Double Lover is a 2017 film from France. It was released in the States in 2018, and I screened it at the Parkway theater in Baltimore. Based loosely on a Joyce Carol Oates short story, Double Lover is a kinky romance thriller drama. It's almost a Fifty Shades approach to the thriller, building on the stronger dominating and controlling male force, While it didn't take on the same type of murderous or suspenseful thriller of a Hitchcock type film, aside from some of the stair visual effects, Double Lover was a fast paced cryptic approach to human nature and the doctor/patient relationship.
While I feel like the movie took liberties with the approach of relationships between the doctor and patient to questionable levels, the movie drastically also worked towards a split screen type and other visual enhancements to add to the hair raising approach to the storyline.
Chloe, is a 25 year old young woman suffering from abdominal pains and has stares that could eat your soul. While there was no set physical diagnosis for the causes of her stomach pains, she is then referred to Paul Meyer, for therapy sessions. The early stages of the film, Chloe prattles on in oddly cut scenes of her distant mother, struggles with relationships, overall loneliness of growing up as an only child, her complex anxieties, and strange often demon-ish dreams. These almost soliloquy type monologues in the movie are often used in a split screen type approach, fading and dissolving techniques are also used in a matter to build the suspense of the film, rather than the typical environmental or behavioral ticks so commonly seen in a Hitchock film, making Double Lover more reminiscent of the classic 1980's thrillers from Europe, with more modern techniques and pizzazz.
The climax of Chloe's sessions with Dr. Meyer, is when she lands a cushy flexible hour security guard job at a museum and as she proclaims in a session that she's finally starting to feel good and confident, due to the sessions. Upon this proclamation, Meyer claims that it be best if they conclude their sessions due to his unorthodox feelings towards her. A few months progress in the film, and viewers are aware of the budding relationship, progressing into the moving in stages. As Chloe and Paul start the process, she uncovers a box of his belongings only to have questions arise, why does he have a passport with the name Paul Delong, and who is the unidentified boy in his childhood pictures.
This is when the plot thickens and begins the theatrics of oddball plot twists to deepen the thriller approach. In order to answer those questions, I would then spoil the movie, which I don't like to do for others, especially when it comes to thrillers. As previously stated, it's based on a short story of Joyce Carol Oates, the Lives of Twins, which she wrote under the pseudonym Rosemund Smith.
Chloe soon discovers that Paul has a "lost" twin brother, also a psychoanalyst, Louis DeLord. Louis has a drastically different and more forceful approach to his methods. In much more prodded and stiff original meetings, DeLong claims he can cure Chloe of her frigid and stodgy approaches to relationships. The mirrors, and mirrors with in mirrors, camera work, staircases, and visually skewed approaches and haunting exhibits seen in the museum, the viewer is thrown deeply into the depths of a psychological thriller.
Having seen Kaladiscope earlier this year, I could appreciate the faceted camera work, the split screens and the other worldy cat and wood scenes which in it's own right, made this an interesting attempt into the the thriller genre.
Tuesday 27 February 2018
Porto
I have really been on the fence over whether or not I should write a review for Porto. I had screened it earlier this month at the Parkway theater in Baltimore, MD. This is Gabe Klinger's 2017 film about the emotional aftermath of a powerful one night stand, set in Porto, Portugal.
Porto, a film in three parts focuses on the one night stand between Jake, a jack of all trades, master of none type of person, and Mati, a budding grad student studying in Porto, the city where Jake just happens to be living and working at the time being. Jake is the relateable character for me, as he has no real set directions in life, or any real semblance of what direction he wants to take work wise. He works merely for the sake of needing to live. He's a groundskeeper of sorts at an archeology site, where one of Mati's classes visits one afternoon by chance. They eye each other, but nothing amounts. They then see each other at the same train station, and then happen to meet in the same cafe.
