McQueen

Most of us know next to nothing about British fashion designer Alexander McQueen. But after seeing Ian Bonhôte and Peter Ettedgui’s documentary we now perceive McQueen as a brilliant conceptual artist, and not simply as a fashion icon. His runway shows were so dark and controversial. He titled his graduation collection Jack the ripper stalks his victims. The clothes had been sewn with bright red threads, lines of blood was running through the fabric. A later collection called Highland rape had models wearing ripped clothes, their hairs dishevelled. In the film we discover that as a child, Lee (as family and close friend called him. His full name was Lee Alexander McQueen.) was sexually abused by his brother-in-law, his sister Janet’s husband. Janet, who is interviewed in the film, confirms that. Other family members, close friends, lovers, boyfriends and collaborators talk about the darkness he carried with him throughout his life. Later, when he went to Paris to work for Givenchy, he was a bit more conventional. A bit! If you can call a double amputee model walking down the catwalk on carved wooden legs “conventional”. In one spectacular moment a model wearing a strapless white dress is standing on a rotating section of the catwalk and, while she is rotating, the dress is being sprayed by two robotic paint guns. VOSS, his 2001 catwalk, was insane. It was set in a padded room with mirrors, the models were acting as if they were crazy, pieces from the clothes were falling on the floor. A glass room was in the middle of the runway. Inside, it was revealed later, (when the glass walls came crashing down and breaking on the floor) there was a naked obese woman on a chaise longue wearing only a gas mask. One reviewer called it “the best pieces of fashion theatre I have ever witnessed.” “Fashion theatre” is I think a fitting description for what McQueen was doing. But McQueen was a troubled man. Troubled by too much drugs, the failure of his love life and the suicide of his mentor, Isabella Blow. What is clear in McQueen is that he was a genius and that, at 40 in 2010, he died too soon. We are grateful, through this documentary, to get a peek into his artistry and his brilliant mind.

Rémi-Serge Gratton

McQueen

 

Directed by:
Ian Bonhôte
Peter Ettedgui

Screenplay by:
Peter Ettedgui

111 min.

Rated 14A

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Don’t worry, he won’t get far on foot

Gus Van Sant’s new film is a biopic of paraplegic, alcoholic, politically incorrect cartoonist John Callahan (Joaquin Phoenix). At 21, after a day of drinking with his new buddy Dexter (Jack Black), Callahan’s life is changed forever by an auto accident. The cruel irony is that Dexter (real name? don’t know), who was driving Callahan’s car and fell asleep at the wheel, comes out of the accident without a scratch. At the hospital Callahan has a hard time facing the news that he won’t walk again. The only thing that calms him is physiotherapist Annu. Rooney Mara is Annu, and the way Gus Van Sant films her (in close-up, surrounded by sunshine and pastel colors) she looks more like a dreamy angel than a physiotherapist. Once out of the hospital and in a wheelchair, Callahan resumes his drinking and his whining. Most of the time he’s in a state of self-pity because his mother gave him up for adoption, and he drinks. A lot. That’s until he goes to an AA meeting at age 27 and stops drinking. His sponsor is Donnie, a gay, AA’s 12 steps guru. With a beard, hippie-like long blond hair and having lost some weight, Jonah Hill gives the best and most surprising performance of his career. After sobering up, Callahan starts his career as a cartoonist. Some of his cartoons were called racist by some while others found them funny. He also made fun at the physically disabled, and sometimes himself, as can attest the title of this film (also the title of Callahan’s book). It’s not an entirely satisfying movie experience. The screenplay and Van Sant’s direction makes it impossible to follow. It is confusing because it goes back and forth in time. Is it before he joined AA or did he relapse? A scene where he is sober is followed by one where he is drunk without any clue for the audience. It’s a shame. But you can still enjoy the superior performances from Joaquin Phoenix, Jonah Hill, Rooney Mara and Jack Black. You could not find better casting.

