoubled concentration and considerable amounts of patience from the viewers to be fully absorbed. Reinforcing his statute of cult director, Lav Diaz (“Norte, The End of History”, “From What is Before”) was awarded with the Venice Golden Lion with this peculiar, classic-style revenge tale, vanquishing other powerful candidates such as “La La Land”, “Jackie”, “Nocturnal Animals”, or “Arrival”.

Diaz drew inspiration from Leo Tolstoy’s short story "God Sees the Truth, But Waits” and not only adapted it to the Filipino reality but extended it to three hours and forty-six minutes. Nothing to be surprised, since he always showed this tendency for protracted movies - “Norte” runs a bit more than four hours, while “From What is Before” goes over five and a half hours!

If pondered-style indie world cinema is right up your alley, you won't give your time as wasted as you contemplate this somber story.

Charo Santos-Concio is Horacia Somorostro, a good-hearted teacher who spent 30 years in a Filipino correctional for a crime she didn’t commit. In 1997, her longtime friend Petra finally confessed she was the culprit of a murder machinated by Horacia’s ex-boyfriend, the wealthy Rodrigo Trinidad (Michael de Mesa). 

Before going after Rodrigo with a clear intention to kill, Horacia stops by her family’s house, but only finds the daughter of the old caretaker who informs her about the death of her husband, the sudden disappearance of her son, and the whereabouts of her daughter, Minerva (Marjorie Lorico), who never went to visit her in prison.

Acting undercover, Horacia moves to the city where Rodrigo lives, planning carefully all the steps of a very anticipated bloody retaliation. However, the new stranger in town reveals true compassion for the poor and the disadvantaged, befriending Magbabalot (Nonie Buencamino), a miserable yet God-devotee egg street seller, Mameng (Jean Judith Javier), an unbalanced young woman who knows exactly who the ‘devils’ are, and Hollanda (John Lloyd Cruz), an epileptic transvestite who roams the streets with self-contempt, waiting patiently for his life to end. In the most despairing situation, all these characters will take something from her but will also reciprocate. 

The painful loneliness is increased by a sparse narrative, while the lingering camera, capturing everything in a Kurosawa-esque black-and-white praxis, turns this film into an occasionally exasperating but ultimately rewarding experience. The surprises of the story don't come from where you expect, and that is an extra point for Diaz’ written material.

Simultaneously bleak and illuminated, “The Woman Who Left” is not just about revenge, moral integrity, and opportunity. It’s about life… a life you didn’t choose to live but you are compelled to. Furthermore, it makes a keen observation on the recent situation of the Philippines, a country dominated by injustice and social inequality. The good thing is that Diaz, not satisfied with merely denouncing it, combats it with love, clemency, and friendship.

Soy Nero (2017)

Directed by Rafi Pitts
Country: USA / Mexico / other 

Iranian-born helmer based in Paris, Rafi Pitts (“It’s Winter”, “The Hunter”), couldn't have chosen a more scalding topic for his new drama, "Soy Nero", than the Mexico-US immigration entanglement. The story, co-written with the Romanian Razvan Radulescu, the creative mind behind movies such as “The Death of Mr. Lazarescu" and “Child’s Pose”, sought inspiration in the recently debated DREAM (Development, Relief and Education for Alien Minors) Act.

Every day, several young Mexicans attempt to jump the fence, searching for a better life. This is the case of 17-year-old Nero Maldonado (Johnny Ortiz), who grew up in San Fernando and has spent most of his life in South Central, Los Angeles, before being nabbed and deported to Mexico, his country of origin.

Despite this setback, the tenacious Nero is not the kind of guy who gives up easily. Thus, he fearlessly engenders the best way to cross the border again, waiting patiently for the perfect hour of the night to do it. His intentions are clear and simple: find his older brother Jesus (Ian Casselberry), who can provide him shelter, and then enlist in the US army, the unique option that will grant him the very much sought after Green card.

Jumping the fence was not a simple task or devoid of nervousness, but didn’t require too much effort either, a depiction that can reinforce the deranged idea of building a costly giant wall at the border to cut out the Mexican influx.
 
