Film on Friday #39 - Belle and Sebastian

When I saw this new release from Film Movement - Belle and Sebastian - I just knew it was one I had to watch. As with all Film Movement releases, it was a featured film at many festivals and was the Grand Prize Best Film at the New York International Children's Film Festival.

My now twenty something son absolutely adored the cartoon series about a boy and his giant white dog. We had a very large white Alaskan Malamute at the time and I know he played out many adventures with Murphy in the backyard.

The film takes place in 1943 in the French Alps. Sebastian lives with an old shepherd named Cesar.  The village is worried about a 'beast' who has been attacking the local flocks and have vowed to kill it. Young Sebastian comes across the dog the villagers are seeking and instead, befriends it. The dog becomes Sebastian's protector. For there is danger in the village - the Nazis have occupied it - and the villagers are moving Jewish refugees across the border into Switzerland. You guessed it - Belle and Sebastian are a part of that.

This is such a great movie for families. There's danger, adventure and of course a dog who is so very special. Who wouldn't want to imagine themselves as Sebastian? Prepare to have your heartstrings tugged. (For younger viewers, please take not that there are some some animals killed as part of the story.)

The movie is worth watching for the scenery alone - the views and vistas of the French Alps are absolutely magnificent. The scenes shot in the snow are real - and just as magnificent.

Young Félix Bossuet is such a natural actor. His lines were believable and his facial and body language also spoke volumes. It was easy to believe him as just a boy and his dog. Tchéky Karyo plays 'grandfather' Cesar. I had literally just watched him in the television series The Missing and enjoyed his performance. I thought he did a great job in this film as well. And a review of the actors would not be complete without mentioning the dog - well trained and perfect casting!

Families watching with children will likely choose the English dubbing. It seemed a bit off to me in the beginning, but wasn't badly done at all. I did find that of the dialogue could have used a bit more editing before being used  - some of the phrases and language just didn't seem to fit the time and place. I chose to watch with the subtitles instead. There's a 30 minute plus feature included on the making of the film as well.

Director Nicolas Vanier did a great job of bringing Cecile Aubry's classic book to the screen and a new audience. And now I'm going to pass my copy on to that twenty-something son....

France/99 minutes/Original French with English subtitles/ English

Film on Friday #37 - If You Don't, I Will

Today's Film on Friday entry is If You Don't, I Will from French director Sophie Fillières. As with all of Film Movement's films, it was an official selection at many festivals.

Pomme (Emmanuelle Devos) and Pierre (Mathieu Amalric) have been married for many years. That initial flush and fire of new love has slowly faded away. On a hike, Pomme asks " What have we become?" Pierre's reply? " Your parents."

Fillières takes us into this couple's life - and although it seems like they both still want to 'fix' things, it is quite obvious that this is more on Pomme's part than on Pierre's. Until one last hike, where Pomme decides she is going to stay in the forest - without Pierre. "I'll totally lose weight - among other things."

Fillières uses visual metaphors to great effect - the too heavy backpack is a great example. Pierre is initially carrying it - and complaining. When Pomme takes over and takes off, she begins emptying the contents, mirroring the self exploration of her life and marriage while in the forest. Pierre attempts to do the same back in civilization.

Silence and still shots are used effectively to underscore the contemplation, the loneliness, the hurt and the separation. The forest setting is absolutely beautiful.

Both actors use expressions and body language to great effect - Devos's are more subtle - she says much with a simple smile and a knowing eye. Amalric's are more overt - and more hurtful. I was firmly in Pomme's corner for the entire film. But at the end of the film, I rethought my stance - it does take two. I'm not going to reveal what does happen -  but I thought the ending was perfect. The last set of dialogue between the two is quite telling - and full of truth. The chemistry between these two actors was absolutely perfect and easy to believe.

If You Don't, I Will is another great addition to the Film Movement collection - and mine.

As always, there is a short bonus film included. A 17 yr old girl finds out she's pregnant minutes before she has to take her driving test - with her grandmother in tow. A good pairing - this is another look at love.

  2014 / FRENCH WITH ENGLISH SUBTITLES / 102 MI

Film on Friday #32 - The Dark Valley

The Dark Valley is newly released from Film Movement.

Sam Riley (yes, you just saw him in Maleficent) stars as Greider, a mysterious American man who rides into an isolated mountain village in Austria. He says he's there to take photographs, but of course there's another reason. The dominant family who seem to run the village also have their own secrets and reasons for wanting him gone.

The Dark Valley is a classic Western with revenge as the impetus. The Dark Valley is based on the book of the same name by Thomas Willmann.

Sam Riley has perfected the sneer, the hundred yard stare and glare, the few words and decisive actions that cement the genre label attached to the film. (One or two scenes may have been a little over the top, but he channeled early Clint Eastwood very well) The supporting players were well cast and suitably menacing or subservient as the case may be.

The scenery was absolutely breathtaking the village, homes and costumes were very well done and absolutely believable.

