Stockholm

Pelikula: Spanish Film Festival

Greenbelt 3 Cinema 1

"Stockholm" had the semblance of the famous Richard Linklater movie "Before Sunrise". In that two strangers meet and end up conversing the whole night before 'sealing the deal', so to speak.  But the key word here is 'semblance' as this Spanish film takes on a deeper, more unsettling manner to drive its message across the big screen.

There are only two persons who play the major roles and their characterization is authentic and sincere despite the mysterious and intriguing aura that envelops them. The first part shows a rather pretentious guy who declares to a girl who just passed by him at a party that he is in love with her. No introductions, no small talk, no exchange of phone numbers ... he just blurts it out to her. Naturally, she is skeptical yet he insists and spends the rest of the night until early dawn convincing her he is true to his word.

Personally, I am too sarcastic and paranoid so I could never grasp the concept of just going with the flow with a complete stranger, at that. The fact that some guy I know nothing about is 'propositioning' me is beyond my belief. Sure I've seen it on movies and it is kind of romantic and maybe just maybe it does occur in real life but I'm not convinced it would lead to anything concrete, relationship-wise.

Yet "Stockholm" had me intrigued especially when the second part rolled in. The sudden or is it subtle change in the characters' behaviors towards each other was an eye opener. I wasn't really surprised as there were signs which manifested themselves in the early part. Yet at the same time, the portrayal was spot on. The fact that the guy's attitude changed the morning after was very realistic. I mean, come on most guys change once they get what they want, don't they? The same goes for her behavior/attitude, it was nicely played. 

The ending for me played out like a moment you kind of expected would happen yet still get shocked when it does. Expected yet tragic but there were certainly signs early on that somehow everything wasn't quite right for one of the characters. It sort of makes you think that the whole encounter was a waste of their time but deep inside I admit there would not have been a better ending than the way the film concluded.

This film is not the conventional boy meets girl narrative, it has more depth even though it doesn't fully explore its characters' past (there is truly no need to do, actually). So it would fit in the thriller genre instead of merely being a romantic interlude in the lives of its youthful characters.

Loreak(Flowers)

Pelikula: Spanish Film Festival

Greenbelt 3 Cinema 1

I may be wrong yet I believe it is the first time a Spanish film using the Basque language was featured in the Pelikula film festival. It was strange to hear it spoken but the film itself didn't disappoint as regardless of the language used in the dialogue, it was able to retain its essence. A poignant movie that dealt with grief, melancholy and the stage of moving on after bereavement.

Its simple approach while handling such a heavy topic is much appreciated as the characters are quite expressive in their manner of accepting and dealing with the pain of losing a beloved soul.

It starts with Ane, a secretary who works at a construction site who has been diagnosed with the early onset of menopause. She is understandably depressed and stuck in a lonely marriage. 

One day, she starts receiving a bouquet of beautiful flowers but it has no card and no note. Same time, every day onward, the bouquets are delivered through a courier who doesn't know the sender. 

Intriguing premise as soon enough the viewer puts two and two together and surmise who is the sender of the flowers. Until a tragic incident leads to a twisting turn of events both for Ane as well as for the family of the sender as they grapple with their sudden loss.  

Honestly, grief is a very difficult topic to handle either in cinema or in real life. It is very painful and heartbreaking but "Loreak" manages to touch our raw nerves with resorting to a full blown hemorrhage.  And once all the characters involved with the incident are blended into one melting pot and questions are answered, the film takes on a serene and calming effect with a justified closure.

A deeply touching and movie film which I highly recommend to anyone who has lost a loved one and has dealt with grief in any form or shape.

La Isla Minima (Marshland)

Pelikula: Spanish Film Festival

Greenbelt 3 Cinema 1

It was time to get out of my comfort zone and immerse myself into the realm of a film festival. The Spanish film festival which started in 2002 is my favorite among the numerous film festivals which make their run, annually. 

Of course, the Filipinos have a special affinity with Spain (even though they conquered us for 400 years lol) as our language is still peppered with several Spanish words. So watching a Spanish film is a bit easier as we recognize some common words we normally use in our daily conversations. Naturally, English subtitles do help a lot to get a better understanding of the dialogue which make or break a film.

"La Isla Minima" is a gripping crime story where two detectives with opposing personalities are assigned to investigate the case of missing teenagers in a southern Spanish town. Set in 1980 in post Franco era, the rustic atmosphere provides a subtle backdrop to the disturbingly eerie abductions which has plagued the little town for decades.  As the two detectives delved further into their investigation, more haunting and harrowing details unfold about the persons involved and their twisted motives for such heinous crimes.

The cinematography was dynamic from the wide angle and high above shots to the sepia like tone which permeated throughout the film. The wardrobe was befitting the 80s era from the clothes worn to the way they parted their hair. From the beginning until the mid part of the movie, the plot moved slowly as it tries to establish its pace but the last few minutes, the tension rose and finished with a dramatic conclusion. 

"La Isla Minima" at times felt like a dragged out episode from any of the CSI TV show franchise albeit sans the glossy Hollywood touch. In this particular case, it is a good thing as there is certainly no need to glamorize everything and by retaining its gritty tone, a more effective story telling approach ensued.

Heneral Luna

John Arcilla, Joem Bascon,

Mon Confiado, Archie Alemania

Jeffrey Quizon, Arron Villaflor

"Bayan o Sarili?"

Everyone + their aunts were raving about this history based film about one of our most valiant heroes - General Antonio Luna. My hubby suggested we go watch it as well. After all, he is a history professor and even though he already knows this chapter by heart, he wanted to see the approach that director Jerrold Tarog would use to convey to the viewing public what made Luna such an iconic figure in our colorful history.

Authentic wardrobe and cinematographic landscape, dialogue reminiscent of the era and a stable of highly believable actors buoyed the film. The first part of the film suffered in terms of editing because several scenes would rapidly shift as they tried to incorporate as many 'back stories' as possible. But it later stabilizes, so to speak and things move smoothly until the gripping dramatic conclusion. 