His path crosses with a few weird characters, starting with an armed, unstable guy who offers him a ride and whose discourse becomes gradually aggressive regardless the presence of his little daughter in the backseat. The atmosphere promises a lot but slowly vanishes until Nero finally meets up Jesus in his Beverly Hills mansion. However, the way he gets there is as much ironic as it is contrived. The fraudulent ostentatiousness of Jesus and his girlfriend Mercedes (Rosa Isela Frausto) takes a long time to develop, only to lead us to expected outcomes. 

Soon, our young man sees himself in a situation of homelessness. Not for too long, though, since the next shot shows us a dangerous No Man’s Land in the Middle East, where Nero, now holding the identity of his brother, fights not only the enemy, presented in the form of suicide car bombs and rapid ambushes, but also the racial prejudice, incompetence, and stupidity of the American soldiers of his own unit.
 
Opposing to the sharp and vivid frames captured by the lens of Greek cinematographer Christos Karamanis, Pitts paints a dark scenario with biting disenchantment, trying to call the attention in two fronts urgently in need of ponderation and restructuring. But if the first half deals with a psychological tension that is able to touch and disturb, the overstuffed second half considerably weakens what had been built.

Choppily edited by Danielle Anezin, “Soy Nero” exposes Uncle Sam’s critical open wounds in a flawed manner while Ortiz’s performance served the film’s purpose without creating too much empathy.

The film was dedicated to all the ‘Green Card’ soldiers who were deported after serving in the US Army.

It (2017)

Directed by Andy Muschietti
Country: USA

Serving up a mixed plate composed of the horrific descriptions of “Poltergeist” and the teen adventures of “Stand By Me”,“It” holds our attention for a while but grows fastidiously repetitive and disappointingly predictable as it moves forward.

Andy Muschietti (“Mama”) directs from a script written by Chase Palmer, Cary Fukunaga, and Gary Dauberman, who joined efforts in the adaptation of Stephen King’s famous novel of the same name.

In this first installment of a planned duology, seven teenagers from Derry, Maine, struggle with the devilish nature of Pennywise (Bill Skarsgard), also known by ‘It’, a freaky clown with a massive, sharped jaw and shape-shifting capacities, who is responsible for many local children's disappearances in the town. Feeding on the kids’ fear, he unflaggingly preys on young victims every twenty-seven years.

Bill Denbrough (Jaeden Lieberher), a sensitive, brave, and stuttering boy whose younger brother Georgie (Jackson Robert Scott) is among the missing kids, leads a quartet of friends that includes the bigmouthed Richie Tozier (Finn Wolfhard ), the prudent Jewish mysophobic Stan Uris (Wyatt Oleff), and the overprotected Eddie Kaspbrak (Jack Dylan Grazer). 

They are all bullied by Henry Bowers (Nicholas Hamilton) whose pernicious behavior also aims at the fat ‘new kid’, Ben Hanscom (Jeremy Ray Taylor), and the African-American Mike Hanlon (Chosen Jacobs). There’s also a girl, Beverly (Sophia Lillis), who joins the good-natured team to escape the constant fear she feels at home in consequence of her father’s unnatural behavior.

Using several illusional stratagems, the supernatural creature terrorizes all of them, except Bowers, who being manipulated instead, becomes a body-and-flesh impersonation of the evil.
 
Muschietti takes some time to make us involved in this summer adventure and we become fond of the kids, but misfires on several other fronts. The fact that the clown is present everywhere, loses the point and feels gratuitous, leading the initial fun factor to become annoyingly changeless over time. Moreover, some scenes feel more idiotic than scary, like the one that Beverly becomes soaked in blood in her bathroom.

Resorting to tiresome gimmicks, “It” gradually lost the charm previously gained with the genuine unity of a likable group of friends. 
This was undoubtedly an improvement when compared to the super uneven “Mama”, but Muschietti still didn’t convince me of his expertise in the horror genre.

A Ghost Story (2017)

Directed by: David Lowery
Country: USA

Writer-helmer-editor David Lowery (“Ain't Them Bodies Saints”) delivers one of the most rewarding movies of the year, a psychedelic, indie-style ghost drama that is beautiful and haunting in equal proportions.

Resorting to long shots, which stimulate even more our curiosity, and perfectly composed settings, the director opts for a dead-cold stillness that characterizes an intelligent, layered tale related with a profound sense of loss, despair, and eternity.
 