What affected my rating a bit was the dubbing. It wasn't overly well done and I find the voices used never seem to match the voice the actor really has or that I expect. And it's difficult to match the pacing.  I should have switched back to the original German with subtitles earlier. Although, there wasn't a lot of dialogue - much of the film is action based (v. well done)

But that minor flaw aside, The Dark Valley was an excellent film - I quite enjoyed it.

The bonus film included, The Gunslinger' was priceless! It's set in an old-time saloon filled with familiar characters. But it is the voice over narrator controlling what happens. Quite funny and original.

2014    114 minutes

Film on Friday #31 - 1000 Times Good Night

Film Movement has has just released 1000 Times Good Night on DVD. As with all their titles, 1000 Times Good Night is a multiple winner and official selection of numerous film festivals.

Academy Award winner Juliette Binoche stars as Rebecca, a war photojournalist. Rebecca is fearless, going to the front lines in war torn zones, putting herself in extremely dangerous situations. While documenting a suicide bomber in Afghanistan, she is badly hurt. It is only when she is in the hospital that we learn she is a wife and mother - and that her husband has had enough. An ultimatum is issued - her job or her family....

I was drawn in from the opening scenes of this film, fascinated and then horrified as I realized what was happening. The juxtaposition between the chaos of the opening few scenes and then cutting to the peaceful Irish countryside is jarring. And it mirrors Rebecca's feelings, emotions and state of mind.

Conflict, desire, want and need are wound throughout the film - the wars Rebecca covers, the struggle between staying at home and capturing conflict and exposing it to the world, to tamp down her desire to be where the action is, the need to document these atrocities for the world, the wanting to be a good mother, wife and friend and more.

Binoche is a brilliant actor. Her performance in this film is remarkable - moving and oh so believable. Nikolaj Coster-Waldau plays husband Marcus. He too, turned in a good performance  - I understood his need to protect his daughters, but I grew angry with his behavior. Young Lauren Canny plays daughter Stephanie. The scenes between her and Rebecca are poignant, as Steph slowly comes to understand what it is her mother does - and why.

As I watched, I was thinking to myself how well this film was done - the cinematography, the attitudes, the passion and the drive to expose atrocities to the world. It was only in the film's bio section that I discovered that director Erik Poppe was a war photojournalist himself in the 1980's. He too went through the same personal and professional conflicts he's given to Rebecca.

Excellent acting, compelling topic, eye-opening situations - and definitely recommended.

Norway/2104/English/111 min.

Film on Friday #27 - Lines of Wellington

Today's film on Friday feature is Lines of Wellington from director Valeria Sarmiento. As with all Film Movement features, it has been an official selection of numerous film festivals.

This historical film is set in the time of the Napoleonic Wars. The lines are Wellington's fortifications, built over 18 months to turn back the invading French.  The film is told through the eyes of numerous characters - a British major, a Portuguese sergeant, and some of those following the war - a prostitute, a mute beggar, a travelling merchant, a wealthy pair of siblings and more.

We are treated to vignettes, both past and present as Sarmiento explores war and its effects on all classes. I became caught up in many of the stories, particularly that of the mute beggar and the Portuguese sergeant. Some of them seemed awkward though, and not to belong - such as the sister of the siblings and her sexual appetites.

I didn't know much about this time period and actually learned quite a bit.

Although John Malkovitch has been given front and centre on the cover, he is really only onscreen for a small amount of time - part of that is reciting the recipe for Beef Wellington. I found it very hard to take him seriously. The other actors, none of whom I knew, were really good. As was the setting and the extras. (although their clothing seemed a little too clean for being on the road)

The film is 150 minutes long, and I ended up watching in two sittings. And honestly, my attention was starting to wander a bit. I enjoyed Lines of Wellington, but not as much as other viewers.  As always, there is a bonus short film included. Two Laps was quite funny - a story of two older gentleman and their annual swimming match.

France and Portugal/2012/Portuguese, English and French with English subtitles/151 minutes.

Film on Friday #25 - For a Woman

For a Woman is newly released from Film Movement. As with all of their films, it was a selection at numerous film festivals.

Many of (Academy Award nominee) director Diane Kurys's film are autobiographical in subject matter. She has used her parent's divorce and her relationship with her sister as inspiration for previous films.

For a Woman found its origins in a picture Kurys found in her mother's (Lena) things after her death. It showed her, her mother and her father's (Michel) brother - Uncle Jean - a name and a man not discussed in the family.

For a Woman is begins in the 1980's when one of two sisters, Anne, finds that same picture. Kurys imagines what is behind that photo, exploring her parent's lives from their escape from a Nazi concentration camp, to their life in Lyon, France, her father's political leanings, the aftermath of WWII - and the mysterious Jean.

This was a wonderful period piece, exploring a point in history from a very personal and intimate view. The setting, the clothes, the attitudes were all exceptionally well done, supporting the director's view and transporting the viewer to the past.

But, what shines in this film are the relationships between the three main characters. The actors were superb, each portraying their role believably. I was caught up in the story immediately and remained so until the credits rolled. This is one of my favourite releases this year.