I did not like the scenes where they used comical tunes to convey humor. Perhaps it was done to lighten the mood but I felt it wasn't appropriate and they did it just to generate laughs. It was fascinating though to see the political machinations which occurred during the closed door cabinet meetings led by President Emilio Aguinaldo (Mon Confiado) where a clash of diverse opinions, heated arguments, hurt egos and wounded pride reigned supreme. Given that it was a very volatile period in our history, it is understandable that tempers will flair up as motives and convictions are tested and questioned.

It is a controversial film as there are numerous "murmurs" as to who really ordered the assassination of the feisty general. Yet the film doesn't seek to preach nor provide any answers and instead prefers to awaken the nationalistic and patriotic sense of the Filipinos through the heroic attitude of its main character. 

Much credit goes to John Arcilla for his larger than life portrayal of Antonio Luna. Arcilla nailed it by displaying the multiple facets of the embattled general. A well balanced mixture of subtle and subdued acting during pensive scenes yet aggressive and tenacious in very dramatically charged sequences. He embodied the true persona of General Luna, by not glamorizing him. This works as Luna was a flawed character presented as a strong willed person with a bad temper. His authoritarian ways would rub people off the wrong way and this in essence led to his brutal slaying.  

Another point that makes this film highly relevant today is that history keeps repeating itself and our nation is still beset with behemoth problems. The sad part is we may be "free" but we are still our own worst enemies. 

Saving Mr. Banks

Emma Thompson, Tom Hanks,

Colin Farrell, Paul Giamatti

"Behind the Beloved Book is 

A Story Beyond Words"

This film gives us the story of how Walt Disney struggled to secure the movie rights to "Mary Poppins". It took him almost 20 years to convince author P.L Travers (Emma Thompson) to accept his offer. 

"Saving Mr. Banks" focuses on the two weeks in 1961 that P.L Travers is in Los Angeles as a consultant on the set of the film. She was very concerned that her beloved nanny might be defiled by the trappings of Hollywood especially when she found out her book would be turned into a musical. As the production team do their best to impress the author with their vivid storyboards and cheerful songs composed by the renowned Sherman brothers, P.L Travers is digging in her heels and remains quite stubborn, and very difficult to work with.

Aside from the production scenes, the film is interspersed with flashbacks of her very miserable childhood, growing up in a small town in Australia. She idolized father who worked at a local bank. He was also a troubled heavy drinker, prone to depression. Despite being dirt poor, her father would regale his daughters with wild tales born from his vivid imagination. She drew inspiration from the events in her life and this heavily reflected in her books.

The narrative took on a very sentimental tone when it focused on the scenes from her very tough childhood, sometimes way too melancholic for my taste. Thankfully there was a good balance with scenes shot in the happiest place on earth, Disneyland.

Tom Hanks as Walt Disney gave a well defined performance. He was affable and quite the gentleman just like I imagined the real Disney would be. But he was also quite astute as a businessman and this clearly contributed to the success of the franchise. 

There is no doubt that Emma Thompson dominates this film - as the nonsense Brit with poor social skills coupled with her sarcastic wisdom and deadpan humor, she gave a heartfelt, highly emotional portrayal of the author. Another fascinating work from Ms Thompson, as usual!

The Two Faces of January

Viggo Mortensen, Kirsten Dunst,

Oscar Isaac

It has been a while since I've seen Viggo Mortensen on the big screen and when I consulted the IMDb website, I realized he has been steady doing what he does best - act. He just does films which are not blockbusters or newsworthy. But his acting is still consistently good and I believe he is one of the most underrated actors in the celluloid world. Perhaps by choice, he might not be into all the glamour and intrigues that is part and parcel of such a fickle industry. Who knows?

Anyway in this adaptation of Patricia Highsmith's novel, he plays Chester MacFarland, a swindler/con artist vacationing in Athens with his much younger wife, Colette portrayed by Kirsten Dunst. Set in the year 1962, the couple find themselves on the run after a private investigator out to reclaim his client's money is accidentally killed by Chester in the bathroom of their hotel room. 

Panicked, they 'escape' with the help of Rydal (Oscar Isaac) a dubious tour guide (cons innocent tourists) who also happens to be an American. He had earlier in the day met the MacFarlands while they were touring the Parthenon. Rydal promises to secure for them new passports using false identities so they can leave Greece.

Most of the film unfolds in scenic Greece as the trio hop from one island town to another while they wait for their fake documents. The intriguing plot is cleverly executed with a Hitchcock vibe. A throwback to the film noirs and thrillers back in the golden age of cinema.

The well developed characters interact flawlessly with each other. There is an underlying tension between Chester and Rydal as the former is increasingly getting paranoid over the true intentions of the tour guide. While Rydal seems to obsessing over the mesmerizing beauty of the young Colette.

Kirsten Dunst has a short yet significant role as her Colette is the hinge that binds the two male characters. Oscar Isaac is solid and steady even if his Rydal mostly gave me the creeps so he was very effective.

But this is no doubt, Viggo Mortensen's film, that's for sure. His physical appearance and his nuanced demeanor was truly a sight to see. Wavy nicely combed hair, donning a white suit with a white fedora hat and a cigarette in his mouth the entire movie, he was in true character form. Channeling a Humphrey Bogart vibe. Honestly, Viggo is the only reason I was able to endure this thriller with a surprise ending. For me, he is more than enough.

Cake

Jennifer Aniston, Adriana Barraza,

Chris Messina, Sam Worthington,

Felicity Huffman, Anna Kendrick

"Self-forgiveness is a painful path"

The mark of a true artist is her/his ability to adapt to different roles in as many genre as possible. So they won't get typecast in a familiar yet predictable acting style. For Jennifer Aniston, this movie is her opportunity to showcase her dramatic chops and I'd say she passed with flying colors.

Claire Bennett (Jennifer Aniston) is mostly confined to her home (although she does get around through the assistance of her helper) as she suffers from chronic pain brought about by a car crash where she lost her only son.  

Scarred, both physically and more so emotionally, she is mostly bitter yet hilarious in a sarcastic way. She becomes fixated with the suicide of Nina (Anne Kendrick), a woman who was also in her chronic pain support group. As she ingratiates herself into the life of Nina's husband, she re-discovers her joie de vivre which naturally has been missing in her life since her personal tragedy.