Rémi-Serge Gratton

 

Don’t worry, he won’t get far on foot

 

Directed by:
Gus Van Sant

Screenplay by:
John Callahan
Gus Van Sant
Jack Gibson
William Andrew Eatman
Based on Callahan’s memoir

Starring:
Joaquin Phoenix
Jonah Hill
Rooney Mara
Jack Black

114 min.

Rated 14A

The gospel according to André

André Leon Talley (AKA as ALT) is the in-your-face, larger-than-life gay African-American fashion journalist and former editor-at-large of Vogue. Kate Novack’s camera follows Talley for several months. He’s a big man who now mostly wears classy and colorful capes and caftans. Although he was born in Washington, D. C., Talley was raised by his grandmother, Binnie Francis Davis, in North Carolina in the Jim Crow South during the segregation era. After working at Andy Warhol’s Factory in New York in 1974, André started volunteering at Metropolitan museum of art for Diana Vreeland, than worked at Vogue in various functions from 1983 to 2013. With photos, film archives and interviews from his collaborators (among them Anna Wintour from Vogue) The gospel according to André gives us a mildly interesting portrait of what made André a fashion icon. But there’s another dramatic arch that takes over the film. The gospel according to André was shot during the 2016 American election. All I will tell you is that there is devastation the morning after the election. For that and for André Leon Talley, some may want to see it.

Rémi-Serge Gratton

The gospel according to André

 

Directed by:
Kate Novack

94 min.

Rated Parental Guidance

Hearts beat loud

The great chemistry between Nick Offerman and Kiersey Clemons is one of the main reason to go see Hearts beat loud. Offerman and Clemons play father and daughter Frank and Sam Fisher. As Frank is just about to close his Brooklyn vinyl record store after 17 years, Sam is leaving to college to study medicine. So Dad wants to jam with his daughter a few times before she leaves. Frank plays the guitar and Sam is on some sort of keyboards/samplers. When Frank ask Sam what they should call their band, Sam swiftly answers “We are not a band.”. So the name of the band becomes We are not a band. Sam has several things on her mind. Beside wanting to become a doctor, she’s in love with Rose (Sasha Lane). (Sam’s lesbianism is refreshingly not an issue for anyone in Hearts beat loud.) But Sam was born into music. Frank and Sam’s mom, who died in a bicycle accident, were in a band together, and Marianne, Frank’s mother and Sam’s grandmother (Blythe Danner, who unfortunately only has a few scenes) was a singer in her younger years. So “Music runs in the family” (as the tagline for the film says). Sam is interested enough with music that she writes songs, including a love song for Rose. It’s called Hearts beat loud, and Frank is so enthusiastic about the song that he puts it on Spotify where it becomes a hit. He is already planning for a world tour. Sam will have none of it, she loves singing with her Dad, but she’s leaving for college. Offerman and Clemons are so effective at recreating the love between fathers/mothers and daughters/sons. Their little arguments where Frank is trying to say something to make Sam laugh, but Sam, like all teenagers, never find her Dad funny. It all rings true. Toni Collette plays Leslie, Frank’s vinyl store landlady and possible love interest. And Ted Danson is Dave, Frank’s best friend who also owns a bar (Yes, Danson behind a bar again). But the film belongs to Kiersey Clemons, who, beside being a talented actress, has such a powerful singing voice. Hearts beat loud’s songs were all composed by Keegan DeWitt, including the inspired title song. In my favorite scene, Frank and Sam are recording Hearts beat loud. The arrangement is simple at first with only a few instruments, as more instruments are added, the song builds up layers upon layers. This seems an apt description for this film. It may seem at first a simple, charming film, but it becomes more complex and compelling. Still, it is charming.

Rémi-Serge Gratton

 

Hearts beat loud

 

Directed by:
Brett Haley

Screenplay by:
Brett Haley
Marc Basch

Starring:
Nick Offerman
Kiersey Clemons
Toni Collette
Ted Danson
Sasha Lane
Blythe Danner

97 min.