The movie itself seems to struggle in the budding and fizzle of this relationship. Mati, a woman of the world, the only thing the two seem to have in common is that at that sheer moment, that the couple didn't want to be tied to anyone, anything, or any one particular place. While I struggled throughout the film to even pinpoint why Mati would even give this stiff floating log the time of day. While it's understandable that it seems to be a cliched approach that all beautiful women at one point go slumming, or choose to be someone, even if albeit briefly, that is the complete opposite of what they are. Despite this, while there are so many sparse scenes while Klinger is desperately trying to achieve the "artsy" ilk, there are scenes that just make it so hard to believe that these people would ever even consider being together. Mati chooses to continue to speak to him despite an awkward tussle in the street, leading to Jake slapping her. Why would she then willingly meet up with him, when Jake tries to snake his way back into her life years later. Then there's the whole Jake being the third wheel when Mati's actual boyfriend shows up a few days after their one night stand and he creepily stalks her and hangs out in her apartment.
There are just so many oddities about this relationship and Klinger tries too hard to have a cliched story where he's also trying to be artistic. He wants to take on the classic 1920's-1930's European classics, such as Fellini and put a new updated spin while also using the classic film techniques but really falls short. Klinger bites off far more than he can chew and really not achieve in the 76 minute film.
I give Klinger credit for wanting and utilizing a variety of different types of film. In this day in age, it's easier and often cheaper to go in the way of digital, but it's refreshing to still have some artists take on the film concept. The film is shot in three different sections, and is shot in 35 mm, 16 mm and Super 8 mm. The different types of film was what I felt the only redeeming quality of the film. The first section is from Jake's point of view. The second is from Mati's point of view, and then the third section of the triptych approach is how the night in question actually occurs from the outsider view. While the triptych approach is interesting and ambitious, it's a skill set that a novice film maker should not necessarily tackle unless they have a very good editing team, which Klinger did not. In addition, in each sections, you have various random scenes in each sections of the Jake and Mati's life.
The screening I had gone to, had a q&a session with Klinger and most viewers esstially ripped the movie to shreds, as there was no real semblence of why these two would ever get together. It would have been more interesting if we had the final section of the movie, and no dialogue after that, more just music and montages of the night and life after, and the approach would have been far more effective.
Porto, a film in three parts focuses on the one night stand between Jake, a jack of all trades, master of none type of person, and Mati, a budding grad student studying in Porto, the city where Jake just happens to be living and working at the time being. Jake is the relateable character for me, as he has no real set directions in life, or any real semblance of what direction he wants to take work wise. He works merely for the sake of needing to live. He's a groundskeeper of sorts at an archeology site, where one of Mati's classes visits one afternoon by chance. They eye each other, but nothing amounts. They then see each other at the same train station, and then happen to meet in the same cafe.
The movie itself seems to struggle in the budding and fizzle of this relationship. Mati, a woman of the world, the only thing the two seem to have in common is that at that sheer moment, that the couple didn't want to be tied to anyone, anything, or any one particular place. While I struggled throughout the film to even pinpoint why Mati would even give this stiff floating log the time of day. While it's understandable that it seems to be a cliched approach that all beautiful women at one point go slumming, or choose to be someone, even if albeit briefly, that is the complete opposite of what they are. Despite this, while there are so many sparse scenes while Klinger is desperately trying to achieve the "artsy" ilk, there are scenes that just make it so hard to believe that these people would ever even consider being together. Mati chooses to continue to speak to him despite an awkward tussle in the street, leading to Jake slapping her. Why would she then willingly meet up with him, when Jake tries to snake his way back into her life years later. Then there's the whole Jake being the third wheel when Mati's actual boyfriend shows up a few days after their one night stand and he creepily stalks her and hangs out in her apartment.
There are just so many oddities about this relationship and Klinger tries too hard to have a cliched story where he's also trying to be artistic. He wants to take on the classic 1920's-1930's European classics, such as Fellini and put a new updated spin while also using the classic film techniques but really falls short. Klinger bites off far more than he can chew and really not achieve in the 76 minute film.
I give Klinger credit for wanting and utilizing a variety of different types of film. In this day in age, it's easier and often cheaper to go in the way of digital, but it's refreshing to still have some artists take on the film concept. The film is shot in three different sections, and is shot in 35 mm, 16 mm and Super 8 mm. The different types of film was what I felt the only redeeming quality of the film. The first section is from Jake's point of view. The second is from Mati's point of view, and then the third section of the triptych approach is how the night in question actually occurs from the outsider view. While the triptych approach is interesting and ambitious, it's a skill set that a novice film maker should not necessarily tackle unless they have a very good editing team, which Klinger did not. In addition, in each sections, you have various random scenes in each sections of the Jake and Mati's life.
