My 2015 Oscars Picks

IMDb listing
Previous/Other years


Diversity questions have certainly been asked with regards to the Oscar nominations this year (and the reader will see below that there are several African American / non-White candidates that IMHO would have been worthy of nominations).

HOWEVER, this year the Oscar competition is really quite fascinating because while I could certainly add an actor/actress/movie or two to several of the nomination categories (why not make the list of nominees "up to 10" in all the major categories?), _a lot_ of the competitions -- Best Picture, Best Actor, Best Actress, Best Screenplay (both Original and Adapted) -- are IMHO essentially tossups.  This was a very good year for excellence in American / English language cinema!

As in previous years, I've already offered up my own list ("Denny Awards" as it were ;-) for what I believe were the most compelling films and performances (male and female) among those that I saw in the past year.

But this here would be my take on the 2015 Oscars: 


BEST ACTOR IN A SUPPORTING ROLE 
     WILL WIN - J.K. Simmons in Whiplash
     SHOULD WIN - J.K. Simmons in Whiplash or perhaps Ethan Hawke in Boyhood
     DESERVED CONSIDERATION - Forest Whitaker in Repentance.

BEST ACTRESS IN A SUPPORTING ROLE
     WILL WIN - Patricia Arquette in Boyhood
     SHOULD WIN - Laura Dern in Wild
     DESERVED CONSIDERATION - Bharati Achrekar as "auntie" in The Lunchbox (orig. Dabba) ;-)

BEST ACTOR IN A LEADING ROLE
     WILL WIN - Michael Keaton in Birdman, but IMHO this category this year is a complete tossup
     SHOULD WIN - ANY of the 5 nominees + Brendan Gleeson in Calvary, Jake Gyllenhaal in Nightcrawler or Ralph Fiennes in The Grand Budapest Hotel (this was a year of A LOT of  remarkable leading role performances)
     DESERVED CONSIDERATION - Brendan Gleeson in Calvary,  Jake Gyllenhaal in Nightcrawler, Ralph Fiennes in The Grand Budapest Hotel, Kevin Kline in My Old Lady, Irrfan Khan in The Lunchbox (orig. Dabba) and even Geová Manoel dos Santos in August Winds (orig. Ventos de Agosto) and Phillip Seymour Hoffman in A Most Wanted Man

BEST ACTRESS IN A LEADING ROLE
     WILL WIN - Julianne Moore in Still Alice
     SHOULD WIN - AGAIN A TOSS UP.  Of the nominees, Julianne Moore in Still Alice, Rosalind Pike in Gone Girl and Felicity Jones in The Theory of Everything are most deserving of a win but even Gugu Mbatha-Raw in Beyond the Lights had an Oscar worthy performance.
     DESERVED CONSIDERATION - Gugu Mbatha-Raw in both Belle AND Beyond the Lights, Keira Knightly in Begin Again

BEST ORIGINAL SCREEN PLAY
     WILL WIN - Boyhood
     SHOULD WIN - Of the nominated Birdman, Boyhood or The Grand Budapest Hotel are IMHO most deserving of the win, but then I'd also add Babadook, Repentance or Calvary
     DESERVED CONSIDERATION - Babadook, Repentance, Calvary, Belle, Begin Again, The Lunchbox (orig. Dabba), August Winds (orig. Ventos de Agosto)

BEST ADAPTED SCREEN PLAY
     WILL WIN - The Theory of Everything
     SHOULD WIN - Gone Girl (! - how did THIS film NOT get nomimated in THIS category!) 
     DESERVED CONSIDERATION - A Most Wanted Man, My Old Lady

BEST CINEMATOGRAPHY
     WILL WIN - Birdman
     SHOULD WIN - Birdman or The Grand Budapest Hotel or then also Repentance, Calvary, Nightcrawler, A Girl Walks Home Alone at Night (!)
     DESERVED CONSIDERATION - Miss Christina (orig. Domnisoara Christina), A Girl Walks Home Alone at Night, Repentance, Calvary