As always there is a short film included. Le Ballon de Rouge was just as good as the main feature. A young man offers an unhappy young woman a look at the life she could have - if she walks away with him immediately,

2013 / French with English subtitles / 110 min

Film on Friday #23 - Ilo Ilo

All of Film Movement's releases have garnered film festival praise and accolades. Such is the case with Ilo Ilo, from director Anthony Chen. It was a winner at Cannes and a New York Times critic's pick.

Ilo Ilo is set in 1997 Singapore. Teck and Hwee Leng are comfortably middle class with one son, Jiale, and another baby on the way. Jiale is constantly getting into altercations at school, embarrassing his parents - mostly his mother. Mom is working lots of hours and decides they need someone to help with the housework  - and Jiale. They hire Teresa - a Filipino.

There is no great plot twist to Ilo Ilo, rather it is the documentation and exploration of a small group of people whose lives intersect for a window of time. Teresa is not accepted by Jiale in the beginning - he treats her quite cruelly and maliciously. Mom takes her passport for safekeeping'. Dad is quite distant - he is keeping his job loss a secret from his wife. I found the family's treatment of Teresa quite depressing, although I realize it is reality based. As the economy worsens, tensions grow higher in the family. Jiale and Teresa's relationship changes, much to the consternation of his harried mother.

The standout actor for me was Teresa. She too has personal issues that we only learn of through the phone calls she places home. The 'secret' world of the 'domestic help' is where we see Teresa smile, instead of the robotic yes ma'am, no ma'am blank face she adopts with the family. But I want to add that each actor was excellent.

It was only on reading the director's notes that I discovered the origin of the title - and the basis of the film. Ilo Ilo is Philippine province that Cheng's own nanny/maid was from. I wonder how much of Jiale's role and antics stem from Cheng's childhood.

Ilo Ilo has small moments of joy and happiness, but I found the majority of it quite sad - each character is struggling. I was thinking about it at the end and I don't recall Mr. or Mrs. Lim smiling in the film at all.

I enjoyed the look at life in Singapore. Although 'nothing happens' in Ilo Ilo, I was quite engaged from start to finish, wondering where these character's lives were going.

As always, there's a short included with the film. It's a short animated film called Blik, about a young boy who is enamoured of his older neighbour. Quite amazing animation but the lack of faces bothered me a bit.

Singapore / 2013 / Mandarin, Tagalog & English with English subtitles / 99 min

Film on Friday #22 - The Auction

The Auction, from director Sebastien Pilote, has been a selection at numerous film festivals - including Cannes and the TIFF.

Gaby is an aging farmer. He has worked the family farm alone for over forty year as his brothers wanted no part of it. He and his wife had two daughters. But the girls have left, as has his wife. The constants in his life are his dog, his one friend, the hired boy, the sheep - and the land. He lives a solitary life, but seems content.

Pilote's cinematography is absolutely beautiful. Rural Quebec was used for the setting. The farm is authentic, the house comfortable and lived in. Pastoral.  Pilote's camera often pauses that extra moment and the viewer can't help but see what Gaby sees.

Gabriel Arcand plays Gaby and I thought he was superb. If I didn't know he was an actor, I would absolutely believe he was a farmer. This character is a man of few words. Arcand's facial expressions, body language and simple actions convey much with few words. His eyes are particularly expressive.

His oldest daughter Marie arrives for a visit - the joy Gaby experiences at seeing his child and grandchildren is extremely touching. However, Marie has her own reason for visiting - she needs money - $200,000 to be exact. She and her husband are divorcing and she wants to stay in the house. Here, I got angry. Gaby's offer to come and live with him are rebuffed, his inquires into her savings, her husband helping her out are all met with no. I really didn't like Marie - I thought her extremely selfish. Gaby however wants to help her - he loves his children dearly. So....he decides to sell his farm.

Heartbreaking. In reading the director's notes, Pilote has described his film as a tribute to fatherhood. In that respect he has succeeded. The sacrifices Gaby is willing to make, the losses he is willing to suffer for his children speaks volumes. (But I still couldn't get past not liking Marie)

The soundtrack is particularly effective, complementing the setting. The ending left me wanting more. And that's a good thing. I would have like to know what happened to Gaby 'after'. The last screen shot of him left me feeling quite sad...while the last shots of his daughters show them enjoying their own pursuits.

All in all, this is one of the best films I've watched from Film Movement. Absolutely recommended.

As always, there is a short film included. The Giant - a non verbal animated - was the addition to this feature film. Although I could see the tie in - nature and land - it didn't do much for me.

Canada / 2013 / French with English subtitles / 111 min

Film on Friday #19 - Grigris

This is what I love about Film Movement - the opportunity to watch critically acclaimed films that I would not have discovered on my own. This week's entry is a 2013 Cannes Film Selection - Grisgris, from Chad director Mahamat-Saleh Haroun.