The screening I had gone to, had a q&a session with Klinger and most viewers esstially ripped the movie to shreds, as there was no real semblence of why these two would ever get together. It would have been more interesting if we had the final section of the movie, and no dialogue after that, more just music and montages of the night and life after, and the approach would have been far more effective.
Monday 26 February 2018
Cage Fighter
Cage Fighter is Jeff Unay's 2018 documentary that focuses on the life of Joe Carman, a family man, who continuously breaks his promise to stop MMA cage fighting. Carman, is forty years old, with a sickly wife, and four daughters. He claims he finds that the only way he can feel proud of himself beyond creating his four daughters, is to be a MMA fighter. Fighting for him, is a self justification of his own self worth. The documentary focuses on whether or not the fighting is worth risking his marriage, family and health in order to come to terms with his troubled past.
I went into this movie with the pretense it was going to be similar to the ilk of the Rocky series, or Southpaw. Despite my lack of proper research of the film, I was presently surprised with the raw family life presented in this documentary. While I enjoyed the raw approach and the underdog old fighter, the smaller changes and discussions between Carman and his rival, and trainer, were scenes I thought added a life breath to the 80 minute documentary.
Unay takes on the fly on the wall approach. While there isn't much background going into the film, or much info given on how the family progressed after Carman's ultimate choice to turn down a fight. This is one of my biggest negatives of the film. I would have liked a bit more premise going into the film. Many of the scene of Joe interacting with his wife and daughters were arguments that never achieved any real discourse of why Carman could never seem to give up the fight that is more for his own challenge vs. his family's fight.
As someone whom has recently been watching a fair amount of older films in order to school my understanding of film developments, I can appreciate a film that raises more questions that it answers. With Cage Fighter, I find that it didn't really take any approach to answer any questions. Instead, as a viewer, like his daughters, you begin to understand that fighting to a certain degree will always be a part of Joe's life, I think the movie would have drastically been improved if there was some form of answers given to justify the fly on the wall approach as well as the strains the viewer continues to watch without much answered.
Despite my frustrations with the vague approaches, I appreciate Unay's approach in the "Common Joe" who doesn't have much going for him, and even with the potential of giving up fights, small windows and doors that open for Carman. Carman is not your typical Rocky. He doesn't come out on top, but must find ways to be happy with solutions in order to include his solace to be able to enjoy life and family.
Among the Gods: Two Worlds
Among the Gods: Two Worlds is a 2017 movie out of South Korea. The movie is based upon the highly popular webcomic of the same name. The South Korean movie, Along with the Gods, begins when Firefighter Ja-hong sacrifices himself to save a young girl. His death is only the beginning of his journey, to determine whether or not he is virtuous enough to be granted the rare shot of being reincarnated.
The journey is spearheaded by a stoic lawyer, impertinent security expert, and a kind hearted assistant. The quad group progresses through the seven different trials concerning Ja-Hong's life on earth. Some of the topics of the trials range from violence, family piety, deaths, and injustice. His journey through these trials are complicated by the relationships with his mute, destitute mother and his vengeful soldier brother.
Many of the references and periodic tongue and cheek dialogue throughout the movie, much of the film is based on some common Asian myths. It is helpful having some idea of these prior to viewing but at the same time, the myth. While it is typically common for Asian films to be lengthy and overdone, Among the Gods was certainly nothing short of such concepts. Laden with CGI and it's easy to see that the actors spent much of the time filming the movie in front of green screens, part of me still had an enjoyment of the film. While I could see many underlying tones of the popular Chinese story of the Monkey King, many of the popular Asian myths were so prevalent thematic wise that at times, it was too much.
Certainly this is a film you wouldn't go to specifically for the merit of the work, or story-line. The plot and script if it had been pared down to a certain extent would have created a more appealing movie, but I enjoyed it to extent, as it was a nice wistful experience of my time living in China, and the over done movies that typically were screened or playing in various restaurants, background destresser noise in my apartment, or hospitals. The film is heavy handed with it's CGI, and overly done visual effects and is the complete opposite of many of the traditional art house movies I've screened at the Parkway theater in Baltimore. While I appreciate the plot and storyline that was developed in some areas, many other areas were thrown in merely to get to the seven seperate trials and side stories to get to those points.
