The Broken Legacy, written and directed by Miguel Garzón Martínez

The Broken Legacy Official Trailer from Miguel Garzón Martínez on Vimeo.

Review written by Shirley Rodriguez

For what will it profit a man if he gains the whole world and forfeits his soul? Mark 8:36

It has been said, everyone has their price and The Broken Legacy from director Miguel Garzón Martínez explores this theme. What would you do and how far would you go for something you want, and what point does morality really come into play?

Opening with the main character Steven (Michael Stahler) a young screenwriter, we see him seated at a bus stop reading a flyer for a drug trial he is headed to. At the facility, Steven and five other young people gather to participate in testing a new cholesterol drug. They take a pill every morning and for one month are isolated from the outside world. Their only meal consists of a bowl of what looks like oatmeal and they are prohibited from any intimacy with others while there. They are treated coldly and as what seems to be prisoners.

Tomas (Marcos Esteves), a somewhat charming and arrogant member of the trial group, introduces himself on the first day attempting to impress and charm, especially the three young ladies in the group. He is the rule breaker, often not wearing the required uniform and rebelling. Tomas sees that Steven likes Emily (Rayne Bidder) a young woman in their group. He offers Steven advice on how to go about approaching her romantically. Tomas’ advice and behavior seem to shift between altruistic and self-serving. He seems to be obsessed with the concept of immortality.

Upon discovering Steven’s aspirations as a screenwriter, Tomas attaches himself to Steven and offers a trade. He will help Steven talk to Emily and in turn Steven will collaborate in writing a screenplay with him. This is part of Tomas’s quest for immortality. He pushes Steven forward but you wonder who he is really helping. Tomas gives Steven a copy of Friedrich Nietzsche’s book, On The Genealogy of Morals in which the origin of moral prejudices are broken down and, depending upon your position of power, being in or under it informs your perspective. We see how each action has its consequences and each character comes to their own realization. As they get to know each other better, they clash, work together and learn more about who they really are and what truly matters in life to each of them.

The other three drug trial participants Jacob (Oren Dayan), Jenny (Cynthia Bravo) and Liz (Justine Herron) serve to round out the story. They initially seem like background characters, but serve a greater purpose in the end. Jacob, a religious young man with aspirations of becoming a Minister, Jenny a very lively and social young lady with a heavy tech addiction and Liz the tough, no nonsense girl who looks to distance others with her mean exterior. They all need the money from the study for their own reasons, but learn that money isn’t everything when you have to sell your soul to get it. In a tense conversation with Jacob, Steven and Tomas, Jacob warns the other two that they will burn in hell for their choices.

Symbolically, they allude to hellfire, then there is actual fire (Liz carries a lighter) and the descent into the kitchen (a recurring scene of conflict and possible metaphor for Hell). Steven’s deal with Tomas may even be seen as a deal with the devil, causing him inner turmoil. The uniform they are provided includes a red shirt with a letter O with a smaller letter z inside of it. It made me think of Oz as in The Wizard of Oz and the “seemingly” all powerful that remains so until questioned. That heightened arrogance and hunger for power that can be a product of extreme insecurity which in turn can bring about the ugliest of scenarios and circumstances. Without elaborating too much or being too political, that theme is very timely right now.

The effects of the drug trial steadily become more evident and bring everything to a head. At what point do you decide or continue to let others decide for you? Do you make a deal at any cost? The film examines power, the exchange of it and the choice to keep it or give it away. With choices there comes accountability and standing firm in what you believe in.

Website: www.thebrokenlegacy.com

Posted in Film Reviews, etc.