We understand that Claire has the right to be bitter, annoyed and alienated everyone in her life. Even though she can be quite irritating, she still draws us into her 'obsession' and we sort of indulge her whim. She is clearly affluent as evidenced by her well furnished abode and she can afford to hire Silvana (Adriana Barraza) a very patient helper whose concern for Claire is genuinely sincere.

The plot is intriguing enough without being too dramatic as we are only given fleeting glimpses of the horrific accident. And this works well in this movie as it avoids going the Lifetime movie of the week route. 

An obviously low budget flick with a believable script buoyed by good direction but surely it is the subtle and poignantly moving performance of Jennifer Aniston which draws us into the life of Claire Bennett.

The One I Love

Elisabeth Moss, Mark Duplass,

Ted Danson

At first glance, you'd think this movie was going to be just another film that deals with a married couple trying to work out their marital woes. But as it progressed, the film took on an imaginatively inventive manner in analyzing and exposing the cracks in the marriage. 

Ethan (Mark Duplass) and Sophie (Elisabeth Moss) visit a marriage counselor seeking help. He notes their glaring differences and suggests they go to a place where he claims many couples in the same boat went to rediscover themselves and sort out the kinks in their relationship. 

With no expectations, Ethan and Sophie venture out to this sprawling bungalow and settle in. Soon enough, the house exudes a different vibe as the troubled couple slowly realize there is another dimensional element right within the confines of the compound.

The plot is complex and deals with self discovery, redemption and forgiveness. At its heart is a raw dissection of our daily expectations on the roles we have to assume to make a marriage, succeed. Is there a  general sense of marital discord and discontent because we expect too much from ourselves and from our partners? Or is it just right to merely blame incompatibility as the main culprit for the complications that are bound to arise? Pointed questions which are effectively explored in this film.

Moss and Duplass are the only characters (aside from Ted Danson as the marriage counselor in a very brief role) and the quirky twists in the plot demand a lot from them. They have to display multiple interpretations of their characters and they do a good job with much flair and great acting skills.

"The One I Love" is a well crafted, clever unconventional romance with finely marked twists and turns. Great performances from the two leads are an added bonus. Highly recommended!

The Immigrant

Marion Cotillard, Joaquin Phoenix,

Jeremy Renner

There is no doubt that America is a land of immigrants. This film tried to envision the struggles the early immigrants went through after they set foot on Ellis Island, fresh from the boat, so to speak.  

It is the year 1921, two sisters from Poland, Ewa (Marion Cotillard) and Magda are in the queue to be processed. Magda is sickly (she is stricken with tuberculosis) and is immediately separated and put in quarantine. Faced with uncertainty in a foreign land, Ewa is 'taken in' by a glib talker named Bruno (Joaquin Phoenix) who promises her shelter and a job. Sadly, the job turns out to be in the flesh trade but Ewa is a brave, feisty girl so she bears the humiliation as she desperately needs the money to buy medicines for her sick sister.

"The Immigrant" is a bleak narration of the ills of society and its innocent victims. It is set during the depression years yet we all know that human trafficking is still very rampant in this day and age.  A societal menace that preys on the depraved who are stripped of their dignity and are caught in the never ending cycle of human slavery. Tragic, to say the least.

The good cast composed of Cotillard, Phoenix and Renner do their best to add some depth to their characters. Cinematography is realistic as it depicts the grim reality of the mean streets of Manhattan back in the 1920s, as well as the seedy vaudeville shows prevalent during that period. Wardrobe is also authentic as displayed through the costume pieces worn by Cotillard.

Yet there is something lacking in the plot or the way the narration unfolded which made it pretty staid and static. It failed to appeal to my emotions and as the film progressed I kept expecting it to somehow change its perspective, yet sadly it did not. I felt it didn't offer anything new to the table, this type of sob story has been done over and over again and also with more passion and conviction.

One more thing, the fact that Magda was able to get out of quarantine despite being diagnosed with tuberculosis doesn't make sense. Back in those days, there was still no cure for this severe respiratory sickness.  It seemed that it just wanted to have its happy ending  ... never mind that it wasn't believable, at all.

The Second Best Exotic Marigold Hotel

Judi Dench, Maggie Smith, Tina Desai

Dev Patel, Bill Nighy, Celia Imrie,

David Straithairn, Ronald Pickup,

Diana Hardcastle

This sequel is the continuation of the "The Best Exotic Marigold Hotel". This time the British retirees have nicely settled in Jaipur with most if not all of them gainfully employed despite being senior citizens.

Everybody gets a good scene or two and we never spend too long with any one story line before moving on to the next now endearing character whose company we enjoy. This is the norm in any film that cast many colorful characters. Most of the issues are recycled from the first film but this time there is less drama and it is mostly character driven.  Plus throw in the merry preparation and jitters of an Indian wedding so it gets a lot more vibrant, lively and generally aesthetically pleasant.

The elder actors are naturally perfect, given that these are veteran thespians in the British film industry. They never overplay their scenes and this works in stark contrast to the high energy, sometimes overacting patter of Dev Patel as Sonny. The hyper proprietor of the Marigold Hotel who is now looking to expand his brand of retirement village to further boost tourism in Jaipur. But there is a nice balance to the contrast and it is still nice to see that the people behind this franchise made a genuine effort to recapture the charming appeal of the original.

Add in Richard Gere as an American 'tourist' with a hidden agenda and it emits this cozy atmosphere of fun that won't stop raveling just because the characters are way over their prime.

Admittedly, there is way too much going on so the side plots are not fully developed but we still get to watch great British actors like Judi Dench, Maggie Smith, Bill Nighy to name a few do what they do best - mesmerize us with their brilliant acting skills. So the film still retains its charm and its feel.good.vibes so that works for me!

The Longest Ride

Britt Robertson, Scott Eastwood,

Alan Alda, Oona Chaplin

In a moment of weakness, I started reading Nicholas Sparks' "The Longest Ride", digitally. I say weakness because his novels are not my cup of tea. I admit I'm too sarcastic for these types of stories. I only made it to chapter 7 then lost interest.  

Lucky for me, there is a movie version so I don't need to read it, anymore. In the novel, the pages shift between the love story of Sophia (Britt Robertson), a graduating college student and Luke (Scott Eastwood), a champion bull rider and the narrative of an older man named Ira who is reminiscing about his own love story.

