Wounds (2019): Drama / Horror / Mystery

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A world of obscurity and darkness gradually surrounds a bartender after finding a phone left at his bar.

At first, everyone’s merry. People ‘necking’ life in shot glasses seems like the way to go in a world full of worries. Then, different people who don’t belong to that world leave behind this phone which carries… wounds that people from neither world can possibly comprehend. And then, no one’s merry anymore. And then everyone discovers their dark side…

Friends of mine were calling me over the last few months asking me if I have watched Wounds. My response was ‘no, should I watch it?’ and their reply was something along the lines of ‘no, coz it sucks balls!’. What can I say? I’m a bad listener. Or am I? So, I watched it. And so should you. Wounds is based on Nathan Ballingrud’s novella ‘The Visible Filth’ which I’ll be honest with you, I haven’t read so I can’t comment on the adaptation, compare, or contrast it. As a film in itself though, Wounds will get your undivided attention. Do not try to rationalise it. Do not try to give meaning to every word spoken or the staccato editing choices rapidly presented to you. Just watch it looking towards every corner of your screen as the mise-en-scène meticulously frames what you need to know. When, out of the blue, the end credits appear, give it a minute or two to move past the ‘WTF just happened’ feeling, try not to go apeshit as well, and only then start putting things into perspective. And even then, good luck!

Armie Hammer, Dakota Johnson, and Zazie Beetz do a brilliant job in front of the camera. Behind it, Babak Anvari, director of the eerie, paranormal Iranian horror Under the Shadow (2016), shakes hands with Netflix, defies canon and Hollywood’s jumpscares and goes for long tracking shots and slow editing to haunt New Orleans and unify two worlds that should have never been brought together.

 

Sorry to Bother You (2018): Comedy / Fantasy / Sci-Fi

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In a parallel universe, in Oakland, a telemarketer goes from having nothing to having everything to losing it all over again when in reality he had it all, lost it, and then tries to gain it again.

Is it perplexed? So is the film… Before I write any review, I make sure not to read other reviews or critiques so I know for a fact that I am stating my point of view and my point of view alone. “Sorry to Bother You” is “Comedy”, is “Fantasy”, but it is not “Sci-Fi”. It looks like a fresh take on Charlie Kaufman’s way of thinking, topped up with Boots Riley’s unique approach. Before watching it, the range of comments I had heard spanned from “genius” to “moronic” and from “amazing” to “horrendous”. So, chances are that you will either love it or loathe it. Here’s what I think…

Cassius Green represents the number of times you have asked yourself “Why does no one see how wrong the world is”? At first, he sees it. Then he becomes part of it. And then he wakes up, gets out, and does something about it. Lakeith Stanfield is brilliant as Cassius who lives in a surrealistically psychedelic world, like ours, just more artistically – Kaufman-esque – portrayed. Well, in our world, Donald Trump is the President of the United States of America, a laughable joke from “The Simpsons” (1989), so not that much more…

Steve Lift (Armie Hammer) represents the system that feeds off greed. And our ambition to do something more with our lives, and become something better, and change that system, can fool even ourselves and become that very same greed that feeds it.

“Sorry to Bother You” parodies our world not because it wants to undermine it. Boots Riley comprehends the “If you want to tell people the truth, you’d better make them laugh or they’ll kill you” (George Bernard Shaw) mentality, and through a respectful, meaningful, and didactic parable, makes you laugh but also “see” how much work needs to be done so our world can be a tad more understood.

Last but not least, Detroit, who is none other than the one and only, breathtaking, and always a dazzling woman and actress Tessa Thompson represents love. In a subtle and artistic form, she has always been the one to prevent us from going astray and make us become the people that we always hoped we would be.