Grigris loves to dance, despite having a disabled leg. He works with his stepfather, but earns extra money dancing at the local club. It is at the club that he meets and falls in love with Mimi, a prostitute. When his stepfather falls ill, Grigris needs to earn extra money to pay the hospital. And so he turns to a local criminal for a job. Despite his good intentions, Grigris runs afoul of this man and he and Mimi are in grave danger....

I was fascinated to read how Souleymane Démé ended up playing the part of Grisgris. Haroun saw Démé dancing in his country of Burkina Faso and hired him for his film. While an accomplished dancer this is Démé's first film role. Mimi is played by Anaïs Monory and this is her film debut as well. I though both actors did a great job. I was absolutely astounded by Démé's dance moves - he is an amazing dancer. But Haroun does not make the film about Grigris's disability, instead it is about controlling your destiny. Our hearts and hopes are with Grigris and Mimi as they struggle to find a life for themselves. And isn't that what any of us wants?

I loved the setting - seeing a country I knew nothing about - from both a city and a rural point of view. The soundtrack was fitting, from both the club music to the background sounds. There are parts of this film that are difficult to watch - there is some violence, but the level of poverty is just as difficult to watch. But there is joy as well - I think my favourite part is the village and the women who live there. There are a few slow scenes where the camera could have moved on fifteen seconds earlier, but I really enjoyed this film.

As always, there is a short included. This time it's a monochromatic animated film called Feral, an Academy Award Nominee. The story is a familiar one - a feral child found in the woods.

Chad/2013/French & Arabic with English subtitles / 101 min

Film on Friday #18 - Will You Still Love Me Tomorrow?

As with all of Film Movement's releases, Will You Still Love Me Tomorrow by Arvin Chen is an official selection of numerous film festivals. (Chen both wrote and directed the film.)

Weichung works as an optometrist and lives a quiet life with his wife and six year old son. His wife is pressing to have another child and his sister is getting married - well, maybe - she's still unsure about committing. And then a handsome young male flight attendant walks in the shop - and all that Weichung has suppressed for many years is awakened. You see, Weichung is gay, but has resisted since marrying his wife Feng.

Will You Still Love Me Tomorrow is billed as a "madcap and lighthearted comedic romp", but I think that's a bit of a misnomer. I thought the film was more poignant than comedic. Mind you, there are some comedic bits, much of it provided by the gay wedding photographer and his friends. But the exploration of love, where we find it, what happens when doing the wrong thing feels right and when doing the right thing is no better is more of the focus. I thought Chen handled this theme very well. There are no judgement calls or morality lessons in the film - rather just a thoughtful look at modern life and love.

I found the mix of Taiwanese and Western culture fascinating. The string musical soundtrack seemed very appropriate and mirrored what was happening on screen. The Shirrell's musical fantasy scene went on a little too long for me. (Although that is of course where the title is derived from.) I thought the acting was good all round, with the sister and photographer standing out for me.

The short film (always included in Film Movement releases) was also from Arvin Chen. Mei is a short also set in Taiwan,about a restaurant helper who can't tell the owner's daughter he loves her. It won awards for Chen and seems to have been the testing ground for this full length feature.

2013 /Mandarin with English subtitles / 106 min

Film on Friday #17 - 2 Autumns, 3 Winters

2 Autumns, 3 Winters is from French director Sébastien Betbeder.

Thirty something Arman literally bumps into Amelie while out jogging. He contrives to run into her again and eventually does. Arman's best friend Benjamin suffers a stroke and while recuperating, makes a connection with his physical therapist.

Those are the players. And the rest of the film is a series of vignettes and ruminations from the characters on life, love, moments and memories.

Some of the film is shot so it appears as though a hand held camera was used. I dislike this style - I find the movement jarring and hard to watch.  The addition of labelled chapters also added to the 'homemade' feel.

In much of the film, the actors are speaking directly to the viewer. (And sometimes when they are in a scene with another actor) Although you would think this would provide an intimate relationship between actor and viewer, for me it didn't. Initially I was interested in the four, learning of their lives and wondering what would happen over the course of the film. But as the film progressed,  I found myself becoming tired and frankly somewhat bored with the almost repetitiveness of their ruminations.

From the director: "I wanted the narrative to be dense, to alternate between serious, critical moments in the lives of these young people, and more incidental moments that have no real impact. I wanted to talk about death and shopping at the grocery store, about love and reality TV."

Initially I connected with the main character Arman (Vincent Macaigne). His attempts to meet Amelie (Maud Wyler) were engaging. And I liked him at the end of the film. But in between, he seemed to almost overact. And I know this is petty, but I found myself tuning out and instead his hair became my focus, instead of his lines. He's always flipping it back, it's dirty and greasy and growing it long and doing a comb over does not hide the large bald spot at the back.

There are many film references that will be noted by avid film buffs. Through my own lacking, I was unable to appreciate many of these homages.

2 Autumns, 3 Winters was just too 'arty' for this viewer. However, the bonus short film, Business Trip, that Film Movement always includes, was just excellent.