The standard ingredients for a typical romantic film are present - instant chemistry between the couple, a stumbling block to their blossoming romance along with the predictable conclusion -  boy and girl live happily, ever after. 

Actually, I found Ira (Alan Alda) and Ruth's (Oona Chaplin) love story and their life together much more interesting than that of Sophia and Luke. I was especially drawn to their inability to have children as I'm basically in the same boat. A sob story angle thrown into the loop is guaranteed to bring in the poignancy factor as well as some tears.

Naturally this begs the question "if a love story makes you cry, does this mean it was effective in sending its message across to the viewers?"  Well for me, it does. But given that I tend to cry easily especially when I can relate with the dire situation the characters encounter onscreen, perhaps it is best I don't use this factor as a strong basis for a successful narrative.

As for the cast, I like the onscreen chemistry between Clint Eastwood's carbon copy of a son and Britt Robertson. Never mind that Scott Eastwood still needs to take some acting lessons to further hone his craft. He is quite pleasing to the eyes so I can forego his awkwardness, for now! 

Guardians Of The Galaxy

Chris Pratt, Zoe Saldana, Bradley Cooper,

Vin Diesel, Dave Bautista, Lee Pace

"All Heroes Start Somewhere"

After a slew of foreign language movies which fried my brain cells as well as strained my eyes from reading subtitles, I wanted to relax and watch 'popcorn' films. This Marvel Comics film adaptation was a perfect fix for my entertainment. 

The story of how a bunch of misfits turned 'action heroes' are called upon to defend some planet from an egomaniacal villain was so much fun. The soundtrack composed mostly of songs I grew up listening to was absolutely fantastic and further enhanced the 'feel good' vibe of this sci-fi themed spectacle.

Well developed and multi-dimensional characters were skillfully portrayed by a good ensemble cast. We are introduced to eccentric yet endearing characters like Rocket who is a talking, foul mouthed raccoon and a giant tree of a few words named Groot.

The very charming Chris Pratt holds the fort as the lead honcho. A comedian who has come into his own by turning into a leading man with much potential. He has lost a lot of weight and developed his physique thus attaining full blown leading man status in Hollywood. A very fickle industry where brawn is the main draw in the success or failure of a film. Chris Pratt deserves his new found success and his comedic timing is right on the dot.

I won't get into the plot/story line as it is quite complex with a myriad of characters in different forms and shapes. As complicated as it, it is still well executed and unfolds through vibrant computer generated scenes which are basically the essential features of this genre.  

I am looking forward to the second installment of this franchise which kicks off in 2017!

VIVA LA LIBERTA(LONG LIVE FREEDON)

Toni Servillo, Valeria Bruni Tedeschi 

In this political drama set in Italy, Toni Servillo (from "La Grande Belleza") is cast in a dual role. He plays both the disillusioned leader of the opposition party Enrico Oliveri who disappears and his lunatic identical twin brother Giovanni Ernani who is persuaded to fill in for Enrico during his absence.

Servillo plays both characters, differently. As Enrico, he is more pensive as the depressed politician who is clearly fed up with the rigors of his very demanding job. He shows up unannounced in France at the house of his ex girlfriend and her family. He is mostly in hiding and just wants to clear his mind. No questions asked, she accepts him and lets him join her family in their daily routine.

As Giovanni, he is the complete opposite. Portrayed with a sort of twinkle in his eyes, the identical twin is more loquacious and surprisingly does have some strong political views about the state of the nation. Soon enough, the populace is awakened from his more vibrant political rallies where he speaks eloquently about empowering people to get the government they truly deserve.

The film exposes some political wheeling and dealing of the government but doesn't handle it too heavily. Mostly presented through a sarcastic tone of comedy, especially when Giovanni is in high spirits and rallying the crowd at the political rallies.

In the same manner that Enrico has no clue about what to do next with his life, the last part of the film simply fails apart. With a general lack of vitriol, the movie ends ambiguously. Honestly, the brilliant acting from Toni Servillo is the only redeeming factor in this otherwise slightly boring motion picture.

DIPLOMATIE(DIPLOMACY)

20th French Film Festival

Greenbelt 3 Cinemas 

On the evening of August 24, 1944 - the Allied Forces were closing in on the German troops. One man was assigned a herculean task by the Fuhrer Hitler -destroy the city of Paris as revenge for the Allied bombing of Berlin. His name was General Von Choltitz, the military governor of  Paris, France. Famous sights in the French capital like the Arc of Triomphe, the Louvre, the Eiffel Tower and the Notre Dame Cathedral were all rigged with explosives. 

Cue in Swedish diplomat Raoul Nordling. The consul appears unannounced using a secret staircase and gains entrance into the suite/office, he is there to persuade Von Choltitz to defy Hitler's orders. 

Scenes of the film which was adapted from a 2011 stage play by Cyril Gely are mostly confined to the suite of the General who has set camp in the elegant Hotel Meurice in the center of Paris.

Naturally, it is dialogue driven as the two main characters play a cunning game of cat and mouse as the clock is ticking away. A forceful battle of wits ensues as Nordling appeals to the General's humanity to spare the city of Paris. He reminds him of the cultural importance of the city as well as the million of lives that would be lost when Paris is destroyed. They reminisce about their lives before the war and also talk about their families. 

The Consul is sly, manipulative and also for lack of a better word, diplomatic. But this doesn't make it any easier for the General. Von Choltitz is portrayed as an iron willed military officer who has never disobeyed Hitler's orders. Caught in a delicate predicament, he is visibly torn between his duty to his superiors and his responsibility to save mankind and preserve the culture of a great city.

The two actors who portray these important characters are veteran French thespians who are reprising roles they have already played to great acclaim in the stage play. It is fascinating to watch them argue, persuade, convince, dissuade and argue some more. Their repartee was excellent and I think they can even do these roles in their sleep. 

Of course, we all know that General Von Choltitz had a change of heart so Paris retains its title as the city of lights. But throughout the film, the suspense of the 'what if' scenario kept the audience at the edge of their seats.

"Diplomatie" is highly recommended and my favorite film of all the movies I watched during this year's French Festival. Its themes are close to my heart (diplomacy and history) and Paris (my fave city in the world) is highlighted for its cultural importance.