I would be curious to track down the webcomic to see how much of it was true to the original comic, if the comic was as scattered with plot twists and story developments.
The journey is spearheaded by a stoic lawyer, impertinent security expert, and a kind hearted assistant. The quad group progresses through the seven different trials concerning Ja-Hong's life on earth. Some of the topics of the trials range from violence, family piety, deaths, and injustice. His journey through these trials are complicated by the relationships with his mute, destitute mother and his vengeful soldier brother.
Many of the references and periodic tongue and cheek dialogue throughout the movie, much of the film is based on some common Asian myths. It is helpful having some idea of these prior to viewing but at the same time, the myth. While it is typically common for Asian films to be lengthy and overdone, Among the Gods was certainly nothing short of such concepts. Laden with CGI and it's easy to see that the actors spent much of the time filming the movie in front of green screens, part of me still had an enjoyment of the film. While I could see many underlying tones of the popular Chinese story of the Monkey King, many of the popular Asian myths were so prevalent thematic wise that at times, it was too much.
Certainly this is a film you wouldn't go to specifically for the merit of the work, or story-line. The plot and script if it had been pared down to a certain extent would have created a more appealing movie, but I enjoyed it to extent, as it was a nice wistful experience of my time living in China, and the over done movies that typically were screened or playing in various restaurants, background destresser noise in my apartment, or hospitals. The film is heavy handed with it's CGI, and overly done visual effects and is the complete opposite of many of the traditional art house movies I've screened at the Parkway theater in Baltimore. While I appreciate the plot and storyline that was developed in some areas, many other areas were thrown in merely to get to the seven seperate trials and side stories to get to those points.
I would be curious to track down the webcomic to see how much of it was true to the original comic, if the comic was as scattered with plot twists and story developments.
Sunday 25 February 2018
A Fantastic Woman
A Fantastic Woman is Chile's submission for the 2018 Academy Awards for best foreign language film. Recently I got into a discussion with someone about the foreign language category. Mostly due to the concept that this year is the first year that there's a "foreign film" that is in the main stream categories, of best picture and best actor and supporting actor. While I have seen many foreign films of a variety of skill sets this year, I'd certainly say that this one could easily fit into the category of one of the best ones I've seen in awhile.
Maria, a young woman has fallen in love with an older man, Orlando. We are introduced to their life and relationship as they are celebrating Maria's birthday and budding into the stage of moving in together. Upon returning to their apartment for the evening, and after going to sleep, Orlando wakes up not feeling well. Struggling to determine the source of the pain, Maria fixes to take him to the hospital. While waiting for Maria to come out of the apartment, Orlando goes into the stairwell and falls down two flights of stairs, cutting his head badly in the process.
Upon reaching the hospital, the emergency room works to find the source of Orlando's pain. A nurse eventually comes out to notify Maria, that while trying to help him, Orlando had died. In shock, Maria, contacts one of Orlando's sons, Gabo. He tells her to stay there and to not contact the rest of the family. Maria flees from the hospital, only to be picked up and returned by police officers to the hospital. It is then that viewers become more aware of the nature of Maria and Orlando's relationship.
Maria, is questioned at the hospital revealing that she is a trans-gendered woman. The movie then embarks on the quest Maria begins to properly say goodbye to Orlando and begin to move on. I found that the film takes on many sides of the transgender argument, many of Orlando's family raising questions about the nature of the relationship, fear of the other, while Maria's family tries to get her through the harsh realities of losing her loved one, her dog, not being able to attend the funeral, and being thrown out of her apartment. It's a film that takes on many of the arguments many nations are facing, and entwines it with the beauty of merely wanting to exist and love.
The music is haunting and helps evoke strong feelings in most scenes. I found the most tender scenes to be when Maria goes for a music lesson, and when she preforms. Daniela Vega, who plays Maria, a trans-gendered woman herself, brings a nuanced and touching performance to the screen of dealing with death and hatred. One of first movies I've seen on the subject and thought it was a touching, well thought out approach to the subject.