By the time we are introduced to C (Casey Affleck) and M (Rooney Mara), a young married couple who just moved into a suburban house in Dallas, we are also presented with a sentence by the acclaimed English writer Virginia Woolf that says: “whatever hour you woke there was a door shutting”.

Actually, after dying unexpectedly in a car accident, a door of light is literally shut for C, who, by choosing to return home, remains confined there for many, many years.

Noises and silences are masterfully conjugated to create tension, while the impactful score by Daniel Hart plays a fundamental role in the discomfort of whether eerie, whether dramatic situations. Moreover, the balance between light and darkness is achieved with artistry and enhances the beautiful cinematography by Andrew Droz Palermo (“You’re Next”).

One of the aspects I liked the most was the basic way the ghost was depicted. And let me tell you that, in the present case, the typical long white sheet with two holes in the head felt creepier than childish. This rambling hollow figure patiently observes M’s grieving process until she abandons the house for good. Before leaving, she places a little piece of paper with something written inside a crack on the wall. The frustrated spirit of C attempts to reach this ‘secret’, even many years later, when several other people went to live in the property. 

On two occasions, the spirit attests all his dissatisfaction and boredom by employing violent manifestations. Firstly, when M brings home a new male friend, and secondly, when a Spanish-speaking family moves into the house.

An unthinkable surprise, perhaps slightly strained, turns up when C communicates with another ghost who keeps waiting in the house next door for someone he doesn’t remember.

“A Ghost Story” tests the limits of our intellect and senses, giving us much more to chew on than most of the typical films within the genre. This film looks like something Wim Wenders would do if he had dedicated himself to the infinite solitude of a ghost instead of a fallen angel.

Lowery’s risk-taking effort could easily fall in the ridicule. However, the auteur shaped it brilliantly and the film truly impressed me by entangling, astonishing, and disorienting with its hazy, uncanny, spiritual viewpoint.

Woodpeckers (2017)

Directed by Jose Maria Cabral
Country: Dominican Republic

Prison film is a subgenre that most likely overlaps with the drama and action genres, requiring a great dose of originality and exciting moments to subsist, taking into account the recurrent exploration of the topic.
Classic titles like “Le Trou”, “A Man Escaped”, “Papillon” and “The Shawshank Redemption” are among the most coveted ones, but a few recent releases gained considerable recognition by depicting lives of prisoners with interesting cogitation. Within that group, we have David Mackenzie’s “Starred Up” and Jacques Audiard’s “A Prophet”.

Like the ones cited above, “Woodpeckers” is unquestionably a prison film, even if it doesn't take the same paths as those. The Dominican entry for the Best Foreign Language Film at the 90th Academy Awards isn't focused on any escape attempt despite encompassing a prison riot that, in fact, feels frivolous and nearly amateurish.

The inconsistency noticed during a few important scenes, working hand in hand with fabricated routines, thwarts a curious fact-based story that would have flourished if convincingly tackled.
 
Julian (Jean Jean) is convicted of a robbery and sent to Najayo Prison, where his long hair is shaved and he’s abandoned to his own luck. Once in the hole, he makes some useful friends who help him sleep decently and comfortably for a little sum of money, but inevitably bumps into unscrupulous, selfish thugs like Manaury (Ramon Emilio Candelario). The latter teaches him the sign language known as ‘pecker talking’, which serves to communicate at a long distance with the prisoner women who frequently show up in the adjacent yard to flirt with the male inmates.

Hence, Julian is 'hired' to make the bridge between Manaury and his girlfriend Yanelly (Judith Rodriguez), who shows an irreversible discontentment for being ‘cheated’ when trapped in the solitary for improper behavior. Instead of coping with the task given to him, Julian charms Yanelly and soon conquers her heart, a dangerous move that puts his safety at stake. It then becomes clear that our hero, who is no chicken-hearted nor a rioter, will have to fight for love.

The expressive images showing the ignominious conditions of an overpopulated prison - the place is a real Dominican Republic correction facility - is one of the best aspects of a too softened drama that falls short of its ambitions.
 
Although timidly showing faculties here and there to do better in the future, writer-director Jose Maria Cabral, often resorts to obvious moves while his characters lack that charisma and sometimes vibration to make this incarcerated love story work beyond a faintly enjoyable, melodramatic trifle.