L'HOMME QU'ON AIMAIT TROP(IN THE NAME OF MY DAUGHTER)

20th French Film Festival

Greenbelt 3 Cinemas

1976 when the casino wars was in full swing in Nice (the French Riviera), Agnes Le Roux returns home. After a failed marriage and doing humanitarian work in Africa, she is eager to claim her inheritance so she can start anew. 

Renee Le Roux, her mother and the owner of Le Palais de la Mediterranee casino is hesitant as her company is having financial troubles. Through the prodding of an ambitious lawyer named Maurice Agnelet, Agnes betrays her mother by selling her shares to her mother's rival, a mafia type who is taking over the whole area. 

Aside from featuring the estranged relationship between mother and daughter, the passionate affair between Agnes and Maurice (who is twice her age), the later part of the film turns into a court-room drama. 

Apparently after her mother's casino closes down and her affair with Maurice ends, Agnes suffers from severe depression. Much to the chagrin of her mother, a despondent Agnes tried to kill herself. A few months after she disappears. Renee is convinced Maurice killed her daughter, even though there were no witnesses and her body was never found, the case dragged on for years. 

The cinematography is very scenic, given that it is filmed in the French Riviera. The wardrobe though looks quite modern as there are no flare pants, long sideburns nor any flowery/hippie fashion style. 

One cannot pinpoint whether it's a thriller, mystery, romance or a court-room drama. Or a bad mix of all these genres. In the same manner, the original French title which translates roughly to "The Man Who Was Much Loved" doesn't coincide with its English title "In the Name of My Daughter".  Confusing.

Catherine Deneuve as I have mentioned before is still a stunning presence. As Renee La Roux, the pain and anguish over the disappearance of her only daughter is visceral and poignant. Guillaume Canet's boyish appearance makes it hard to believe that he is much older than Agnes. The main draw is the brilliant performance of Adele Haenel as the intense yet fiercely independent daughter, she captures the essence of the troubled Agnes with subtle conviction.

At the end of the film, we are told that a year after Maurice was acquitted, he lost an appeal and was sentenced to 20 years. Last year 2014 in the third trial on the case, Maurice's son accused his father of killing Agnes Le Roux in Italy and he was sentenced to another 20 years.

Really tragic, if you ask me. More so for Renee Le Roux as her daughter's body was never found. The case remains yet another unsolved mystery with no clear resolution nor closure which pretty much echoes the way this film unfolded.

3 COEURS(3 HEARTS)

20th French Film Festival

Greenbelt 3 Cinemas

As the title suggests, this is a tale of 3 hearts. But it is not your ordinary love triangle story, it comes with a twist. The kind of twist which can only exist and truly thrive in a French setting.

One night Marc, a homely tax auditor misses his train ride back to Paris. Stuck in the province, he meets a woman who stepped out to buy cigarettes. They walk around all night talking about anything but themselves. No names nor contact details are exchanged. The next morning at the train station, they are smitten so agree to meet next Friday at 6 P.M. in Paris at the Park near the Eiffel Tower. 

The 2nd heart belongs to the mysterious woman, Sylvie. She owns an antiques shop with her sister. Disillusioned with her marriage, she returns to their mother's house. As agreed, she takes a train for the rendez-vous to Paris, yet by 7 P.M., "Marc"  is a no show. Deeply frustrated, she agrees to relocate to the U.S with her husband.

Sophie owns the 3rd heart. After her sister relocates, she must deal with the business and discovers certain discrepancies with their accounts. She encounters Marc who helps her sort out the books. Soon enough, they fall in love, get married and have a child. Unbeknownst to either of the sisters, they both fell for the same man.

The brilliant acting by the ensemble cast of well known French thespians redeemed this averagely interesting film. Catherine Deneuve in her brief role as the matriarch is still a stunning presence. Chiara Mastroianni, her daughter with the late Italian actor, Marcello Mastroianni plays the more emotionally fragile Sophie with much conviction.

While Sylvie played by Charlotte Gainsbourg, (daughter of the late musician Serge Gainsbourg and English actress Jane Birkin), enthralls us in her role as the more impulsive sister. Both actresses are polar opposites, both in their acting style as well as their personality. Gainsbourg has her minimalism style with a bohemian flair. While Mastroianni is more expressive. So it was interesting to watch them cast as sisters with different personalities who were quite close and fond of each other.

Honestly, the story line is quite incredulous. You kept wondering when Marc will connect the dots and learn that Sylvie and Sophie were sisters. Although there were some familiar gestures which both sister shared but which Marc probably thought was coincidental until his world is in turmoil once he finds out the truth.

I notice two main problems with this particular film. The creepy foreboding music that accompanied most of the scenes between Marc and Sylvie. I was constantly on edge because I expected some 'accident' to occur but it never did. Perhaps, this was the director's way of 'warning' the audience that this type of scenario is wrong?

Another thing is the voice-over which popped up an hour into the film. It simply mentioned a few details about Marc then went silent until the conclusion. As is the norm with some if not most French movies, the ending was open ended. It is up to you to form your own conclusion. Frankly, it doesn't take too much effort to ascertain that it doesn't bode well for these three hearts.

L'AMOUR EST UN CRIME PARFAIT(LOVE IS THE PERFECT CRIME)

20th French Film Festival
Greenbelt 3 Cinemas

The vast Swiss Alps in all his majestic glory provides an excellent backdrop for this bizarre drama. Marc (Mathieu Amalric) is a creative writing professor at the University of Lausanne.  A Don Juan who beds his impressionable students and lives with his possessive sister Marianne (Karin Viard) with whom he has this semi-incestuous relationship. 

Upon the disappearance of one of his students (who in the beginning of the film is shown naked in his bed), a mysterious woman named Anna (Maiwenn) enters his already chaotic world. She claims she is the step-mother of the missing student and wants to trace her last known whereabouts. Soon enough, Marc and Anna start this torrid and very passionate affair. 

Even if the viewers know that Marc is somehow involved in the disappearance, he doesn't seem at all alarmed by this development. He carries on with his flirtatious ways, being charming although physically he isn't really an attractive man, per se. Much credit must be bestowed upon Mathieu Amalric (one of the hardest working French actors in the industry) for accepting this intriguing role. There is no doubt that there is much more to Marc than is shown but Amalric manages to insert just enough charm for the viewers to 'invest' in his character's well being even if he is clearly a disturbingly flawed character.