France/ 2013/French with English subtitles, 93 min.

Film on Friday #15 - The Jewish Cardinal

Director Ilan Duran Cohen brings us the true story of Jean-Marie Lustiger in his film, The Jewish Cardinal.

Film Movement consistently brings award winners to the small screen and this film is no exception - it's an official selection of numerous film festivals.

Lustiger was born a Jew in 1926 Poland. He converted to Catholicism at age 14. His mother was killed at Auschwitz in 1942. He rose in the ranks of the church and had the ear of Pope John Paul II.

Bare bones synopsis. And they're simply facts. Cohen brings this amazing man's life to....well, life.

Lustiger struggled with remaining true to his heritage, while embracing his faith. His dual 'roles' were both despised and embraced within the Church. The confrontation between the Jews and Catholics over Auschwitz and Lustiger's involvement was powerful. And enlightening - I was unaware of this piece of history.

Laurent Lucas was brilliant as Cohen, more than aptly portraying Lustiger's enthusiasm, strength, faith,conflict and more. The supporting case was just as wonderful, especially Aurelien Recoing as John Paul. The scenes between these two gave an intimate view of their relationship. And a 'human' view of these two men.

To be quite honest, I did not expect to enjoy this film as much as I did. I tend to shy away from religious films. But The Jewish Cardinal was not specifically about doctrine. Instead it brings to light both an important piece of history and the life of a complicated man. I was engaged from start to finish.

(The sound track was quite beautiful as well)

As, always Film Movement includes a short with their DVD. This time it's an nine minute film called Kosher from director Isabelle Stead. The tie in to the main film is obvious. It's about a lonely young Jewish boy finding a pig - and keeping it for a pet. The viewer is left to make their own inferences as there is no dialogue.

2012 / French with English subtitles / 90 min

Film on Friday #14 - Tanta Agua

Tanta Agua is the first feature film of writing and directing duo Ana Guevara and Leticia Jorge. It was a winner at the Miami and Guadalajara Film Festivals.

Divorced father Alberto (Nestor Guzzini) takes his children Lucia (Malú Chouza)and Federico (Joaquín Castiglioni)to Salto, the spring water capital of Uruguay, for a vacation together. They leave in the pouring rain, arrive in the pouring rain and it continues for the first few days of their trip. (Tanta Agua translates as too much water)

Tanta Agua is in Spanish with English subtitles, but even without the subtitles, you would be able to read Lucia's unhappiness a mile away. She doesn't want to be there. Her father's attempts to engage, to have fun and to spend time together are either tolerated or rebuffed. She seems determined not to enjoy herself. Federico seems to go along with his sister's mood much of the time. The rain does eventually let up and every member of the family finds someone outside of their family to spend time with.

Guevara and Jorge give us a poignant look at father/child relationships that rings so true. The dedication of the film is to the director's fathers, leading me to wonder if Lucia's character had a bit of their own lives mixed in. It was interesting to watch this film as a parent. Alberto never stops trying to reach Lucia and the most moving moments of the film are when they finally share something. And Lucia laughs and smiles. It is a marked difference from the countenance she presents most of the film. Alberto's demeanor changes as well with that small offering.

The sound of the rain constantly falling was used effectively and underscored the damper the weather and the children's attitude has brought to this vacation. I though all three actors were wonderful, natural and realistic, Tanta Agua is a sweet little film about family and relationships. The pacing is slower and that may frustrate some viewers. I actually thought it mirrored real life very well.

The bonus film that is always included with Film Movement releases was a great tie in. Home Road Movie follows an English father's joy in taking his young family on road trip vacations. As one of his children remembers, the view changes as the child reaches adulthood and realizes what the car and trips meant to his father. Excellent short, very moving.

2013 Uruguay 102 minutes. Spanish with English subtitles.

Film on Friday #11 - The Iran Job

The Iran Job from Director Till Schauder is the latest entry in the Film on Friday series. As with all Film Movement releases, it was an official selection at multiple film festivals.

I watched most of the Winter Olympics - and read of the controversy and upset surrounding what should be a politically neutral event.  The Iran Job also uses sports as a platform to explore a politically charged country and its people - in a distinctly different platform. Basketball.

American Kevin Sheppard is a journeyman basketball player - he makes his living playing for overseas teams. When approached to play by a fledgling team in the Iranian Super League, he accepts.

I've heard of the overseas leagues, but to be honest, had no idea that Iran had a league - and loads of avid fans!

Schauder's choice of Sheppard as a focal point of his film was a good choice. Sheppard is extremely engaging. It is this engaging manner that allows him to make friends in a time and place that is not US friendly. While it is fascinating to watch the basketball team, it is the people that allow themselves to be filmed as they talk openly to Sheppard that were the stars. Kevin makes friends with three young Iranian women and they share their thoughts about and hopes for their country. Sheppard's interactions with his teammates, apartment building superintendent, roommate, shopkeepers and more kept me engaged for the full 95 minutes. Schauder's film gave me a look at everyday Iran -a change from the nightly news stories. An excellent documentary well worth watching. (With a great soundtrack) English and Farsi with subtitles. 95 minutes.