BEST DIRECTOR
     WILL WIN - Richard Linklater for Boyhood
     SHOULD WIN - Again basically a tossup.  Of the nominated Richard Linklater for Boyhood, Wes Anderson for The Grand Budapest Hotel, Alejandro González Iñárritu for Birdman are IMHO most deserving of a win, but then also Clint Eastwood for American Sniper made a masterful film that could have easily earned him an Oscar in this category as well.  
      DESERVED CONSIDERATION - Clint Eastwood for American Sniper
               

BEST PICTURE

     WILL WIN - Boyhood, The Grand Budapest Hotel or Birdman IMHO any of these could win
     SHOULD WIN - The Grand Budapest Hotel (in a very good field, IMHO it's simply "the greatest of them all" ;-)
     DESERVED CONSIDERATION - Repentance, Calvary, Nightcrawler, Gone Girl, Begin Again

 Again, there were some remarkably good films made this year!

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Manuscripts Don't Burn (orig. Dast-neveshtehaa nemisoosand) [2013]

MPAA (UR would be R)  Chicago Tribune (3 Stars)  RE.com (3 1/2 Stars)  Fr. Dennis (4+ Stars)

IMDb listing

IMVBox.com listing
Cinando.com listing
Sourehcinema.com listing*

Chicago Tribune (M. Phillips) review
RogerEbert.com (G. Cheshire) review

Manuscripts Don't Burn (orig. Dast-neveshtehaa nemisoosand) [2013] [IMDb] [CIN] [IMV] [SC]* (written and directed by Mohammad Rasoulof [en.wikip] [IMDb] [IMV] [SC]*) is a remarkable IRANIAN DISSIDENT FILM that played recently at the 25th Annual Festival of Films from Iran held at the Gene Siskel Film Center in Chicago (SERIOUSLY THIS A TRULY REMARKABLE ANNUAL FESTIVAL PUT ON by the GSFC with some very, very, very good advice!  My hat honestly off to you!)

The film premiered at the 2013 Cannes Film Festival where it FEPRIZI (Int'l Critics) Prize and it's available (w. English Subtitles) for streaming via the Amazon Instant Video service.

Though fictionalized, it's based on the true experiences of Iran's dissident writer community.  So provocative was the film's content that aside from the writer/director NONE of the actors, editors or crew were credited in the film.

So what's the film about.  It's based on "an incident" (fictional(ized)?) that took place some time in the late 1990s in which a busload of 21 Iranian dissident intellectuals heading (presumably from Tehran) to a conference (somewhere "North") organized "by an Armenian organization" was nearly driven off a mountain road into a ravine by a bus driver who turned out to be an agent of the Iranian secret police.

"How could such a 'fantastic incident' ever have taken place?" asks, sarcastically, an incredulous Iranian government censor / police official mocking an Iranian dissident writer who had chosen to write about the incident, 20 years later, in his memoirs.

"We couldn't believe it either EVEN AS IT WAS HAPPENING," answers the aging writer.

The film then shows the writer explaining in his memoir that the bus driver actually tried to run the bus off the road TWICE even as the dissident writers on-board simply could not believe that the driver had already tried to kill them all the first time though that was obviously the case.  After all, NO ONE "falling asleep at the wheel" would _also_ jump out of the bus at the same time (!).  Yet that what the driver did (jump out of the bus) even though he gave the passengers the excuse (that he momentarily fell asleep at the wheel) when the bus didn't fall off the road ... Yet, so incredible / frightening seemed the incident that the intellectuals believed the bus driver the first time...

Well needless to say, the government censor/official confiscates the manuscript of the Iranian dissident's memoirs to which the writer responds, "I made two other copies of the manuscript and gave them to friends for safekeeping.   If something untoward happens to me, it will get published."

The rest of the film is then, of course, a search for the other two manuscripts...

Now a question could be asked why didn't the Iranian writer just publish the manuscript _online_ (or give a digital copy of it to someone) when he had the chance?

That's a very interesting question ... and a good part of the film involves exploring motivations for why he didn't.  