Dog Years, written and directed by Adam Rifkin

Review written by Mike Fishman

Went to a screening at the Tribeca Film Festival of Dog Years, the new film written and directed by Adam Rifkin and starring Burt Reynolds as Vic Edwards, an octogenarian actor who travels to the International Nashville Film Festival to accept a Lifetime Achievement Award. The problem is, this is the (fictional) International Nashville Film Festival, not the much-admired and very real Nashville Film Festival and Edwards finds himself facing a mixed crowd of about 40 people (to their credit enthusiastic fans) in the backroom of a bar with a projector and a make-shift film screen. Some of the expected clichés are in evidence: the rundown motel room the festival booked for him; a drunk Edwards lashing out at at the festival staff; the protagonist in need of saving doing some saving himself; even a reconciliation with an old lover who has Alzheimer’s but who peers out clear-eyed from her cloudy mind at the right moments. But the quality of acting and the level of commitment from Mr. Reynolds and co-star Ariel Winter as Lil, his reluctant, nose-ring wearing caretaker/chauffer for the duration of the festival, bring to their roles make most scenes utterly believable and the film as a whole ultimately moving.

Rifkin (whose previous work ranges from the comedy Detroit Rock City to the gritty Night at the Golden Eagle) wrote the screenplay specifically for Reynolds. And one can see why the actor, reportedly looking for one last great role, would be game for boring deeply into the semi-autobiographical storyline. The film embraces the aging process with Reynolds, at 81 himself, staring directly into the camera, then later edited into scenes of his actual films Smokey and the Bandit and Deliverance, humorously yet pointedly engaging his younger self in conversation, generally to warn him about the quick passage of time, hence the title Dog Years. It makes for a fascinating revealing of a fictional life reflected by the actor’s real life. Shot differently, the film could have been a mockumentary.

Along the way we are treated to snapshots of Reynolds in his prime: spraying a can of whipped cream down Johnny Carson’s pants; conducting interviews in his trademark winking, self deprecating style; and even his infamous nude pose for Cosmopolitan magazine, which the director interestingly utilizes onscreen while Lil soaks in a huge bathtub. Happily, the film goes nowhere near a romantic entanglement between the two, saving the real relationship complexities for a reunion with Claudia, his first of five wives (!), played by Kathleen Nolan. Vic and Lil “rescue” his now wheel-chair bound ex-lover from her nursing home, hurriedly wheeling her out to freedom with the staff nearly chasing after them. They take her to the picturesque spot where Vic had proposed to her decades (and a lifetime) ago. If this particular sequence sounds predictable, it is, but Reynolds’ palpable regret and Nolan’s unadorned responses make for a truly poignant and affecting scene. That such a powerful moment can occur within such a familiar framework is part of the magic of movies and while some scenes are stronger than others, the film gains impressive momentum and succeeds beyond expectation at ruefully portraying a man nearing the end of his road, lamenting the passage of time.

Posted in Film Reviews, etc.

CINNEFEMME, a podcast based on The Bechdel Test hosted by Michal Sinnott & Jessica Rotondi

Co-Hosts Michal Sinnott & Jessica Rotondi curate an inclusive & intimate conversation in their living room with one woman from a rotating & diverse list of entertainment industry professionals. Based on The Bechdel Test, ‘The Test’ helps raise awareness to create greater gender equality both in front of and behind the scenes of film & television, while also collectively providing a ‘how to guide’ of sorts for how to make it in Hollywood as a member of the female tribe.

The Test is derived from The Bechdel Test and is essentially what The Bechdel Test is all about: 2+ women sitting in a room together, NOT talking about a man within the context of the movies. Inspired by The Bechdel Test and Mark Maron’s WTF long form interviews, The Test is intimate, personal and will explore one female in entertainment for each episode (producers, casting directors, show runners, actresses, editors, directors, etc), from their upbringing to early inspirations to what they’re up to right now to where they’re headed next, with a focus on their career in film & tv. It’s a digging in that’s equally light, funny, and feminist.

Visit their website at: https://cinefemme.net/programs/test-podcast/

Listen to the podcasts on their iTunes Page

Posted in Film Reviews, etc.

The Broken Legacy, written and directed by Miguel Garzón Martínez

The Broken Legacy Official Trailer from Miguel Garzón Martínez on Vimeo.