As always, Film Movement includes a bonus short film. City Bomber is also from Till Schauder. I can see the tie-in with the main feature, but it didn't hold my attention. A German architect decides to bomb a downtown building - but is horrified to find his young daughter arriving just before it is set to detonate. It's shot in black and white, with choppy cutaways and significant stills. I can see the director flexing his artistic muscles, but it was a miss for me. German with English subtitles. 22 min.

Film on Friday #10 - Watchtower

The tenth entry in the Film on Friday series is Watchtower from Turkish director Pelin Esmer. As with all Film Movement releases, it is an official selection or winner at multiple film festivals.

Nihat has taken a job as a fire warden, scanning the forest from an isolated tower high in the mountains. From the opening scenes, with his walk, his facial expressions and more, he telegraphs a sadness, a loss. The viewer senses that he wants to be alone, that this isolated job will let him escape somehow.

Seher is a young woman who has taken a job as a bus hostess and is living in a small room at the rest stop. Her loneliness is also telegraphed with few words. She looks through pictures, picks up the phone to call someone, leaving only a vague message. Again, the viewer just knows that there is more to her story - that the bus stop is for her an escape as well.

Nihat comes down the mountain for supplies and stops for tea at the restaurant. It is inevitable that the two meet. Each is indeed hiding something and their lives reluctantly become intertwined. We discover the reason each has retreated from life and watch as their lives are inexorably drawn together.

There is little dialogue in Watchtower, rather it's the silence that speaks volumes, underlining the theme of isolation. The use of walkie talkies by the fire wardens was an effective device to underscore Nihat's isolation and the need to connect, to unburden, to share and to be part of a society.

The background of the film is spectacular. The views from the watchtower are breath taking. I wonder if the house used was an actual warden station or if it was built for the film? I quite liked it and pictured myself living at the top of the mountain!

I watched the ending more that once, deciding if it was what I wanted. And it was. This is one of my favourite films so far, one I would easily recommend. 2012 / Turkish with English subtitles / 100 min

As always, there's a short film included as a bonus. This time it's a 17 minute film from Greece called The Foreigner. A small village needs to up their population in order to keep receiving services from the state. When a tourist wanders into town, they try to convince him to stay. This short was excellent! A full story played out in very short time, with a fun plot, an excellent lead and beautiful scenery as well. ( I think I could live here as well!)

Film on Friday #9 - Garibaldi's Lovers

Garibaldi's Lovers from Italian director Silvio Soldini is the ninth entry in the Film on Friday series. As with all Film Movement releases, it is an official selection or winner at multiple film festivals.

Soldini opens the film with a series of statues in an unnamed Italian park conversing on the current state of things. (One of them is Garabaldi - I stopped to go look this up - he  considered to be one of  Italy's "fathers of the fatherland".)

From Soldini's liner notes:

"...the idea of giving a voice to the statues that have been in our streets and parks for centuries. While we may not even know who they are or what they represent, perhaps they might have something to say to us with respect to where our country is headed."

These statues are given the stage many times to share their thoughts and bicker amongst themselves.

We meet  Diana, an artist (Alba Rohrwacher) who is behind on her rent and is desperately trying to collect money owed to her. Leo (Valerio Mastandrea) is a widowed plumber trying to raise his two children - Elia and Maddalena.

Garibaldi's Lovers is a busy film. There are many players and plot lines - Amanzio (Giuseppe Battiston) , an oddball landlord determined to educate the public, Elia's fascination with a stork, Maddlena's fascination with boys, a crooked lawyer, the plumber's assistant whose wife is sure he is cheating and Leo's dead wife (although it took me a scene or two to realize she was dead) Each of these characters is used as a vehicle for social commentary. Soldini manages to serendipitously weave them all the various plot lines together by the end. (although there a few loose ends).

Soldini provides a light touch in addition to the social commentary through whimsical touches and almost slapstick situations. The apartments of all the characters are filled with colour and oddities that capture the eye. There is oompah circus style music in the beginning of the film as well. I did laugh out loud at Diana's mural for the lawyer. I quickly grew tired of the plumbing assistant yelling down the phone at his wife.

Soldini uses a pinhole closing to certain scenes to be sure that our attention is on that moment. There is a lot of symbolism used throughout the film - the stork being the most obvious.

I am really enjoying sampling what Film Movement has to offer and experiencing films from other countries.  However, Garibaldi's Lovers is probably my least favourite so far. No, don't get me wrong - it's good. The acting is solid and the plot involving the 'real' people was captivating. The statues and their commentary just didn't work for me. I was able to easily walk away and return the next day to finish watching.

I always enjoy reading the bios of the actors at the end of the film. I was disappointed to find that only the director and Alba Rohrwacher included. I would have liked to read more about the other actors as well - especially Valerio Mastandrea - I thought he was wonderful.