Maria, a young woman has fallen in love with an older man, Orlando. We are introduced to their life and relationship as they are celebrating Maria's birthday and budding into the stage of moving in together. Upon returning to their apartment for the evening, and after going to sleep, Orlando wakes up not feeling well. Struggling to determine the source of the pain, Maria fixes to take him to the hospital. While waiting for Maria to come out of the apartment, Orlando goes into the stairwell and falls down two flights of stairs, cutting his head badly in the process.
Upon reaching the hospital, the emergency room works to find the source of Orlando's pain. A nurse eventually comes out to notify Maria, that while trying to help him, Orlando had died. In shock, Maria, contacts one of Orlando's sons, Gabo. He tells her to stay there and to not contact the rest of the family. Maria flees from the hospital, only to be picked up and returned by police officers to the hospital. It is then that viewers become more aware of the nature of Maria and Orlando's relationship.
Maria, is questioned at the hospital revealing that she is a trans-gendered woman. The movie then embarks on the quest Maria begins to properly say goodbye to Orlando and begin to move on. I found that the film takes on many sides of the transgender argument, many of Orlando's family raising questions about the nature of the relationship, fear of the other, while Maria's family tries to get her through the harsh realities of losing her loved one, her dog, not being able to attend the funeral, and being thrown out of her apartment. It's a film that takes on many of the arguments many nations are facing, and entwines it with the beauty of merely wanting to exist and love.
The music is haunting and helps evoke strong feelings in most scenes. I found the most tender scenes to be when Maria goes for a music lesson, and when she preforms. Daniela Vega, who plays Maria, a trans-gendered woman herself, brings a nuanced and touching performance to the screen of dealing with death and hatred. One of first movies I've seen on the subject and thought it was a touching, well thought out approach to the subject.
Tuesday 6 February 2018
Hostiles
Hostiles, a 2017 Scott Cooper movie came to Baltimore in late January 2018. Scott Cooper I find tends to take on a variety of human interest stories of leads with a notorious past and a questionable future, but has more of a vague approach to plot lines, rather than neatly packing up his story lines. Hostiles is no different in this respect, however takes on much of the potential positive change in the lead, as seen similarly in Crazy Heart. Other of his films, Crazy Heat, Out of the Furnace, and Black Mass have a good build up to Hostiles, which I think is one of Cooper's better approaches in film. This also, was Cooper's second film project with Christian Bale as a lead role.
Hostiles, like Black Mass, tackles a more historical approach. While Black Mass, was more a biopic approach, Hostiles was more of a historical fiction approach. The film is set in 1892, in New Mexico and Montana. Legendary Army Captain Joseph Blocker must complete one final mission before he can retire. He is to escort a dying Cheyenne war chief and his family to their tribal land. Blocker assembles a team to assist in the journey from Fort Berringer, New Mexico, to the Great Bear Valley grasslands of Montana. Early in their expedition, the corps encounter a young widow whose family was killed on the plains. Blocker takes her into his corps of travelers, as they try to survive the punishing landscape, and hostile outliers and Comanches migrant tribes.
I had a variety of sentiments about this film. As someone whom has been reading a lot recently on native tribes of the southwestern regions, I know the Comanches were originally a tribe of indigenous people to that region, many of these migrant and hostile tribes had left the regions Blocker and his men traveled as of the 1850's. While it's not too far off date wise (not quite 50 years), and it's a work of historical fiction, the little details still matter, especially if it's going to be a topical regular theme in the movie.
Many western type movies have the classic, predictable approach of how native Americans are either complete blood thirsty savages, or stoic sages that don't say much but a few harrowing points. While at many points throughout this movie, Hostiles, unfortunately was no different. In that sense, this film fell short a bit. There is a middle ground with a lot of tribes, but this was lost in translation with the film, as most of the character development growth came from the men taking the family back to their tribal land. The backstory of the chief had presented some potential harshness to his past, but the film failed to explore the topic of change much beyond a few short discussions.