Several threads are interwoven yet somewhat fall short in actually providing a clearer bigger picture. It is not exactly marketed as a whodunit with investigators searching for clues, gathering evidence and interrogating Marc as the last person to have seen the student alive. It is a mystery that isn't tightly plotted but structured just loose enough for viewers to start being distrustful of the right people and scrutinizing them before suspicions are confirmed.

Based on a Phillippe Dijan novel entitled "Incidences" (which naturally I have never heard of, let alone read!), the film takes on an increasingly bizarre vibe with twists that don't quite make sense. But the panoramic scenery of the imposing snow covered mountains, the Alpine chalet where the siblings reside as well as the very modern edifice of the University of Lausanne are enough reasons to contemplate this film. Another bonus is Almaric's nuanced performance as Marc.

LA FRENCH(THE CONNECTION)

20th French Film Festival

Greenbelt 3 Cinemas

It is 1975 and the coastal town of Marseille in the south of France has become the hub of organized crime. Led by charismatic Gaetan "Tany" Zampa (Gilles Lellouche), the head of a gangster organization simply known as La French - it deals with drugs, prostitution, corrupt cops, illegal gambling, money laundering casinos and other crime related activities.  His main market is in the US where he exports high grade heroin. He ruled the drugs trade for several years. But he soon meets his match in the tenacious Pierre Michel (Jean Dujardin), a former juvenile court magistrate who is newly assigned to the anti-organized crime unit of the Marseille police force.

The film is loosely based on real events and the lead actors did their best to portray their real life characters with much conviction. Both of them are given much leeway to work with the wealth of information available for their roles. Both of them are shown as loving and supportive heads of their respective families. Both achieve notoriety within their circles. Both of them are ruthless and take their 'jobs' seriously. And the fact that they look almost identical made for interesting viewing. 

Judge Pierre Michel is very dedicated and passionate about stopping the menace of the drug trade. He is overzealous to a fault even taking risks which affect his family life. He is portrayed by Jean Dujardin, who achieved fame as the silent movie actor in the acclaimed black and white film "The Artist" which won all the major awards, the year it was released. I still see him as the actor with the goofy smile and the twinkle in his eyes so it can be distracting to witness him as a serious, never-say-die-attitude police judge. He is quite convincing, both physically (the long sideburns ruled) and artistically. 

Tany Zampa was quite a polarizing figure, back then. He was a larger than life crime boss who headed the huge 'empire' composed of Corsicans, Neapolitan Italians and thugs who cooked massive amounts of heroin for export to the United States. Gilles Lellouche was credible as the ruthless gangster who didn't hesitate to kill or have his henchmen kill anyone who stood in his nefarious ways. In fact, he registered more screen presence than Dujardin. But then perhaps it is because bad guys tend to be glamorized more in these types of films. 

The crime thriller was a bit exciting but did lose some steam midway after some of the action packed scenes laid low but then it picked up a notch towards the suspenseful ending. Clocking at over 2 hours, the story lacked focus here and there but it never felt overplayed. Its solid substance and gritty nature was compelling enough to hold one's attention even for 135 minutes.

LA PROCHAINE FOIS JE VISERAI LE COEUR(NEXT TIME I'ILL AIM FOR THE HEART)

20th FRENCH FILM FESTIVAL

Greenbelt 3 Cinemas

This film is based on actual events which occurred in the late 1970s in Oise, Northern France. The police force is baffled after several women are murdered by a serial killer. But the perpetrator just happens to be a police officer who is also part of the group investigating these murders.

Franck Neuhart (Guillaume Canet) is a shy police officer who lives a solitary life. He has no friends, lives in a dingy apartment. Yet he is a dedicated and diligent law enforcer and the film doesn't offer any real explanation for his lunacy. Leading a double life, he turns into a cold blooded killer, tracking young girls and shooting them for no apparent reason. 

After each killing, he hurts himself (perhaps to 'atone' for his crime) by submerging in an ice filled bath tub, self flagellation or wrapping barbed wire around his arms. Quite disturbing yet it conforms to the dark theme of the film.

The bleak film is a bit dragging in its latter stages after a few suspenseful scenes have elapsed. It also puts the police in a bad light since it is strictly due to their ineptitude that they are unable to catch the serial killer who was right in front of their noses. As a killer, Neuhart is cunning and cautious. Surely, there might have been times he was careless yet as an investigator he doesn't really go out of his way to hide 'evidence. Granted that during that period, the gathering of forensic evidence was not hi tech especially in a small town like Oise but still it is puzzling it took them over a year to arrest him. 

The only redeeming value of this strange film is the brilliantly convincing performance of its lead actor, Guillaume Canet. The ex husband of German actress Diane Kruger and the current partner of French actress Marion Cotillard looks like a younger version of American actor Patrick Dempsey. As Neuhart, his boyish face hardly expresses any emotions. Stoic yet very calculating. His calm demeanor is very creepy as his contained anger can just spin out of control, out of the blue. Alain Lamare, the real police officer upon whom this story is based is still incarcerated in a psychiatric ward.

The film starts with a disclaimer which states: "This film is based on one of the most strange French criminal stories. The facts described here are, for a large extent, taken from official documents, statements and talks with concerned people." Unfortunately despite this pronouncement, the film did not further delve into the psyche of the serial killer and it fell flat in trying to sustain the suspense factor to capture the viewers short attention span.

A SEPARATION

Asia on Screen
2015 Film Festival

Cinema 4, Shang Cineplex

I still have qualms that Iran is part of Asia but that's just me. Geographically, it is part of what is known as the South Western Asia region. Yet, I am grateful it is because it gave me an opportunity to catch this suspenseful family drama from Iranian director Asghar Farhadi. 

As the title suggests, the film commences with the shot of a couple trying to convince a judge to grant them a divorce. The wife, Simin pleads for a dissolution of the marriage as their visa to Canada will expire in 40 days. But her husband, Nader refuses to leave behind his Alzheimer stricken father. The request is denied so Simin moves out to stay at her parents' house while their only daughter, Termeh decides to stay with her father. Trouble ensues when Razieh, the ultra religious caretaker that Nader hires to assist his sick father is accused of stealing money as well as abandoning the old man under her watch. 