Italy /2012 /Italian with English subtitles / 108 min

As always, there's a small short included with the DVD. The Kiosk is an animated short from Switzerland. A kiosk lady finds herself too large to leave her stand, yet dreams of travelling. A bit sad, but with a sweet little ending.

Film on Friday #8 - The Key of Life

The eighth entry in the Film on Friday series is Key of Life from director Kenji Uchida. This Japanese film was an official selection of TIFF and over fifteen others.

Kanae (Ryôko Hirosue) is a successful magazine editor. She happily announces at work one day that she is getting married - she just hasn't selected the groom yet....Kondo (Teruyuki Kagawa) is a contract killer who decides he needs to use the public bath after his latest mission - it got a bit messy....Sakurai (Masato Sakai) is a down on his luck actor at the end of his rope - literally. After a failed suicide attempt he too heads for the public baths....

.....where he steals Kondo's identity after the hitman falls and blacks out. When Kondo awakes, he has amnesia. Presented with Sakurai's papers, he assumes the actor's life. And then Kanae's path crosses with both men.

Key of Life is a comedy of errors as Sakurai slowly comes to realize that the identity he as stolen may be more than he bargained for. And Kondo, unable to remember his past life, seems quite content to pursue his acting career. Kanae seems to be falling in love with one of the men - but has no idea who he really is.

This was a fun movie to watch. There are many comical bits and the mistaken identity twist is played to the max. However there are serious bits to catch too - familial and societal expectations and the pursuit of love.

Of the three actors, I enjoyed Hirosue the most. I thought her role was well played - understated yet moving. Kagawa and Sakai essentially played two roles and two characters each. Of the two, I enjoyed Kagawa's performance more. Sakai seemed a little over the top with his exaggerated facial expressions that simply annoyed me by the end. Now, that being said, he was nominated for best actor at the Japanese Academy Awards for this role. And really, this is a Japanese comedy - everything is a little over the top - at times reminding me of a game show. (the ambulance drivers especially)

There are some fun twists in Key of Life that were unexpected and kept things interesting. And of course, there was the ending I hoped for.

Key of Life was an enjoyable film that was a breath of fresh air and a change from the heavy films I've been watching. 2012 / Japanese with English subtitles / 128 min

Film Movement always includes a short on their DVD's. This entry is "Finale" from Hungary. There is no dialogue - instead we are left to puzzle out what these well dressed men are up to - and it's not what you would expect. An excellent little short that paired well with Key of Life.

Film on Friday #7- The Deflowering of Eva Van End

The seventh entry in the Film on Friday series is The Deflowering of Evan Van End . This is the feature film debut of Dutch Director Michel ten Horn.

The Deflowering of Eva Van Endwas an official selection for over ten film festivals.

Eva quietly announces at the family dinner table that a German exchange student will be staying with them for two weeks. No one listens to or hears what Eva has to say. Her father is oblivious, her mother preoccupied and her older brother is focused on his own life. Her other brother is unfocused - stoned most of the time.

The first few scenes were both funny and poignant. The family situation is not that unbelievable. I felt incredibly sad for Eva - brilliantly played by Vivian Dierickx. She's awkward, overweight, ostracised at school and ignored at home.

When Veit (Rafael Gareisen) arrives, he is a blond god, seemingly good at everything and anything and uncannily able to target what each family member seems to need.

But, although this film has been described as a dark comedy and the cover art seems to support that view, I found that it took a more serious tone than I initially imagined it would.

Veit is the catalyst that triggers upheaval and great change within this dysfunctional family. Secrets are revealed, scabs are picked off and change is inevitable. All for the good? Well, I think each viewer would have a different answer. As the film ended, I wondered about Eva's place in her family - things have changed, but it is still not spelled out. But the last group shot is telling.  ten Horn also uses a 'falling star' metaphor to great effect.

After the film, while reading the liner notes, I discovered that the idea for this film sprang from ten Horn's own experience with a German exchange student. Makes me wonder which bits are truth.

One of the addition short films included is Basta - ten Horn's film thesis, that specialized in animation. The Deflowering of Eva Van End also has a bit of an animation feel to it. There are many short shots that showcase what the director wants us to see, then quickly cuts away. As the film picks up speed in the last twenty minutes, the cutaways multiply. We know what is happening to each family member and are just waiting to see how those moments will come together and what it means for the Van End family.

The Deflowering of Eva Van End is a strangely moving, quirky film. Bits of it are squirmy, bits are sad, bits are affirming, but as a package it's very, very watchable. I quite enjoyed it.

Netherlands / 2012 / Dutch, English & German with English subtitles / 98 min

As mentioned, there are two short films included, both directed by ten Horn. I didn't enjoy Basta at all. Perhaps it was the style (slightly macabre Whoville tone with no real dialogue) or the material, but it was a miss for me. The second, Arie, was quite good.  A realistic view, rather than the animated style is more appealing to this viewer. And I liked the idea - an old man's pet bird dies, but with an unexpected ending)

Film on Friday #6 - Broken

The sixth entry in the Film on Friday series is Broken - starring Tim Roth and Cillian Murphy, directed by Rufus Norris. This film has won a large number of awards - amongst them, Best Film at the British Independent Film Awards and it was also an opening night film at Cannes Critics Week.