Synopsis: While voluntarily testing a new drug at a research facility, a lost screenwriter recruits the help of an egotistical philosopher in order to attract the girl of his dreams.
Starring Michael Stahler, Marcos Esteves, Rayne Bidder.
Written and Directed by Miguel Garzón Martínez
Produced by Miguel Garzón Martínez, Casey O’Brien and Cynthia Bravo

Website: https://www.thebrokenlegacy.com

Trailer: https://vimeo.com/189738031

Posted in Filmmaker Profiles

2016 Best Film List – Brendan Rose

2016 Best Film List – Brendan Rose

Well, the Academy has spoken (after a shambolic mix-up) and, I’m happy to report, the news is heartening: With Moonlight emerging as the winner, the Oscar for Best Picture has actually gone to the top Anglo-American film of the year for only the second time in my life (along with Steve McQueen’s Twelve Years a Slave in 2014). And I was born a while ago, which means that dozens of mediocre films have been honored with this prestigious award over the past few decades.

Aside from Barry Jenkins’s new classic, 2016 was, overall, a deep and powerful year in the movies. There were a series of memorable offerings across genres, in sci-fi, horror, coming-of-age, and even a spry musical of note (yes, La La Land). But for me, the year was marked by a series of impressive auteurist dramas by some of world cinema’s still early-career innovators: Jenkins, Ade, Mendonça Filho, Hansen-Løve, Lanthimos, Larraín, Guadagnino. And the most outstanding of all this year, just a hint above Jenkins, would be the Colombian wunderkind Ciro Guerra, whose films are simply astonishing. I look forward to more features from all of these ambitious and talented filmmakers.

As with any year, there are promising films I have yet to see. With apologies to I, Daniel Blake, 13th, Certain Women, Under the Shadow, American Honey, Hell or High Water, and many others, I present to you the 2016 list:

TOP TEN (in order):

Embrace of the Serpent* (Ciro Guerra): This hypnotic and disturbing film, which details contact between European travelers and indigenous Amazonian communities in the first half of the 20th Century, is a sui generis masterpiece by one of the world’s most promising and inventive directors. There are shades of Heart of Darkness here, but with a stronger perspective afforded the local community than is evident in most works derivative of Conrad’s novella.

Moonlight (Barry Jenkins): Jenkins’s second feature, based on Tarell Alvin McCraney’s play, is a magnificent piece of pure cinema, with its exceptional photography and pacing, but also a film anchored in textured, subjective storytelling, overwhelming with its aching pain, its deep tenderness. There are scenes of such beauty and sentiment (e.g., young Chiron being taught to swim by mentor Juan) that the scope and impact of this film continue to grow in my mind.

Paterson (Jim Jarmusch): Jarmusch, now thirteen features in, is the most consistently stellar American film director of the past three decades. In this ode to verse, Jarmusch trains his camera on the basement poet-cum-bus driver played by Adam Driver, revealing his protagonist’s meditative daily rhythms as well as the post-industrial grace of rugged and worn Paterson, New Jersey. This sublime film’s only flaw: an underwritten part for Golshifteh Farahani as Driver’s partner.

Aquarius (Kleber Mendonça Filho): Sônia Braga captivates as a single, middle-age music critic who stands up to rapacious real-estate interests in Recife, Brazil by refusing to move out of her apartment, the last inhabited unit in a beachside building pegged for demolition and redevelopment. Mendonça Filho’s keen eye for social critique gives this complex character study a broader agenda.

Toni Erdmann (Maren Ade): This jaunty, off-beat father-daughter comedic drama from one of Germany’s finest directors keeps the audience on its toes (what a housewarming party!) while likewise skewering the sheltered English-speaking business-consultant class who traipse about Bucharest, Romania like a nouveau white-collar capitalist-colonialist clique. Remember: Never leave home without your spare teeth!

The Measure of a Man (Stéphane Brizé): Speaking of capitalism and its discontents, Brizé’s timely parable captures the pitiless professional drift of Thierry, a sacked factory worker in France, played with sensitivity by Vincent Lindon. This is the tale of one of the have-nots in this dog-eat-dog neoliberal economy; Thierry’s ‘rebound’ job as a security guard at a supermarket is both dispiriting and all-too symbolic.

Manchester by the Sea (Kenneth Lonergan): Lonergan, one of the most important dramatists of his generation, constructs a quietly devastating film out of material that could, in the wrong hands, play as overwrought melodrama. Instead, buoyed by expert performances, he delivers an indelible piece of cinema, the sorrow and heartbreak of which remain palpable and resonant months later.