I appreciate the development of Blocker becoming more sympathetic to the native tribes, but part of me wonders about the time frame in the change in his character development. For the late 1800's and even today, there is still much of a misunderstanding of many of the native cultures. The DPAL pipeline discussion, or the lack there of, goes to show you there has not been much change in the treatment of many of the native cultures. While it is refreshing to have Cooper approach the change in attitudes towards the native tribes, I find it hard, that a mere few months of these relationships that this would have drastically changed Blocker's outlook, and that of some of his companions traveling with them to Montana. The start of the movie saying he had a strong aversion to native tribes and the sheer force needed to get Blocker to merely take this mission, and a complete 180 in thought process. Despite this being an issue, there were some scenes that I found worth screening in the movie, the offering of the tobacco to the chief; Blocker and the chief saving the chief's family from the voyageurs; returning to the native land. I just felt there could have been more to tie these well intended and well acted scenes to the overall development of the story line without it being as preachy.
For me, the driving force was the music and the cinematography. Unfortunately with the ease of CGI, many of our current films take the easy computer generated route out. Murder on the Orient Express is a perfect recent example of the overuse of CGI for natural sunset and mountain scenes. If you are given a beautiful but harsh landscape to work with, there are so many things that you can do, without the need to overly edit the sky or natural beauty. Cooper, however, used much of natural light scenes, and the natural, harsh beauty of the landscape he was filming in. Many of these landscape shots were reticent of the natural light seen in 2015's The Reverent. There were many scenes that were well worth seeing on the large screen: Sunsets, horses, grasslands, mountains, rock formations.
Music was also a driving force of the story line. A mix of the classic western twang, there was also a good collection of native music that was used. The 135 minute film had minimalist dialogue and much of the well done cinematography was well matched with music.
Hostiles, like Black Mass, tackles a more historical approach. While Black Mass, was more a biopic approach, Hostiles was more of a historical fiction approach. The film is set in 1892, in New Mexico and Montana. Legendary Army Captain Joseph Blocker must complete one final mission before he can retire. He is to escort a dying Cheyenne war chief and his family to their tribal land. Blocker assembles a team to assist in the journey from Fort Berringer, New Mexico, to the Great Bear Valley grasslands of Montana. Early in their expedition, the corps encounter a young widow whose family was killed on the plains. Blocker takes her into his corps of travelers, as they try to survive the punishing landscape, and hostile outliers and Comanches migrant tribes.
I had a variety of sentiments about this film. As someone whom has been reading a lot recently on native tribes of the southwestern regions, I know the Comanches were originally a tribe of indigenous people to that region, many of these migrant and hostile tribes had left the regions Blocker and his men traveled as of the 1850's. While it's not too far off date wise (not quite 50 years), and it's a work of historical fiction, the little details still matter, especially if it's going to be a topical regular theme in the movie.
Many western type movies have the classic, predictable approach of how native Americans are either complete blood thirsty savages, or stoic sages that don't say much but a few harrowing points. While at many points throughout this movie, Hostiles, unfortunately was no different. In that sense, this film fell short a bit. There is a middle ground with a lot of tribes, but this was lost in translation with the film, as most of the character development growth came from the men taking the family back to their tribal land. The backstory of the chief had presented some potential harshness to his past, but the film failed to explore the topic of change much beyond a few short discussions.
I appreciate the development of Blocker becoming more sympathetic to the native tribes, but part of me wonders about the time frame in the change in his character development. For the late 1800's and even today, there is still much of a misunderstanding of many of the native cultures. The DPAL pipeline discussion, or the lack there of, goes to show you there has not been much change in the treatment of many of the native cultures. While it is refreshing to have Cooper approach the change in attitudes towards the native tribes, I find it hard, that a mere few months of these relationships that this would have drastically changed Blocker's outlook, and that of some of his companions traveling with them to Montana. The start of the movie saying he had a strong aversion to native tribes and the sheer force needed to get Blocker to merely take this mission, and a complete 180 in thought process. Despite this being an issue, there were some scenes that I found worth screening in the movie, the offering of the tobacco to the chief; Blocker and the chief saving the chief's family from the voyageurs; returning to the native land. I just felt there could have been more to tie these well intended and well acted scenes to the overall development of the story line without it being as preachy.