Rated Parental Guidance

Disobedience

Chilean director Sebastián Lelio’s films are about women who proudly dare to defy conventions. His 2013 film Gloria was about a 58 year-old divorcee who decides to seek love, fun and sex. Last year’s A fantastic woman featured a transgendered woman after the death of her partner. It won the Academy award for Best foreign language film. His new film is Disobedience, an Irish-British-American co-production set in the Orthodox Jewish community of London. Rachel Weisz serves as a producer and also plays Ronit, a New York photographer who goes back home when she learns that her estranged father, Rabbi Krushka, has died. Judging by everyone’s reactions, it seems that she was not expected to return, and some were probably hoping that she would stay away. Dovid (Alessandro Nivola), a Rabbi and her father’s spiritual son, is certainly surprised to see her since nobody, to his knowledge, had sent Ronit the news of her father’s passing. She feels that people are looking at her and judging her. Ronit wears none of the traditional Orthodox Jewish women’s clothing, like a sheitel (a wig that is worn to show modesty). It is clear that some women from the community don’t like her very much. That’s not the case with her old friend Esti (London, Ontario native Rachel McAdams), who is now married to Dovid. The three were friends and they still are, but that does not mean they are not awkward around her. And then we learn that Ronit and Esti were lovers in their youth. Now they fall in each other’s arms again. And when they are seen kissing in public, it puts Esti in an even more awkward position, but that scandal may also liberates her. Maybe she doesn’t want to stop loving Ronit. The most stunning thing about this amazing film is its originality. During Ronit and Esti’s passionate love-making, Ronit drips saliva into Esti’s mouth. There is brilliance in the casting of Weisz, McAdams and Nivola. But it’s McAdams that shines here. It’s an assured performance. She never been as good or as beautiful as she is here. Matthew Herbert orchestral score may be some of the most peculiarly effective music for film. It is hesitant and doesn’t spell out everything neatly for us, it comes in waves and breeze, both sudden and subtle, melodic and atonal, in crescendos and decrescendos. Like this film and Lelio, it marvelously defies conventions.

Rémi-Serge Gratton

 

Disobedience

 

Directed by:
Sebastián Lelio

Screenplay by:
Sebastián Lelio
Rebecca Lenkiewicz
Based on the novel by Naomi Alderman

Starring:
Rachel Weisz
Rachel McAdams
Alessandro Nivola

114 min.

Rated 14

Never steady, never still

Judy (Shirley Henderson) suffered from advanced Parkinson’s disease. She lives with her husband Ed (Nicholas Campbell) and their 18-year-old son Jamie (Théodore Pellerin) in a house on the edge of Stuart Lake in British Columbia. It has been twenty years since Judy was diagnose with the disease and now she can’t even button her jeans. Ed will do it. It’s clear that they love and understand each other. Ed wants Jamie to go work in the oil fields of Alberta, to earn money of course, but also to give him some responsibilities. Once there though he has to deal the violence of his co-workers. When Ed dies, Jamie goes back home for the funerals. Although Jamie would like to stay to help her mother, she insists that he goes back to Alberta. Life is hard for Judy, but she manages without much problems for now. Jamie’s orientation is unclear. In the shower he is daydreaming being kissed by his best friend. During winter life gets harder for Judy who befriends the grocery’s delivery girl (Mary Galloway). It is actually very hard to watch Scottish actress Shirley Henderson and believe she does not have Parkinson’s. Her body is terribly bent and deformed. It must have been hard on her body.And she’s so thin. She looks like a fragile little bird. Physically Henderson has been perfectly cast. Pellerin, who is a popular actor on Quebec TV and film, is compelling to watch here as a confused, lost teen. Kathleen Hepburn’s film is based on her mother’s life. It is well photographed by Norm Li, who never let’s us forget the harshness of the Canadian winters. Never steady, never still can be depressing and slow, but it may be worth it for certain moviegoers simply because of the great cast. Henderson, Pellerin, Campbell and Galloway.

Rémi-Serge Gratton

 

Never steady, never still

 

Directed by:
Kathleen Hepburn

Screenplay by:
Kathleen Hepburn

Starring:
Shirley Henderson
Théodore Pellerin
Nicholas Campbell
Mary Galloway
Lorne Cardinal

112 min.

Rated 14A

In English.

