Rais Bhuiyan in PAIN AND PEACE. Courtesy of Cinequest.
The extraordinary and emotionally powerful documentary Pain and Peace begins with the story of Rais Bhuiyan. In the wake of the 9/11 attacks, an attacker who was looking to kill Muslims, any Muslims, shot two convenience store clerks to death and then entered the workplace of Bangladeshi immigrant Bhuiyan and shot him in the face with a shotgun; Bhuiyan somehow survived and then, perhaps even more remarkably, began a campaign of forgiveness for his perpetrator. What follows is an exploration of forgiveness as a necessary prerequisite to reconciliation and ending the cycle of demonizing other people.
Bhuiyan interviews other survivors of hate crimes, many of the highest profile, like the Georgia church shooting, the Buffalo supermarket shooting, the Orlando nightclub shooting, and more. It’s riveting when they retell their experiences and talk about forgiving their attackers.
Bhuiyan, as a hate crime survivor himself, brings major credibility as an interviewer and is superb as the narrator/guide of the film.
Pain and Peace also introduces us to some perpetrators of hate crimes, and that brings some surprises, too.
Pain and Peace is the first feature for director Mark Feijó.
I screened Pain and Peace for its world premiere at Cinequest. I highlighted it as one of two Must See films in my Best of Cinequest. It’s not very often that I see a movie as potentially life-changing, but this one is.
A scene from Erico Rassi’s SAME OLD WEST. Courtesy of Cinequest.
The contemporary Brazilian western Same Old West begins with two men slugging it out over a woman, before they start hiring gunmen to take out the other. She is the only woman in the film, only on screen for about 45 seconds, and, as one who knows her well observes, she has had bad luck with husbands.
Same Old West takes us into a Brazil that is neither Rio de Janeiro nor the Amazon rainforest. This is a flat and arid land that looks like it could be in Spain, Mexico or the American Southwest. It’s a remote and backward place where hired killers are still call gunmen instead of hit men. The gunmen don’t own a .44 magnum or a Glock or an AK-47 among them – they use their hunting rifles. This is a place where making an escape on horseback is still absolutely normal.
Literally, the plot of Same Old West sounds male-oriented – a bunch of guys hunting each other with gun violence on their minds. But, it’s really about men who have been rejected by women, and their inability to understand it or to move on. They’re aspiring to toxic masculinity, but they’re too laughably pathetic to achieve it. Female audiences will appreciate the sharp critique of maleness at its most dunderheaded.
Same Old West is being characterized as a drama, which isn’t really wrong because it’s about murderous manhunts. But I see it as a dark comedy that skewers male cluelessness. The very sparse and overly formal dialogue, delivered deadpan, is remarkably droll. If you like your humor as dry as the landscape, Same Old West is downright hilarious.
Same Old West is the second feature for writer-director Erico Rassi. It’s a visually striking and richly atmospheric film, with hints of Sergio Leone.
Cinequest hosts the world premiere of Same Old West, which I’ve highlighted in my Best of Cinequest.
A scene from Erico Rassi’s SAME OLD WEST. Courtesy of Cinequest.
Pedro De Tavira (center) in HUMAN RESOURCES. Courtesy of Cinequest.
In the dark, dark Argentinian comedy Human Resources, Gabriel Lynch (Pedro De Tavira) is an alienated office worker, in an absurdly alienating workplace. Gabriel is a low-level supervisor on an anonymous lower floor of a corporate hive with too many layers of management and an oppressive, top-down culture. It’s also oversexed, with a carousel of Inappropriate office liaisons. And, we’ll soon see, is shockingly tolerant of what we would see as the most horrifying workplace violence.
Gabriel, an Iago with a sick sense of humor, begins a ruthless, unhinged campaign against those who offend him. Alienation leaks out in how her treats everyone. Mischievous, mean-spirited and completely unashamed, he’s very fun to watch. And, as venal as Gabriel is, he is matched, step-for-step, by Veronica from Finance (Juana Viale).
Around the 41-minute mark, Gabriel makes his grievance explicit (followed by a great drone shot)
“I’ve lived like the secret son of a king for a long time, waiting for a courtier to rescue me. Of course, nobody rescued me. Nobody rescues anybody.”
Human Resources is the creation of writer-director Jesús Magaña Vázquez. I’ve rarely seen a more cynical comedy.
Cinequest hosts the US premiere of Human Resources, which I highlighted in my Best of Cinequest.
I love the Spanish language trailer, even without English subtitles:
Megan Seely in PUDDYSTICKS. Courtesy of Cinequest.
In the good-hearted and original comedy Puddysticks, Liz (Megan Seely) is a puddle of anxiety. She is a workaholic game developer for an enterprise whose company culture, despite its mission statement, could not be more anti-fun.