Things pretty quickly unfold once this side plot is thrown into the already chaotic arrangement in the household. Accusations fly, lies abound and all of the characters' lives are in a turmoil. Shifting between scenes in a small court room where a judge is trying to determine the truth behind the accusations to scenes set in the abode of Nader and Termeh where the 'crime' happened. Simin also intervenes as she was the one who recommended the caretaker in the first place. 

Mostly dialogue driven (it was interesting to hear the Farsi language - it kind of has a melodious tone to it) and delivered by a believable ensemble cast. It can be daunting too as you try to wrap your head around the amount of accusations, lies and revelations that suddenly pop out. But the narrative is complex with layers upon layers of information that are 'released' appropriately. 

You feel like you are on a roller coaster ride from all the tumultuous problems that besets the hapless family. Just when you have settled down a bit, you are hit with a vague ending which will have you pondering on the infinite consequences of that ambiguous yet final decision. In short, it is a 'thinking' film and I don't mind it one single bit. It was riveting, to say the least.

"A Separation" is very well directed buoyed by good acting from the entire cast against a very engaging narrative. It shows us a glimpse into the everyday life of a middle class Iranian family dealing with the beyond normal pitfalls of life. Such as caring for an aged parent, raising a child in a repressive society, earning a decent living and trying to find good help. 

Highly recommended!

VIVIR ES FACIL CON LOS OYOS CERRADOS(LIVING IS EASY WITH EYES CLOSED)

Javier Camara, Natalia de Molina

Francesc Colomer

This delightful film was the official submission of Spain to the Best Foreign Language Film category for the 87th Academy Awards (2015). It is based on a true story set in 1966 about a Beatles obsessed English teacher named Antonio (Javier Camara) upon learning that John Lennon is in Almeria (Spain) to shoot a movie, decides to go on a road trip to meet his idol. 

En route, he picks up two people who are hitchhiking - Belen, a pregnant young woman escaping from a halfway home for unwed mothers and Juanjo, a teenager who runs away from home to avoid his authoritarian father who insists he get a haircut. The three strangers form a unlikely friendship as they embark on this journey of self discovery.

The main draw of the narrative is naturally Antonio, the English teacher who instructs his students by using lyrics of the Beatles' songs. He is insightful yet comical and quite an endearing character. Yet he is also hugely aware of the repressive political system ran at that time by the dictator Franco and does have very negative views about the Fascist regime.

The crux of the story unfolds once they reach the coastal town of Almeria where the set of Lennon's film is heavily guarded by local authorities. How Antonio handles the pitfalls that stand in his way to get to Lennon clearly forms the arc of this character. Naturally it wasn't going to be that easy, right? 

Javier Camara's brilliant performance is the heart and soul of this engaging tale. A main staple in several Spanish films, he is able yet again to transform himself into every role he incarnates, flawlessly. As Antonio, he strikes a sad, lonely figure who is fully aware of what he wants in life and won't let other people nor obstacles stand in his way. 

The gorgeous setting of the Spanish coastline as well as the simplicity of the town where strawberries grow in dusty fields provide excellent background to the feature that highlights a coming of age narrative as well as the plight of finding one's place in the world. The self discovery of staying true to yourself while the world evolves around its axis is the main thrust of this comical yet poignantly profound movie. 

Towards the satisfying ending, I like how they were able to incorporate into the story the birth of the song "Strawberry Fields Forever" which Lennon reportedly wrote in Almeria during the shooting of Richard Lester's How I Won The War. In case you were wondering where the title fits in. Well here is an excerpt from the song's lyrics:

Let me take you down
Cause I'm going to Strawberry Fields
Nothing is real
And nothing to get hung about
Strawberry Fields forever

Living is easy with eyes closed
Misunderstanding all you see
It's getting hard to be someone
But it all works out
It doesn't matter much to me

RELATOS SALVAJES(WILD TALES)

I usually check the list of films shown at the various film festivals (Cannes, Venice, Berlin) as my reference on the latest foreign language movies. I also include the Oscar nominations for the Best Foreign Language category. If the plot/story line interests me I'd wait for them to be available, online.

This Argentinian film was in competition at Cannes 2014, it was also nominated for the Best Foreign Language category at the Academy Awards. Rightfully so, I'd say because it had a really intriguing premise. This dark comedy presents through 6 different snippets how easily human beings can lose control due to injustice, inequality and/or unfair treatment. A very thin line exists between maintaining proper decorum and the burst of rage when we are suddenly confronted with an unpredictable situation.

Six stories with different characters, scenarios set in venues ranging from an airplane, a dinghy restaurant, driving on a lonely highway to a wedding reception. The stories do not overlap yet concludes without any loose ends. Each vignette is self contained and the details shown are just about enough to understand very clearly what is unfolding. The ensemble cast is composed of well known actors and actresses. Some of them are familiar as I've seen them in other movies set in Argentina. 

Overall, the humor is quite dark, sometimes downright offensive and often marked with violent reaction/behavior from the characters. Yet we can all relate with them as at some period in our lives, we have all dealt with bureaucracy, road rage and a general sense of being treated unfairly.

Throughout the entire film, I had one nagging thought: 'Sometimes it is better to just let things go'. Yet this dark comedy proves sometimes it is also morally accurate to stand up for your violated rights. Just be sure, you are ready to accept the mitigated consequences of your actions.

It is difficult to review without adding some spoilers but I believe it is best to experience this masterpiece from Argentina, first-hand. Grab a copy and marvel at this excellent film which is well paced, masterly edited with the precisely controlled balance between the matter-of-fact and the shamelessly hysterical situations.

FORCE MAJEURE

Johannes Kuhnke, Lisa Loven Kongsli

This Swedish film unfolds in the idyllic setting of the France Alps. Tomas and Ebba along with their two young kids are vacationing in an exclusive ski resort. On the surface, everything is perfect from the snow capped mountains, the skiing facilities, the luxury hotel and even the family of four. They even brush their teeth together using their electric toothbrushes. 

Ebba tells another tourist in the same resort that they are on a break because Tomas works too much. What is supposed to be a family bonding trip soon takes on a sour note after an act of nature intervenes and rocks the very core of this family.

