Log: week 44 / 2023

Lydia Tár is a famous composer/conductor. She is one of the most renowned people in her field, but she lives in a bubble and her success requires her to have a cut-throat mentality. Her past comes back to haunt her when news breaks that one of her former protégés committed suicide.

Blanchett's performance is okay and the direction has a few inspired moments, but the better part of the film is pretty basic and expected. I didn't care much for the characters, the drama, or the self-aggrandizing scene this story takes place in. The 2.5+ hour runtime just made it that much worse.

The title is pretty self-explanatory. 25 directors from 25 different European countries were given the chance to direct a short film about Europe. They were given free rein, which means you'll find many different ideas and approaches here, though few are actual straightforward narratives.

There are some pretty familiar and respected names (Tarr, Boe, Greenaway), but most of the directors are pretty niche and have limited appeal outside of their bubbles. There's a handful of memorable shorts, the rest is pretty forgettable, but it's at least quite varied and the shorts are well short, so it never gets too dull.

Paul's daughter is still in therapy after what happened to her in New York, but when some lowly muggers nick Paul's wallet and decide to visit his home address, she gets kidnapped once again. While trying to flee she accidentally kills herself, so Paul has no choice but to retreat into vigilante mode a second time.

Bronson is an old man, who lacks the agility, posture, and even charisma to make his part work. The rest of the cast is on the same level, the presentation is bland and the plot is generic. At least the setup is efficient, and the revenge feels warranted, so that part of the film kinda works. Slim pickings though.

Maia lives in Montreal and raises her daughter as a single mother. Right before Christmas, a mysterious box arrives at her doorstep. it contains memories of her past she'd rather not revisit, but her daughter wants to know more about her mom's history. Through notes, recordings, and pictures, she travels back in time.

I liked the first half of the film, as it was slightly lighter in tone and a bit more frivolous in its presentation. The second half focuses more on drama and things get more sullen as time passes. Overall, it's not a bad film, just not one I won't remember for long, there's just not enough that grabbed my attention.

Neville is a young artist who is commissioned by a wealthy landowner's wife to make some drawings of the real estate. Her husband is away and besides a hefty payslip, Neville also serves as a sexual toy for the misses. He feels like he has the situation under control, but he still gets caught in a web of intrigue.

The film isn't too serious (though I wouldn't call it an outright comedy), the cinematography is pretty remarkable and while there are still many typical elements of the costume drama present, the film never feels stuffy or outmodish. It's far from a personal favorite, but a lot better than the norm.

Amy grows up in a traditional African family, taking care of her brother. When she sees some of her classmates rehearsing for a dance competition, she becomes infatuated with their world. She wants to be a part of their group, and she becomes friends with one of the girls who lives in her building.

The girls are great, the setting is perfect for the story and Doucouré's direction is playful and honest, without ever feeling exploitative. The conservative pushback this film has gotten (mostly after this film was released on Netflix US) is completely underserved. It's not a very remarkable film otherwise, but it does justice to its central theme.

Eva returns to her hometown when a party is set up in memory of one of her old friends. Going back isn't easy, as the town left her with deep scars, but Eva feels ready to face her traumas. The town harbors dark secrets, as neglect and outward appearance were deemed more important than justice.

The performances are solid, and that particular small-town Flemish vibe is present, but Baetens never reaches beyond the expected. I didn't care much for the Festen-like speech at the end (which was added for the film apparently) and the big traumatic finale lacks cinematic prowess. It's not a bad film, just a little plain and basic.

Neve is a black woman living in a wealthy rural village. She has done her best to adapt to her white neighborhood, and she is quite content with her life. Still, she fears something might upset the life she has fought so hard for. When two black kids appear in town, Neve's life is about to take a turn for the worse.

It's clear from the start that the lead character is hiding something, and her lingering fear and frustration make for an antsy experience. The twists are good, the ending is fitting and the presentation is slick. I had a lot of fun with this film. Not sure why it has such a bad rep, but if you like a film with high-strung nerves, just give it a go.

An aged, reclusive movie star is thought to be dead. But wants to find her way back into the spotlight. She entices a movie producer to hire a writer and send him to the island she lives on to work on her comeback movie. As the two spend some time together, it quickly dawns on the writer that nothing is what it seems.

It's an ambitious film, which many parallels to draw to other films and genres, but in the end its TV roots keep it from achieving anything too out of the ordinary. The meta element is fun, there are some funky visual experiments and the pacing is slick, I just wish Obayashi had more time and resources to do justice to the material.