Liz stumbles on a self-help group, led by the ever blissed-out Sylvester (Dan Bakkedahl of Veep, Sword of Trust), where each participant must reveal their innermost secret. It’s cultlike and filled with psychobabble, but it seems to work for Megan and the others. And then Megan learns someone else’s secret…
Puddysticks is a scathing satire of tech workplace culture and the self-help movement, somehow without a hint of meanness.
Puddysticks is written and directed by Megan Seely (who also stars) in her first feature. Cinequest hosts the world premiere of Puddysticks.
Aylin Tezel and Chris Fulton in FALLING INTO PLACE. Courtesy of Cinequest.
The absorbing Scottish romantic drama Falling into Place begins on the Isle of Skye when two visiting London creatives meet outside a rowdy pub and flirt. Kira (Aylin Tezel), a theater set designer, is on holiday. Ian (Chris Fulton), a musician, has grown up on Skye and intends to shoehorn in an infrequent visit with his family. Kira is trying to get beyond a recent breakup, while Ian’s relationship is in its final throes.
When Kira hears that Ian has a girlfriend, she puts in the brakes, but she’s drawn enough to Ian that she accompanies him as he faces some family drama. Then, Kira and Ian return separately to London. The audience soon wants these two to get and stay together, but they’ll need to get past some trauma in Ian’s family, his current romantic entanglement, Kyra’s feelings for her ex, an attractive boss with his eyes on Kira and some bad timing.
Utterly devoid of the tropes in conventional movie romances, Falling into Place is profoundly authentic. This is the first feature for German-born writer/director Aylin Tezel (who also stars as Kira), and it’s a very strong and promising debut. As a director, she paces Falling into Place perfectly, keeping us eagerly engaged as the threads if Kira and Ian meet and part and meet again. She is especially adept directing the scenes in the Isle of Skye bar and the London art gallery opening, with lots of moving bodies and ambient sound. But it’s Tezel’s screenplay, without a single false note, that really soars.
I screened Falling Into Place for its US premiere at Cinequest.
Carrete in QUIXOTE IN NEW YORK. Courtesy of Cinequest.
The charming documentary Quixote in New York follows the 82-yer-old Spanish flamenco dance master El Carrete, who wants to cap his career by performing in a major NYC theater. It’s not that easy to mount a theater production, and he doesn’t have unlimited time to pull it off.
El Carrete himself is a hoot, funny AF and even makes rehearsals fun for everybody. Director Jorge Peña Martín has the good sense to give us a big dose of El Carrete. It’s a well-crafted film, especially the cinematography.
There’s a Can’t Miss seen where El Carrete watches a projection of Fred Astaire dance, and then dances himself in front of the screen, mirroring Astaire’s moves-flamenco-style.
This is an audience-pleaser. Cinequest hosts the US premiere of Quixote in New York.
Carrete in QUIXOTE IN NEW YORK. Courtesy of Cinequest.
Photo caption: Juliette Binoche and Benoit Magimel in THE TASTE OF THINGS. Courtesy of IFC Films.
The French romantic drama The Taste of Things is the story of a man consumed by two passions – an obsession with gastronomy and a profound love for a woman. It’s also one of the mouthwatering movies in the history of cinema.
The man is Dodin (Benoit Magimel), a famous gourmand in 1884 France, a key moment in the history of the culinary arts, when the master French chef Escoffier was still in his 30s. The woman adored by Dodin is Eugenie (Juliette Binoche), not coincidentally his live-in cook.
The Taste of Things begins with a long scene (15+ minutes) as Eugenie leads a team in producing an elaborate garden to table meal, with every ingredient prepared old school, the long and hard way. Fish quenelles are formed by hand, shrimp shells are boiled into a stock, and the quenelles are pached in the shrimp stock. It takes hours for a rack of veal turned into an OMG marvel. It turns out that this is a multi-course feast prepared for Dodin and his chatty four buddies. The guys all fall SILENT when the consommé appears, and then, as the courses pile up, don’t say anything more that isn’t about the meal itself or the history of gastronomy.
The fruit of Eugenie’s labor, exquisitely photographed, are the height of food porn. One highlight is a spectacular vol-au-vent. When Eugenue shows up with a giant croissant-like thing (a giant bioche?) that she and the four buddies dig into with their hands, there were audible gasps from the audience at the screening.
There’s even a scene with a culinary Holy Grail, now illegal in the US, fabled ortolans devoured as per tradition, with the diners’ heads under their napkins. Of course gastronomy, as any human endeavor, can be taken to silly extremes, which is illustrated by a dinner for Dodin and his friends, hosted by a prince under the mistaken impression that more is always better.