For me, the driving force was the music and the cinematography. Unfortunately with the ease of CGI, many of our current films take the easy computer generated route out. Murder on the Orient Express is a perfect recent example of the overuse of CGI for natural sunset and mountain scenes. If you are given a beautiful but harsh landscape to work with, there are so many things that you can do, without the need to overly edit the sky or natural beauty. Cooper, however, used much of natural light scenes, and the natural, harsh beauty of the landscape he was filming in. Many of these landscape shots were reticent of the natural light seen in 2015's The Reverent. There were many scenes that were well worth seeing on the large screen: Sunsets, horses, grasslands, mountains, rock formations.
Music was also a driving force of the story line. A mix of the classic western twang, there was also a good collection of native music that was used. The 135 minute film had minimalist dialogue and much of the well done cinematography was well matched with music.
Lover for a Day
Lover for a Day, is a 2018 movie out of France. Phillipe Garrel tackles the concept of love and relationships in this short 76 minute feature film. Jeanne, a 23 year old moves back in with her father after a harsh break up to discover that he is dating a graduate student of the same age as her.
While Garrel, attempts to tackle much of the commentary seen in many Woody Allen films, I think this was more of why I just couldn't seem to sink my teeth in the movie. Where it lacks in sarcastic New York dialogue, the movie makes up for in the stark contrast of light, in the black and white and focus on physical lines of windows, stair cases, doorways, bookcases.
I was far more fascinated by the framing of the scenes than I was of the dialogue or the odd triangle dynamics of the crammed French apartment. As a result, questions of fidelity arise and what individuals bring together in a relationship, whether it be family, friends or intimate. While it was titled Lover for a Day, I went in thinking it would be more a film that questions the May-December type romances, but rather focuses more on the odd subordinate budding friendship relationship between the daughter and graduate student. Ironically enough, this was the only relationship throughout the film that was able to hold my interest.
I found that this film was fairly predictable in the sense, in which relationships were going to last and which ones weren't. It also seemed like nothing new to the romantic comedy approach. Ordinary people trying to being ordinary, but somehow managing to really screwing up every decent relationship. Despite this, it does raise questions on how truthful an individual is towards what they claim they want in existing relationships, whether it be a romantic relationship or not. While, early on in the movie, questions and answers were given on a few different notes. While originally, the idea of potentially exploring other side pieces, was discussed, this was the ultimate demise of everyone's concept of relationships. While Jeanne is trying to win her father back in a more focused attempt in solving her life's drama, scenes do become resonate of vindictive behavior of Allen's films that women can only serve as pawns in a man's world. I have never been a fan of Allen's films, and I think as a result, I just couldn't grasp Garrel's artistic approach, as it seemed far to similar.
While Garrel, attempts to tackle much of the commentary seen in many Woody Allen films, I think this was more of why I just couldn't seem to sink my teeth in the movie. Where it lacks in sarcastic New York dialogue, the movie makes up for in the stark contrast of light, in the black and white and focus on physical lines of windows, stair cases, doorways, bookcases.
I was far more fascinated by the framing of the scenes than I was of the dialogue or the odd triangle dynamics of the crammed French apartment. As a result, questions of fidelity arise and what individuals bring together in a relationship, whether it be family, friends or intimate. While it was titled Lover for a Day, I went in thinking it would be more a film that questions the May-December type romances, but rather focuses more on the odd subordinate budding friendship relationship between the daughter and graduate student. Ironically enough, this was the only relationship throughout the film that was able to hold my interest.
I found that this film was fairly predictable in the sense, in which relationships were going to last and which ones weren't. It also seemed like nothing new to the romantic comedy approach. Ordinary people trying to being ordinary, but somehow managing to really screwing up every decent relationship. Despite this, it does raise questions on how truthful an individual is towards what they claim they want in existing relationships, whether it be a romantic relationship or not. While, early on in the movie, questions and answers were given on a few different notes. While originally, the idea of potentially exploring other side pieces, was discussed, this was the ultimate demise of everyone's concept of relationships. While Jeanne is trying to win her father back in a more focused attempt in solving her life's drama, scenes do become resonate of vindictive behavior of Allen's films that women can only serve as pawns in a man's world. I have never been a fan of Allen's films, and I think as a result, I just couldn't grasp Garrel's artistic approach, as it seemed far to similar.
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