Eleven year old Skunk lives with her brother, father and housekeeper in a cul-de-sac populated by only a few families. Hers is not the only family touched by tragedy (Mom has run away). Neighbour Bob Oswald's wife has died, leaving him to raise his three hellion daughters. Mr and Mrs Buckley live with their brain damaged adult son Rick across the street.

Skunk witnesses a violent attack on Rick by neighbour Bob who is convinced that Rick has sexually assaulted one of his daughters. That attack seems to be a catalyst, triggering a chain of events that impacts every resident of the cul-de-sac. But none more than Skunk. Her naivete is slowly eroded by the anger she witnesses both outside of her home and within - the housekeeper and her boyfriend have a tumultuous relationship.  Skunk makes tentative overtures into exploring her own burgeoning sexuality, but is exposed to more than an eleven year old needs to see. The violence continues to escalate, following her to school and eventually erupting on that dead end street.

Each and every character in Broken is, well, broken. Norris explores the human condition through the dysfunctional relationships portrayed. But also through the good and positive as well. Themes of love, hate, forgiveness, loss, hope, friendship, bullying, mental illness and more are explored.

You could draw many parallels between To Kill a Mockingbird and Broken - Scout/Skunk, fathers who are lawyers, a minority being persecuted and a loss of innocence. But Norris puts his own stamp on things in Broken. I started out feeling one way about a number of the characters and found my reactions and thoughts turned around by the end.

Eloise Laurence is new to acting, but I predict she has a future in the biz. She was wonderfully unaffected and realistic. Each and every actor involved was excellent. Norris effectively uses single, isolated shots of the principles, underlining their isolation.

I thought Broken was truly an excellent film. Not easy to watch by any means - I did stop it two or three times to get up and come back in a few minutes, but one that was absolutely riveting. Five stars.

United Kingdom. 2012. 90 min. Drama. English

As always, Film Movement includes a short with their main feature. The Way the World Ends again manipulates our perception, starting off with what seems to be a light premise and turning into something altogether different. And it paired well with Broken.

Film on Friday #5 - Aliyah

The fifth entry in the Film on Friday series is Aliyah, directed by Elie Wajeman. (His first full length film) Aliyah was an official selection for Cannes Director's Fortnight and an official selection of many other festivals.

Alex (Pio Marmai) is 27, and is living a life he seems to have happened upon. He deals drugs for a living, but his main occupation seems to be bailing his older brother out of jams - primarily by financial help, but also physically. Alex, despite his occupation is very likable, but he seems lonely and lost. His brother Isaac (Cedric Kahn) is a different story. Isaac is ignorant, demanding and self-centred and self serving. He is sure his brother will bail him out every time. And Alex does. Until he sees a glimpse of opportunity. His cousin is opening a restaurant in Tel Aviv. Alex envisions himself leaving Paris, escaping  his brother and starting a new life. Will he seize the opportunity or will Isaac stop him? How will he finance his trip? And can he make 'aliyah' - the declarations and knowledge necessary for Jews to immigrate or return to Israel. Perhaps he should stay - could Jeanne (Adele Haenel), a woman he meets at his cousin's party, be the basis of a fresh life in Paris?

Pio does a fantastic job with the character of Alex. His criminal activities are not what we see first - instead it is a young man on repeat cycle - tied to his older brother . Where do the ties of familial responsibility end? I found myself constantly talking to the screen as I watched Aliyah - telling Alex to walk away from his brother and claim his life.  Pio plays Alex with a studied blank face for much of the film. But when he smiles or laughs, you get a glimpse the person he keeps under control and the man he could become. As much as I disliked the character of Isaac, I have to say that Khan played him magnificently. I wasn't sure of Jeanne's motives at first; she seemed to enjoy toying with Alex. Their scene in the café was revealing, but still guarded, as both characters were only able to articulate their feelings through a third person view.

Wajeman plays with white back lighting in many of the scenes, giving the shot (and usually Alex) a stark, blinding moment. Music is used to great effect and I found myself humming along with the song Sugar Man by Rodrigues after the movie ended.

In Aliyah, Wajeman explores familial and cultural ties and obligations juxtaposed with an individual's need to find a sense of belonging on their own terms.

The ending caught me unawares and indeed, I did rewind to make sure I hadn't missed anything. At first I was disappointed and wanted a more clear cut resolution, but then thought about it again. And realized that yes, the ending was fitting. Another great film brought to North America by Film Movement.

Film Movement always includes a short film with their features. On the Road to Tel-Aviv is a fifteen minute short based on actual events. An Arab woman boards a bus. In the wake of recent events, the rest of the passengers disembark and demand that the driver 'do something'. The situation escalates as the driver tries to cope....

Aliyah - 2012 /French with English subtitles, 90 minutes.