Eugenie prepares masterpiece after masterpiece for Dodin until her health falters, giving him the opportunity to express his love by preparing and serving her an even more formidable dinner.
The Taste of Things is a film by writer-director Anh Hung Tran, who certainly knows his way around movie passion and movie foods (The Scent of Green Papaya).
Benoit Magimel and Juliette Binoche in THE TASTE OF THINGS. Courtesy of IFC Films.
It’s always a pleasure to watch the radiant Juliette Binoche, especially when she’s playing an endearing character like Eugenie, who keeps resisting Dodin’s offers of marriage even as she values his culinary partnership and welcomes him into her bed. Their relationship is perfectly summed up in the epilogue when Eugenie asks Dodin a question and receives his answer with bliss. She feels loved – and on her terms.
The Wife liked The Taste of Things less than I did, in part because she was less entertained by the long scenes of meal preparation, which captivated me. (I am The Movie Gourmet, after all.)
We both, however, thoroughly enjoyed the character of the culinary child prodigy Pauline (Bonnie Chagneau-Ravoire), especially her reaction to her first Baked Alaska and her growing into a peer of Dodin’s.
The Taste of Things was France’s submission to the Academy Awards. It’s going on my list of Best Foodie Movies. It’s playing in a few arthouses now; I’ll let you know when it releases on VOD.
Photo caption: Stefan Kurt and Esther Gemsch in GOLDEN YEARS. Courtesy of Music Box Films.
The Swiss dramedy Golden Years begins as Peter (Stefan Kurt) turns 65 and retires. His wife Alice (Esther Gemsch) has been eagerly awaiting this day, which she sees as an opportunity for travel and to rekindle intimacy with Peter. In contrast, Peter doesn’t seem to have been thinking about it at all, but he begins to be consumed with his physical health and suddenly transforms himself into a mountain biking, vegan workout king. Alice wants to downsize, but he wants to stay in their house. Travel doesn’t interest Peter, but he feels trapped into joining Alice on a Mediterranean cruise that their adult children have gifted them.
Esther’s best friend unexpectedly dies, and Peter impulsively invites her heartbroken husband to join them on the cruise, which appalls Esther, who wants Peter to herself on the cruise. Esther has read her late friend’s hidden cache of letters and has stumbled on an explosive secret. Esther’s annoyance from Peter’s inattention simmers until it boils over into she staggers Peter by embarking on her own adventure.
Esther Gemsch, Ueli Jaggi and Stefan Kurt in GOLDEN YEARS. Courtesy of Music Box Films.
At this point, Golden Years departs from a comedy of manners into an exploration of dual self-discoveries. Indeed, there are Men-are-from-Mars moments when Peter is a clueless dunderhead about Esther’s expectations. But Peter’s needs have evolved, too, and Esther has also mistakenly assumed that he will want to do want she wants to do.
We all know couples who drift totally apart after decades of marriage, and there must be some couples who age with identical interests. Many couple have different, but complementary aspirations, or can build a new life together around some core commonality. The question that Alice and Peter face is, where are they on this continuum?
Will Alice and Peter compromise? Will they be able to accommodate each others’ needs? Will they live separate lives? Is there a Win Win?
Screenwriter Petra Volpe (The Divine Order) probes these questions in a consistently funny and engaging movie with a minimum of senior citizen tropes or cheap geezer cheap jokes. (It is very funny, though, when Peter’s Gen X co-worker brightly tells him that his old office will become a server room.)
Esther Gemsch in GOLDEN YEARS. Courtesy of Music Box Films.
Director Barbara Kulcsar keeps the story sprightly paced and maintains just the right balance between comedy and the more serious issues. Alice is the primary focus of the story, and the performance of actress Esther Gemsch is especially strong.
Golden Years opens in select theaters, including the Laemmle Town Center in LA, on February 23. I’ll remind you when the film arrives nationwide on digital on March 26.
The indie drama Drift is set on a Greek isle, a glorious, carefree tourist destination. Jacqueline (Cynthia Erivo) is Liberian, and living rough, sleeping in hidden locations for safety and to avoid immigration authorities; she’s surviving by dumpster diving for food and selling foot massages on the beach.
There are other Sub-Saharan Africans in the island’s informal economy, mostly men selling blanket loads of souvenir trinkets. Jacqueline minimizes her contact with them, too. It becomes apparent that those guys have reached Greece to escape poverty, but that Jacqueline’s story is different.
Callie (Alia Shawkat) is an American tour guide who shows historic ruins to visitors who have come to the island for sunny beaches, not out of any cultural interest or intellectual curiosity. At one of those sites, Callie meets Jacqueline, who pretends to be an affluent tourist, and because Jacqueline is educated, urbane and cosmopolitan, Callie buys her story.