In between (Bar bahar)

In between is about three young Israeli-Palestinian women sharing a flat in Tel Aviv: At first only two of them are living together. Layla (Mouna Hawa) is a lawyer, and Salma (Sana Jammelieh) works in a restaurant. Oh yes, she’s a lesbian. They’re like all the other young people their age. They hang around a liberal crowd of women and men. There are drugs and booze. Then Nour (Shaden Kanboura) moves in. Nour is a traditional Muslim who wears a hijab and is committed to her fiancé. She’s from another city and she’s coming to live in Tel Aviv to finish her studies. At first, Layla and Salma don’t have much in common with her. Nour’s fiancé is very strict with her. He would like Nour to come back to their city, even if it takes a few hours to drive to school. On one of his visits, he brutally rapes her. That’s when the three women band together to make sure that Nour can get out of this marriage. Layla has met Ziad, a man she thinks will be her soul mate. But soon Ziad start to want to control her. She’ll have none of that, and she’s quick to break off with him. As for Salma, situations get tense in her Christian family when her parents finds out she has a girlfriend. Being afraid for her safety, Salma makes the decision to move to another country. As Palestinians, the daily lives of those women are fraught with danger. A suspicious look at the grocery or when they are buying clothes. But the danger (or the possible dangers) is also coming from their own community. Maysaloun Hamoud has put a much-needed a spotllight on them. Those three actresses are nothing short of amazing. Shaden Kanboura as Nour has the most difficult scenes in the film. The French title is Je danserai si je veux (I’ll dance if I want). And at the end they dance indeed, to celebrate their friendship and their liberty.

Rémi-SergeGratton

In between (Bar bahar)

 

Directed by:
Maysaloun Hamoud

Screenplay by:
Maysaloun Hamoud

Starring:
Mouna Hawa
Sana Jammelieh
Shaden Kanboura

103 min.

Rated 14A

In Arabic and Hebrew with English subtitles.

The party

I’ve never been a fan of director Sally Potter. Her new film, The party, is a uninterresting, annoyance of a film. It stars Kristin Scott Thomas as Janet, a politician from the opposition party, who has received an important promotion. Janet has invited a few friends to celebrate the good news. But her husband, Bill (Timothy Spall), sits around drinking too much and listening to music. He does not look to be in a celebratory mood. Then the guest arrive: cynical April (Patricia Clarkson, the only bright light among the cast), and her life-coach husband, Gottfried (Bruno Ganz), lesbian couple Martha (Cherry Jones) and Jinny (Emily Mortimer), announcing that Jinny is pregnant with triplets, and millionaire banker Tom (Cillian Murphy). A bunch of hysterical nuts! Tom’s wife, Marianne, will arrive later, Tom says before he goes to the washroom to snort some cocaine. Tom also brought a gun. During the evening Bill tells Janet that he is dying and leaving her for Marianne. Meanwhile, Janet is texting a secret lover. It becomes too busy with life-coach Gottfried trying to save the world, April insulting everyone, the lesbians fighting and Tom’s fits of jealous rage. It’s a mess! Shot in a very ugly black-and-white, it at times feels that it was a stage play. But nope, it’s an original screenplay by Potter. It begs the question: Why was it made? Just put The party in the WTF category and forget about it. It clocks in at only 71 minutes. Quite enough. Avoid!

Rémi-Serge Gratton

The party

 

Directed by:
Sally Potter

Screenplay by:
Sally Potter

Starring:
Kristin Scott Thomas
Timothy Spall
Patricia Clarkson
Bruno Ganz
Cherry Jones
Emily Mortimer
Cillian Murphy

71 min.