During a bright and sunny morning while having breakfast at the outdoors section of the restaurant, an avalanche occurs. At first, Tomas insists it is controlled and everything is fine. Until the snow mist from the avalanche reaches the very spot where they are seated and envelopes the area with its shadowy menace. What ensues during the panic is the main crux of the entire film. Ebba grabs her children to shield them while Tomas grabs his iPhone and runs away.

When I first saw that scene, I was shocked and numb from what I just witnessed. A certain calm occurs right after the incident (the avalanche) and slowly the people return to their tables to resume their interrupted breakfast. Tomas returns too but acts like nothing untoward (him leaving his family behind) happened just minutes ago.

The movie cleverly examines the different reactions of Tomas and Ebba towards the incident. They try, well Ebba tries her best to wrap her head around the fact that Tomas could easily just bail out on their family in a snap. While Tomas insists on his own version of what actually unfolded.

The direction of the film does not take the heavy handed psychoanalysis route. The disputes are staid and collected, not hysterical shouting matches. Even as they discuss the incident with Mats and Fanni, their friends who are also vacationing in the same resort, they recount it with subtle movements yet expressive facial tones. Trying to be helpful, Mats offers different scenarios to justify what Tomas did. His views puts him in a bad light as Fanni feeds some not so flattering ideas into his head about his own possible reaction if he was caught in the same situation.

The vividly crisp cinematography provides an effectively calm backdrop towards the inner turmoil which Tomas and Ebba experience after the incident. The cracks in their marriage are brought to the fore and painfully exposes the problems which they seem to have kept hidden for some time. 

The film doesn't necessarily ridicule nor judge Tomas for being a coward. It puts its emphasis on the expected roles that men are supposed to be protectors during disasters yet it doesn't turn into a battle of the sexes. Each character deserve our sympathy as they are often trapped in societal roles.

Force Majeure is described as an act of God or an effect that cannot be reasonably controlled. But as it is in real life, it is how we react to the different situations which God puts us in that truly defines our existence. "Force Majeure" is a thought provoking, gripping film that will profoundly test our faith in humanity. I highly recommend it.

THE INTOUCHABLES

Francois Cluzet, Omar Sy

"Sometimes You have to Reach into Someone

else's World to find out 

What's Missing in your Own"

It was time to delve into the completely different world of foreign language movies for my viewing entertainment. 

This French movie about the camaraderie that develops between Philippe, a wealthy quadriplegic and Driss, his caretaker was released in 2012. "The Intouchables" was a huge success all over Europe. Mostly due to the charming chemistry between its two main stars, Francois Cluzet and Omar Sy.

I'm familiar with Cluzet as I've previously seen him in various roles in other French films. A solid, steady and quite reliable actor. On the other hand, Omar Sy made quite an impact in this role, he became an instant celebrity.

Based on a true story, there isn't much background info about Philippe's source of wealth but it is obvious he is very affluent, appreciates the finer things in life. He is always well dressed despite being wheelchair bound for the rest of his existence. 

Driss only wanted to get Philippe's signature so he could receive unemployment benefits. He wasn't one of the candidates applying for the position of caretaker. He hardly qualifies as he has no educational nor any medical training for the job. But Philippe was intrigued and decided to offer Driss the task for a one month trial period. 

Soon the challenges begin for Driss as it is a very demanding job but Philippe is quite patient and understanding. They complement each other, accepting each other's flaws and differences like their contrasting tastes in music (Driss is into 80s bands like 'Earth, Wind and Fire' while Philippe prefers classical music) as their symbiotic relationship turns into a profound friendship.

The film doesn't make judgments on the visible contrast between the haves and the have-nots nor on the unlikely, interracial friendship. Perhaps because it was presented through a well written comedy that isn't a sentimental mess (as it often happens in films about handicapped people). 

The end credits show us the real people upon whom this story is based. I notice the caretaker isn't of African descent, more likely of Middle Eastern heritage. I wonder why they decided to change his character. I know there are many French actors from that particular region who have become successful in the industry. Most of them, good comedians. 

Nevertheless, Omar Sy did a good job. It doesn't diminish the feel good factor of this charmingly delightful buddy movie. I highly recommend this film, it was quite a pleasant experience.

EXODUS: GODS AND KINGS

Christian Bale, Joel Edgerton,

Ben Kingsley, Aaron Paul,

John Turturro

"Once Brothers, Now Enemies"

Everybody knows the story of Moses. Regardless whether you learned it in Catechism class (like I did) or from books, movies or online ... it is a classic epic that has transcended through generations and through time. 

My earliest memory of Moses in celluloid form was portrayed by Charlton Heston in director Cecil B. DeMille's epic "The Ten Commandments".  For a movie filmed in the year 1956 it was clearly impressive with its massive set designs, authentic costumes, poignant narrative and a cast of famous actors.

So any director who decides to take on such a monumental project should be given due credit for his sheer efforts to replicate the events associated with Moses. Ridley Scott takes the helm in "Exodus: Gods and Kings" with Christian Bale as the adult Moses and Australian actor Joel Edgerton as Ramses.

While the story offers the prerequisite back story of Moses up to the time he is exiled and tasked to lead the slaves towards the promised land, the entire movie definitely lacks or fails in the emotional quotient aspect. 

The heavily scripted dialogue was a complete turn off. Come on, nobody talks that way, certainly not during those biblical times. The English accents of the cast were also quite a distraction although I have to give credit to Christian Bale and Joel Edgerton for trying their best to get into their characters psyche. They cannot be faulted if the script was poorly written and the narrative failed to effectively draw from the rich history it was based on. It lacked conviction and essentially did nothing to inspire us. 

The only positive thing about this film were the high quality computer generated visuals of the various plagues, the parting of the Red Sea, the carefully choreographed fight scenes and the aerial shots of the exodus. There is no doubt that they were all visually stunning and quite spectacular to behold.

I was quite disappointed because I expected a lot more from this much hyped epic saga. In fact, I have to admit I had more fun watching the inspirational animated film "The Prince of Egypt" than I did seeing God portrayed as a creepy, chubby young boy with a distinct British accent.  What a travesty and to think I watched this today, Good Friday of all days!