The chronicle of a girl who decided to become a transgender man and learned to express himself and overcome his tribulations through art.
Show me a person who claims they have no skeletons in their closet and I’ll show you a liar.
Writer/director James Land follows his fellow Devonian Kay Jane Browning who got mocked, bullied, and beaten up as a little girl only to grow up a proud young man who transcended both genders’ limitations, and became a person of his own; an artist.
It doesn’t take money to tell your story. It takes to be truthful to it. It takes to say it out loud to feel liberated. Let haters laugh at you, among others, they are only shameful, dishonest, and deceiptive. Because the rest of the world will follow you, engage with you, and give you a standing ovation for who you really are. Hats off to both James and Kay for bringing this story to the surface. You can find it here: https://www.facebook.com/TheArtofMyScars/
Watching Kay’s story, I couldn’t help but wonder, is it our generation who’s gonna put an end to discrimination? Against people who just look different than we are. Against people who are physically and/or mentally attracted to whoever they choose to? Against people who just happen to believe in something different than we do? Is it gonna be us who’s gonna make this world welcome to EVERYONE?
Show me a person who found the courage and strength to reveal their skeletons in their closet and I’ll show you a hero.
Things take an unexpected turn for a family after a young man sees his older brother getting abducted and comes back days later with no memory of what happened, acting like a different person.
Narrative like only the Koreans know how to develop. Dramaturgy that knows no boundaries and is unconditionally unleashed to shock you to your core. Huge comeback from writer/director Hang-jun Jang who seems like not taking particular interest in the film industry. Regardless of the reasons, and even though it flew a bit under the radar, Forgotten is the type of film that will get your undivided attention. You cannot miss a thing otherwise you’ll have even more questions. Very intricate with numerous twists and turns, Forgottendoes not hold any punches. It might not be Oldboy (2003) but it will definitely keep you on the edge of your seat.
The South Korean film industry (Hallyuwood, informally) is a dominant player in the market. Partially, yes, because the government is heavily investing in it but also due to the produced films’ impact globally. Money might open a plethora of doors but it is the sheer talent that walks such filmmakers through them, stirring the focus once more towards the beautiful artistic side of the industry and taking it away from the ugly scandalous one that we have all had enough with.
P.S. I didn’t know it was a Netflix film until I accidentally stumbled upon the information on IMDb – no logos in the opening or closing credits.
P.P.S. That’s for you cuz! Thanks for the recommendation!
P.P.S. Jiyoung, if you haven’t watched it, I highly recommend it. If you have, why didn’t you tell me about it??? 🙂
Two children are snowed in at a remote lodge with their soon-to-be stepmom who, when strange occurrences start happening, her dark past resurfaces.
Where did that come from?! The Lodge skipped the radars and out of the blue appeared to catch you off guard and restore your faith in the horror genre. The first act’s inciting incident will move the story forward by taking your breath away (I wish I could tell you more). The claustrophobic mise-en-scène will give you no choice but to get trapped in the lodge with them. No cheap jump scares here. Just pure psychological horror! A must-watch for every horror fan!
The amazing Riley Keough has exceptional chemistry with Jaeden Martell and Lia McHugh, delivering bone-chilling performances. I just wish Alicia Silverstone had more screen time. A huge round of applause goes also to writer Sergio Casci and writers / directors Severin Fiala and Veronika Franz who brought us the also shocking horror Goodnight Mommy (2014).
Gary, mate… you’re gonna love this one!
Ioanna mou, I wish I was there to watch it with you.
“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.
Below you can find my analysis on some films we loved so much – or not – that we turned the blind eye to their plot holes. Hint: One is definitely not one of my favourites, and another actually has not a plot hole…
Strange occurrences start happening when an orchestra conductor decides to move on with his life after his girlfriend ostensibly split up with him and suddenly disappeared.
Before I start saying anything, I want you to know that I was skeptical for the first half an hour. A skepticism that faded away past the first act.
It’s been years since I wanted to watch it and I’m glad I finally got the time. I’ll start with the acting which is shockingly convincing. Excellent job by all actors and actresses who convey the drama, the thrill and the horror portrayed, especially Clara Lago. Director Andrés Baiz handles the story cautiously through very restricted narrative so he doesn’t reveal the inciting incident until the time is right. And when he does, he makes sure that, through the editing, all information is very tightly revealed for what is about to happen. Of course, the round of applause starts with Hatem Khraiche’s suspenseful story.
If you are wondering why I was skeptical in the beginning of the film, I will only say that if past events are integral to the story and will be revealed to us anyway, we are accustomed to flashbacks opposed to getting the whole story at once and distract us from the main plot. Only later on it made sense from the editing’s point of view. It might sound incoherent as a sentence now but please watch it – without knowing anything – and think about it.
Years after losing her daughter in a fire, a woman’s mental state takes a turn for the worse when she starts thinking that she is still alive. Have you ever started watching a film not knowing anything about it other than something, down the line, somewhere is going to really go sideways and you just don’t know what that is?
Well, Angel of Mine happens to be one of them. A constant agony of what Lizzie (Noomi Rapace) is gonna totally screw up to the highest degree. The success of the film relies on that and it does indeed achieve it. Part of the reason is because kids are involved and part of it is because adults like her are involved.
As the slow-burn escalates, while nothing really substantial happens, you won’t stop wondering how far is she gonna take it?! And then it’s the ending… but I’m gonna leave that up to you. My only comment is that Fatal Attraction (1987) was that successful because of that kind of escalation; that climax. Anyhow, congratulations to both Noomi Rapace and Yvonne Strahovski for their remarkable performances.
