Plot: Damian (Ben Kingsley) has led a hugely successful life, regretting only that he is estranged from his daughter Claire (Michelle Dockery). Now he is old, rich and dying. But he doesn’t feel ready to die just yet, so he is happy when he discovers Albright (Matthew Goode), a scientist who promises that he can have a new, freshly grown body and start all over again. Damian agrees to the procedure. When he wakes up, his body (Ryan Reynolds) lives up to all of his dreams. As he gets used to it, though, he also keeps getting haunted by dreams and nightmares that appear to him more real than they have any right to be.
Self/less is a decent film. Nothing here says greatness, but it isn’t bad either. It is like a case study for solid entertainment of a kind that has gotten rarer in recent years as budgets have grown and shrunk, leaving few players in the middle of the field.
Plot: Ho Chung Ping (Yun-Fat Chow) runs a very successful company with Winnie Chang (Sylvia Chang) and they are about to take the company public. But with that move comes a lot of office politics, rivalry and interpersonal tensions. Caught up in it are two new assistants on their first day: Lee Xiang (Ziyi Wang) and Kat Ho (Yueting Lang). Lee is all optimism about his new job, while Kat desperately tries to hide the fact that she is Ho Chung Ping’s daughter.
Office is a musical that is generally underwhelming but has one of the greatest sets I have ever seen, making up for a lot, albeit not everything.
Thee Wreckers Tetralogy consists of four animated short films made between 2009 and 2018, starting life as music videos for Thee Wreckers. They are supplemented by a documentary about the films and the band. The four short films are: No Place Like Home (2009), Lonely Bones (2013), Splintertime (2015), Reruns (2018) Director: Rosto Writer: Rosto The documentary is: Everything’s Different, Nothing Has Changed (2017) Director: Joao MB Costa, Rob Gradisen Part of: /slash Filmfestival Seen on: 22.9.2018 1-gif-review
I hadn’t heard of Thee Wreckers and I really didn’t know what I was getting myself into with these films, but I admit that I found the films, the animation, the music of the short films pretty mind-blowing. The animation’s aesthetics, the music and the dreamlike narrative style caught me just right and I really managed to lose myself in them. Even though each installment of the tetralogy is very different, they go together very well and make for an all around beautiful body of work.
Read a little more about each of the short films after the jump.
“Plot”: In 13 segments and with 13 different protagonists (Cate Blanchett), the film digs into artists’ manifestos, combining and contrasting them to meditate on art, artists and their role in society.
Manifesto is an experimental and highly demanding film. At times I was very lost and would have liked somebody to take my hand and walk me through it. But even when I didn’t understand everything about it and could categorize it perfectly, it affected me.
Nell (Ellen Page) and Eva (Evan Rachel Wood) grow up with their father (Callum Keith Rennie) just outside of a small town in the Redwood Forest. But then something happens and slowly the infrastructure around them falls apart. First there is no more electricity, then no more gas and then they are entirely isolated in their forest home. When they realize that power, infrastructure and life as it was won’t be reinstated any time soon, Nell and Eva have to try and manage their lives on their own.
Into the Forest is not only a great adaptation of the novel I utterly loved, but simply a beautiful film in its own right.
James (Reef Ireland) was just released from prison on parole, after having served time for drowning a little boy when he was a child himself. As he returns to his hometown, he has to face his past, both in the shape of the boy’s still grieving mother (Helen Morse) and his former best friend Anthony (Thom Green) who has a decidedly cruel streak. Haunted by the events, James is determined to find the boy’s body that’s still missing and to give closure to everybody involved.
Downriver was an exhausting bit of cinema. Watching it felt like wading through muck: possible, but way more work than walking on hard ground would be. And is that extra work really necessary when the road is right there?
Naama Barash (Sivan Noam Shimon) doesn’t have it easy. Her parents are constantly fighting, her sister, who is in the army, disappears and the only thing that gives her respite is to hang out with her friends, getting drunk and high. But then there’s a new girl in school: Dana (Hadas Jade Sakori). Dana is exciting and new and seems invulnerable and Naama finds herself falling in love quickly and confusingly.
Barash is a sweet coming-of-age film that doesn’t quite work as well as it could and should have. Nevertheless, I enjoyed it.
Greta (Bethany Whitmore) is almost 15 and just started at a new school where she is befriended by Elliott (Harrison Feldman). When her well-meaning mother (Amber McMahon) wants to help her find her social footing by throwing a birthday party for Greta and inviting everyone, Greta is mortified. Feeling the pressure of the situation and of growing up in general, it’s no surprise that some of Greta’s fantasies my run away from her a little bit.
Girl Asleep is a funny and sweet film that shines when it works with fantasies but loses a bit of its glow when it turns to more mundane moments. Nevertheless, it’s a coming-of-age film that is worth checking out even in a well-saturated genre.
On a small pacific island ruled by a volcano and the patriarchal structure of the tribes that live on it, Wawa (Marie Wawa) and Dain (Mungau Dain) are in love. But after altercations with another tribe, Dain – the Chief’s grandson – is supposed to marry a woman from that other tribe to cement their peaceful relationship. But Wawa and Dain can’t accept their separation easily.
Tanna is an unusual film that deserves to be seen, although it also has a few lengths that kept me at a bit of a distance from the film.
Eli (Nadiv Molcho) and Maya (Aya Beldi) were in love until about a year ago when their relationship went down in flames. By chance, they meet again at a party and take the opportunity to reflect on their relationship. As they walk through Vienna and talk things through, maybe they’ll be able to shed new light on past events.
History of Now is obviously Molcho’s passion project and it shows in every minute of the film that he is a very young man – with emphasis on both the young and the man part. The result is okay, but not really my cup of tea. Maybe because I never was a young man.