Things to Come (Mia Hansen-Løve): Top-class French actress Isabelle Huppert was nominated for the Best Actress Oscar for the underwhelming Elle, but her standout performance—and one of the few very best this year— was certainly in Things to Come, Hansen-Løve’s rich story of Huppert’s Nathalie, a philosopher who seeks new ways to imbue her life with purpose and meaning after a series of life-shocks.

My Golden Days (Arnaud Desplechin): This Proustian film of early love mesmerizes with its abundance of sharp, novelistic detail, its blending of the intellectual and the pop, its cross-decades expanse, its stinging wistfulness.

Arrival (Denis Villeneuve): Few mainstream sci-fi flicks have delivered the goods like Arrival. The assured Amy Adams paces this clever, taut film depicting a contact moment between humans and extraterrestrial life. Adams’s linguist-driven diplomacy and time-bending insight prevent carnage. One fault: the poorly-realized Jeremy Renner physicist character.

NEXT BEST FILM: The Witch (Robert Eggers): This bleak, eerie horror film is set on a Puritan homestead in 17th Century New England where a tangled, foreboding, and unknown forest beckons these new arrivals.

BEST DOCUMENTARY: I Am Not Your Negro (Raoul Peck): One of the top films of the year. Peck’s tour-de-force is a sophisticated examination of racism in America via Baldwin’s own words from an unfinished manuscript.

HONORABLE MENTION (in alphabetical order): A Bigger Splash (Luca Guadagnino); Edge of Seventeen (Kelly Fremon Craig); Fences (Denzel Washington); Jackie (Pablo Larraín); La La Land (Damien Chazelle); The Lobster (Yorgos Lanthimos); Sing Street (John Carney).

*Embrace of the Serpent was up for the Best Foreign Language Academy Award for 2015, but it did not premiere in New York until 2016, making it eligible for this list. Similarly, this year’s Foreign Language winner, Asghar Farhadi’s The Salesman, which opened in New York in 2017, will be eligible for next year’s list.

List complied by Brendan Rose

Brendan Rose’s 2015 Best Film List

Posted in Film Reviews, etc.

The Founder, directed by John Lee Hancock

The Founder – The Man Who Turned McDonald’s Into One of the World’s Best Known Brands

The Founder
Review By Calista B., KIDS FIRST! Film Critic, Age 13

Review By Maria G., KIDS FIRST! Film Critic, age 17

Posted in Film Reviews, etc.

Texting In New York City, a short film by Mansu Edwards

Synopsis: A college student named Winnerbeme loses a cellphone while approaching a woman on a NYC train platform.

About the filmmaker: Mansu Edwards is a prolific artist who continually challenges art forms with boldness and creativity. He delights in using autonomous monikers to signify a transformative experience when engaging in innovative artistic creations. In 2016, Mr. Edwards produced, wrote and directed his first short film, Texting In New York City. A work inspired from people’s responses to the street marketing of its paperback (text) edition.

Facebook: www.facebook.com/textinginnewyorkcity

Posted in Filmmaker Profiles

Man Without A Cell Phone, directed by Sameh Zoabi, Special Screening at Columbia University, Feb. 6

Man Without a Cell Phone
Monday, February 6, 2017
6:30pm 8:30pm
Dodge #511
2960 Broadway New York, NY, 10027

To be followed by a Q&A with Columbia University Prof. Hamid Dabashi

Visit the Website to RSVP.

Visit the Facebook page.

Posted in Filmmaker Profiles

Listopad, directed by Gary Keith Griffin

LISTOPAD is a story of the spirited friendship between three teenaged boys, swept up in the ‘Velvet Revolution’ of 1989.

Petr, Jiri and Ondrej are an unlikely trio of friends. An artist, a hockey player and a music trader, the boys survive Communism by playing sports, drinking beer, chasing girls and listening to underground music. But they are bound together by their common desire for freedom and, on a cold, dark night in November, Petr, Jiri and Ondrej join the front lines of a student demonstration in the streets of Prague. Face-to-face with the riot police, the boys are forced into a momentous decision: stand up against the Communist regime or give in to a system that has silenced their families for generations.