Over the years I have convinced myself that a film should not have a single mood from the beginning till the end. Angel of Mine is unsettling and dead creepy throughout. And even though that’s not a plus, the abyss of the human mind, the vastness of its capabilities, the infinite goodness, but also its unfathomable limits to cause pain in any shape or form can be terrifying.
A group of friends gathers to spend a typical “cabin the woods” weekend in a remote area but they discover a phenomenon that will make them descend to paranoia.
Film Industry: One of the most rewarding yet inconsistent industries out there. See director Evan Kelly, for example. After directing The Corridor, his feature debut, he vanished. And the film did actually well. So, why? Shame, whatever the reason may be.
About the film now… A just over an hour and a half Canadian, indie, low-budget, slow-burn thriller which takes half of that time to kick in. Something that begs the question, how much patience do you have? If you do have it, and you watch past the pleasantries at the bonding part, it becomes realistically suspenseful. Everyone reacts to “the corridor” the way you and I, potentially, would have. Until paranoia takes over!
You will not encounter any Hollywood conventions here, something that increases the unpredictability and, consequently, the suspense. The acting though is not favouring the film and, in the end, it looks like the script is losing track of how it started or where it wanted to go. Unfortunately, the photography doesn’t help much either whereas the editing is doing its best to stitch it together.
I know… I started by praising it and then my review went down the hill. I really did like the story but the script’s and the film’s development in the Production stage came out a lot poorer than it was probably intended in Preproduction. So, does it worth your time? I’m not saying you will definitely like it but if you are up for a different cinematic rhythm, cliche-free, then this might be the one you are looking for. Or not. I for one, I’m glad I gave it a chance despite its flaws.
When stories from her childhood years resurface, a woman starts questioning her memories of the summers she spent with her riding instructor and her running coach.
Feature debut from writer/director Jennifer Fox who… dares! She, non-linearly, unfolds her most sensitive part of her life and puts it out there for you and me to witness it. The Tale is a daring yet terrifying case study on memory and how and why it works the way it does. And even though you will not get a straight answer, it addresses age, its relation to the interpretation of time and space, and how everything affects, clouds, and intricately shapes the way we remember things. There have been amazing research topics out there on memory and existence and memory and personality if you want to retrospectively examine your life experiences or test how well you remember situations you claim you do.
Back to the film, Fox’s documentarian expertise shows straight away behind the camera and Laura Dern’s raw talent shines in front of it. Next to her, Common, Jason Ritter, Elizabeth Debicki, Ellen Burstyn and the fantastic Jessica Sarah Flaum create amazing chemistry amongst them. My only dissatisfaction was the somewhat anticlimactic ending, and I know it’s based on Fox’s actual experiences but it’s not a biography so, it could perpetuate the already existing dramatisation to the confrontation part. But that’s just me.
HBO and all cast and crew deserve a huge round of applause. I usually go with “I hope you enjoy it” but, in this instance, I hope you understand it, look back at your own life experiences and wonder from what it is that has driven you to become the person you are today to how many times you have caught yourselves lying to yourselves.
Next time someone asks you: “You know who I am?!”, ask them: “Who are you?”
A pair of bikers show up in a remote Brazilian village, foreshadowing the massacre that isn’t far behind them.
What a concept! And its development is something else! Forget about the classic Hollywood narrative and character development. The built-up and the escalation have a Brazilian signature, one you haven’t seen before. The everyday people, the everyday problems, the everyday average corrupted politician… it’s all there. A brilliant antithesis to modern Hollywood films such as John Woo’s Hard Target (1993) or indie American ones such as Happy Hunting (2017).
Editing-wise, the extensive uses of swipes, dissolves, and flashbacks lead to a non-linear action and a pace that is messing with your mind; not knowing when it’s going to escalate or how it’s going to escalate. Add to that the “who is who” and what everyone is hiding and you get a mixture of Tarantino, DePalma, Carpenter, and Leone wrapped with Brazilian magic in two unforgettable hours! In a classic Hollywood narrative, every incoherence, inconsistency, and discontinuity stands out like a fart in a library. For some reason, watching a film like Bacurau, you pray for more of them.
Jordan, cheers for this suggestion mate! Hope to see you again before you start traveling!
Trying to find their ideal home, a young couple is lured and trapped in a suburban neighbourhood where every house and street is identical and seemingly no way out.
Entirely allegorical, Vivarium joins the club of independent mind-bending films such as Triangle (2009) and Coherence (2013). Does it hit the mark though? It starts by trying to but halfway there it seems that it abandons the idea itself. Based on the short film Foxes (2012), also written and directed by Garrett Shanley and Lorcan Finnegan respectively, its feature adaptation gives the impression of “surrendering”, flattens out until the end of the second act, then it picks up until the end… but the viewer is already “gone” by then. Third collaboration between Imogen Poots and Jesse Eisenberg, showcasing once more the undeniable on-screen chemistry between them.
Personally, I did like it and it did kill some time but when it comes to “Sisyphusean” films, killing some time is just not enough. The end of the second act is worth watching so the toughest part is to try and keep track until then. Maybe not the best film during the quarantine days but if, like me, you are a fan of one-location allegorical thrillers, don’t have any high hopes and give it a shot. You might find yourselves relating to the protagonists more than you expect.