Eventually, we learn from flashbacks that Jacqueline is from a family in Liberia’s privileged elite, a family suddenly torn from its comfortable station by unspeakable horrors. Barely escaping with her life, Jacqueline profoundly traumatized by the violence and the sudden losses. and experiences PTSD reactions to fireworks and to unruly crowds .
Callie spots Jacqueline scrounging on the beach and realizes that her cover story is false. But Jacqueline, feeling vulnerable and embarrassed by circumstance, persists in her pose.
It’s clear to us that a friendship with Callie would give Jacqueline the support that she needs, but Jacqueline’s PTSD is in the way. When can she accept even a hug?
Erivo’s performance as Jacqueline is spot on. Erivo is a Broadway musical actress/singer, and stars in the Wicked franchise. In Harriet, Erivo played Harriet Tubman with convincing intensity. Erivo was absolutely the best thing about the Steve McQueen film Widows; since her character teamed with those played by Viola Davis, Michelle Rodriguez and Elizabeth Debicki, the fact that she stole the movie is impressive.
As we expect, Alia Shawkat (Arrested Development) is excellent, too.
Drift is the third feature for director Anthony Chen. Chen unspools the back story effectively, and it’s a well-crafted and especially well-acted little film.
I screened Drift for the Nashville Film Festival. It opens this weekend at the Monica Film Center and will roll out more widely.
Photo caption: Sandra Huller in THE ZONE OF INTEREST. Courtesy of A24.
Jonathan Glazer’s The Zone of Interest is an exceptionally original and well made, intentionally unsettling and, ultimately, unnecessary film.
We first meet Hedwig (the great Sandra Huller), Rudolph (Christian Friedel) and their five children in 1943 on an idyllic riverside picnic in the woods. They return to their spacious villa and put the kids to bed (Hedwig firmly and Rudolph gently). When Hedwig and Rudolph are in bed themselves, they ignore what sounds like shouting and the barking of guard dogs nearby.
The next morning we see that Rudolph is the commandant of Auschwitz and the family home is LITERALLY next door to the walls. Hedwig, like any hausfrau, hangs laundered sheets to dry, while her groceries are delivered by death camp slave labor.
As the family’s domestic life goes on, the soundtrack slowly becomes louder and includes more shots, screams and the drone of industrial extermination. We see more of the skyline, with smokestacks spewing fire and ash.
Glazer slips in little matter-of-fact horrors like perverse Easter Eggs. Hedwig brags to her gal pals about furs and other luxuries she has stolen from dead Jews. Hedwig seems meaner than Rudolph and coldly utters what must be the most terrifying threat ever made to a maid.
Having married a guy who has risen to be a big boss, Hedwig is living her best life, with servants and plenty of perks, like Italian spa vacations. She has the very disturbing capacity to shut out the hellish enterprise over her back fence, replete with the sounds, smells and images of workaday genocide. Glazer has made a Holocaust film without any images from inside the death camp; the Holocaust is just kind of leaking over the fence.
The Martin Amis novel that Glazer adapted into the screenplay did not name the commandant and his wife, but Glazer uses the names of the actual historical figures: the real Rudolph and Hedwig Hoss. When one reads about the real Hoss, you can see the care with which Glazer depicts him, down to his distinctive haircut, the kids’ names and Hedwig’s dream of spacious gardens (She’s the true believer in lebensraum.)
Rudolph is not a hate-spewing frothing maniac, more of a Company Man go-getter. One can imagine a 1960s version of Rudolph driving to surpass this quarter’s IBM sales goal. Yet, this is the man who admitted to murdering 2.5 million people; the other million, he said, died of disease and starvation.
The Zone of Interest is an extraordinary illustration of the banality of evil. But why do we need it? Hannah Arendt’s recognition that Hitler’s mad horrors were not carried out by monsters, but by the ordinary and mediocre, has been generally accepted for decades. If Hitler were obsessed with dairy production or ceramic art, thousands of workaday Nazis would have been content to do just that, instead. The logical conclusion is that the Holocaust doesn’t need a maniac to happen again, just millions of people who obey the maniac. After all, it was ordinary-looking American companies that vied for Trump Administration contracts to put migrant babies in cages, not some survivalist militia.
It’s a familiar truism, and, to my sensibilities, not worth the unpleasantness of sitting watching these unpleasant people and their unthinkable deeds. That being said, this is anything but a slog. The Zone of Interest is captivating throughout (not unlike a vehicular crash).
This is only Glazer’s fourth feature in 24 years: Sexy Beast (2000), Birth (2004), Under the Skin (2013).
The Zone of Interest has been nominated for multiple Oscars, including Best Picture.