Based upon true stories from the Velvet Revolution, LISTOPAD is a timeless story of political and artistic courage. Seen through the eyes of Petr, Jiri and Ondrej, the film brings to life the exhilarating days of November 1989 when, in spite of everything and everyone arrayed against them, students, artists and dissidents filled the streets of Prague to stand up for their hopes and dreams of freedom.

Listopad on itunes: http://apple.co/2fM88U3
Google Play: http://bit.ly/2gZHwMp
iTunes/CZ: http://apple.co/2h7N2jK
iTunes/SK: http://apple.co/2h7L2rt

Listopad website:http://www.listopadfilm.com

Posted in Filmmaker Profiles

Elle, directed by Paul Verhoeven

Review by Mike Fishman

Elle, directed with dark flair by Paul Verhoeven (RoboCop, Total Recall), is unsettling in more ways than one might expect. Most viewers going in will already know that the film opens with a rape. In the opening scene Isbabelle Huppert’s Michele, a Parisian woman heading a video game company, is being attacked by a masked intruder and the brutality of the rape, conveyed more by sound than visuals, announces a film that will ask much of its audience. And indeed, as the film unfolds and we witness Michele (played note-perfect by the seasoned Huppert) interacting with her son who curses her, her ex-husband whom she alternately turns to for emotional support and casually takes a crowbar to his parked car, and the next-door neighbor with whom Michele instigates a game of footsy at a dinner while he is seated next to his prim wife, a moral ambiguity emerges that leads us to question her character in ways that are downright provocative.

Verhoeven, whose oeuvre includes Basic Instinct with Sharon Stone’s infamously uncrossed legs, has previously presented characters and situations that are not what they seem to be (or at least not what we expect them to be), but in Elle he wades deep into the territory of uncomfortable humor more associated with filmmakers such as Todd Solondz, who in Happiness and Welcome to the Dollhouse, dare us to laugh at things we dare not, as did Jody Hill in the twisted mall-cop comedy Observe and Report. Though Michele appears to be haunted by the attack (which we return to in flashbacks that give deeper glimpses into the event), she urges her video game developing team to make the game they are working on more violently sexual and at a late point in the film after she has identified her attacker, turns the tables on him emotionally, urging him to hurt her. This has the absurd effect of making him recoil and proclaim that that’s not how this is supposed to work.

Michele’s moral ambiguity, though, is evident early on in the film. Moments after she is attacked and taking a restorative bubble bath, a disturbing red blood stain surfaces through the bubbles, which she seems more fascinated by than repulsed. Later, during one of the flashbacks, she admonishes her cat (who naturally just sat by and watched as any cat would), that the cat could have at least scratched him. Such humor pervades the film, reaching its darkest point when Michele, having crashed in her car, phones her rapist to rescue her, unable to get anyone else on the phone. There’s something remarkable about a scene in which a man, who has been recognized by his victim as her attacker, is helping to extricate her from her crashed car even as we see a bandage on his hand from where she stabbed him during their latest violent encounter.

Why wouldn’t she just call the police? A secondary plot details the troubled history of her childhood, when her father went on a rampage and murdered a number of their neighbors, including women and children, then set fire to his own house, a news clips from the time showing a disheveled young Michele in the wreckage of her home. Although Michele appears to be an innocent caught in her father’s guilt, the question of whether she participated in the house fire remains and, in any case, she is occasionally treated as a criminal by strangers who recognize her simply by virtue of being the daughter of the murderous monster. When Michele, who has not seen her father since he was sent to prison, finally decides to face him, she arrives at the prison only to be told her father died the night before by hanging himself. The man could no more face his daughter willingly than she could him. The film would feel grim if it were not for the dark humor, and could easily have felt forced in lesser hands, Huppert managing a tight wire act of a wronged woman deserving of sympathy yet deflecting pity with her character’s ruthless determination and uncertain ethics.

Posted in Film Reviews, etc.

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