Rated 14A

A fantastic woman (Una mujer fantástica)

In A fantastic woman transgender actress Daniela Vega gives a stunning performance. Vega plays Marina, a young trans woman who works as a waitress and sometimes sings in a cabaret. She lives in Santiago, Chile with her lover, an older gentleman called Orlando (Francisco Reyes). One night, when Orlando suffers an aneurysm, Marina drives him to the hospital. Right from the start there are problems. Marina is looked at with suspicion and is treated with less respect that other spouses would. After Orlando dies, a female detective (Amparo Noguera), who claims to have worked on the street with other transgender, doesn’t seem to believe Marina’s version of events. Marina is forced to go through a humiliating medical exam. Some exam! Marina is asked to undress, while the doctor takes photos of her naked body. And then there is Orlando’s family. She gets along with Orlando’s brother, who is kind to her. But when she returns Orlando’s car to his ex-wife, Marina is called sick and depraved, and she’s told that she wont be allowed to go to Orlando’s funeral. She has to vacate Orlando’s apartment after his son threatens to throw her out. When against warnings Marina goes to the funeral to pay respect to her lover, she’s met with more threats and violence. It’s quite disturbing. But through it all, Daniela Vega shows us Marina facing society’s prejudice with dignity and defiance. A fantastic woman is quite suspenseful, as this reviewer sat on the edge of his seat for the entire film. When Marina, who has been studying classical singing, goes up on stage and sings Handel’s Ombra mai fu (Vega’s own voice) she is happy. A fantastic woman, indeed!

And the Oscar went to… A fantastic woman won the award for Best foreign language film. On the stage to accept the Oscar Sebastián Lelio introduced the stars of his film, Daniela Vega and Francisco Reyes. Later in the Oscar-cast, Daniela Vega presented the Best song nominee from Call me by my name.

Rémi-Serge Gratton

 

A fantastic woman (Una mujer fantástica)

 

Directed by:
Sebastián Lelio

Screenplay by:
Sebastián Lelio
Gonzalo Maza

Starring:
Daniela Vega
Francisco Reyes
Luis Gnecco
Aline Küppenheim
Amparo Noguera

104 min.

In Spanish with English subtitles.

Film stars don’t die in Liverpool

In Film stars don’t die in Liverpool, Annette Bening plays Gloria Grahame, a Best supporting actress Oscar winner in 1952 for The bad and the beautiful. The film is based on the memoirs of Peter Turner (Jamie Bell), a young British actor who became Grahame’s lover in the late 70s. There was close to 30 years difference between them. In 1981, soon after their break-up, Turner gets the news that Grahame is ill. She collapsed in her dressing room as she was about to go on stage in The glass menagerie. Turner goes to see her and he learns that she refuses to go to the hospital and does not want chemotherapy. All she wants is to go to Peter Turner’s house in Liverpool where she knows that Peter’s family will take care of her. Peter’s parents, Bella and Joe (Julie Walters and Kenneth Cranham) are happy to help their friend Gloria but, along with Peter’s brother, Joe Jr. (Stephen Graham), they think that she should call her children and her doctors in New York. As Peter is making the decision to call them, he remembers the beginning of their love affair. Director Paul McGuigan’s flashbacks are so compelling. It’s like Turner sees his memories. He peeks through a door and peeks, literally, into his remembrance. You don’t often see the “young man in love” as very compelling characters. Those are usually the most boring characters. But there is such an emotional investment, both physical and intellectual, from Jamie Bell that we can’t help cheering for Peter Turner. The film is conceptually quite beautiful. I was surprised to see several scenes with rear projections matte paintings, methods that were in use in movies until the 1960s. It’s as if McGuigan wants to underline that Gloria Grahame was a 40s and 50s movie star. In 1981 her best year are behind her, that’s true. But the way Bening plays her, she’s still a star. Actually, Bening is a star playing a star. Whether she’s dancing disco with Peter or dying of cancer in bed, Gloria Grahame was a star. At some point Matt Greenhalgh’s screenplay switches the flashbacks from Peter’s point of view to Gloria’s. At that moment Annette Bening becomes a tragedienne. A tour-de-force acting from both Bell and Bening.

Rémi-Serge Gratton

Film stars don’t die in Liverpool

 

Directed by:
Paul McGuigan

Screenplay by:
Matt Greenhalgh
Based on the memoir by Peter Turner

Starring:
Annette Bening
Jamie Bell
Julie Walters
Vanessa Redgrave
Kenneth Cranham
Stephen Graham

105 min.