PART of his motivation (and this is therefore only PARTLY a SPOILER) was that he was using the manuscript as pressure to try to force the government to allow him to just leave the country.  But there's more to the question than that, and it's kinda interesting.

In any case, the film is an EXCELLENT REMINDER (if one ever needed one) that IRAN IS NOT FREE and what Iran's intellectuals go through as they try to be HONEST WITH THEMSELVES in a country whose paranoid regime would really prefer that they just shut-up and if they CAN'T / WON'T shut-up on their own, SHUTS THEM UP - even by torturing them / putting a bullet or two in their heads - ITSELF.

Great film!


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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A Cube of Sugar (orig. Ye Habe Grand) [2011]

MPAA (UR would be PG-13)   Fr. Dennis (4+ Stars)

IMDb listing

IMVBox.com listing
Cinando.com listing
Sourehcinema.com listing*

TakeOneCFF (M. O'Brien) review
Variety (R. Scheib) review

A Cube of Sugar (orig. Ye Habe Grand) [2011] [IMDb] [CIN] [IMV] [SC]* (directed and co-written by Reza Mirkarimi [IMDb] [CIN] [IMV] [SC]* along with Mohammad Reza Gohari [IMDb] [CIN] [IMV] [SC]*), set in a random provincial town in contemporary Iran, is a lovely / gentle film about preparations for a wedding for a BELOVED (if perhaps previously somewhat taken for granted) daughter/niece/sister/aunt of a fairly large Iranian family who had "grown up" (without anybody particularly noticing...) and was now _finally_ getting married.

Director Reza Mirkarimi's [IMDb] [CIN] [IMV] [SC]* most recent film Today (orig. Emrouz) [2014] IMDb] [CIN] [IMV] [SC]* played recently at the 25th Annual Festival of Films from Iran at the Gene Siskel Film Center here in Chicago.  Since neither of that film's two screenings at the Festival proved particularly convenient for me, I decided to view / review one (or two) of his previous films instead.

These previous films can be found both LEGITIMATELY and, even better, FOR FREE on the IMVBox website which is something of a database for contemporary Iranian films. One does need to create an free account but it is truly free with no creepy/crooked requests for credit card, bank or other identity / financial information.  All one has to put up with is the film pausing every 20-30 minutes-or-so for "15-30 second commercial breaks" ;-).

So in lieu of the film that played at the festival (and perhaps will become available online later) I've decided to view / review this one instead.

Why bother at all?  As I've written elsewhere before, I do so honestly for the sake of "better comprehension among peoples," yes, quite seriously "for the cause of world peace."

I do believe that famed film critic Roger Ebert [en.wikip] (a lifelong Midwesterner/Chicagoan) was absolutely right when he called cinema "an empathy machine," noting that whenever we go to the movies we are invited to enter into the world of a different person, time, place, class, gender or race.  I also believe that while travel (and then in a meaningful way -- learning the language, spending some time there to truly learn / experience the culture) is prohibitively expensive / time consuming for the vast majority of people, for the price of a movie, we can, if the film is done well, enter into the world of the film-maker for 2-3 hours and learn a few things about that person's culture / manner of being that we probably never be able to do otherwise.

And honestly for all the foreign policy / political problems we in the West have had with Iran over the past decades (and both sides have their sides of the story), IT WAS A JOY TO VIEW / REVIEW THIS FILM ;-)

As introduced, the film's about the preparations for a wedding.  The bride, named Pasandide (played wonderfully by Negar Javaherian [IMDb] [CIN] [IMV] [SC]*), while Iranian from a small/random provincial town there, is one that almost all of us would probably know.

The youngest daughter of a fairly large family, she appears to have been "a good girl" who the family both clearly loved and had also at least partly taken for granted.  As she "grew up" (without anybody particularly noticing...) she became the principal caregiver for the older folks in the family, that is, for her mother (played by Soheyla Razavi [IMDb] [IMV] [SC]*) as well as her uncle (played by Saeed Poursamimi [IMDb] [IMV] [SC]*) and aunt (played by Shamsi Fazlollahi [IMDb] [IMV] [SC]*).  She herself had clearly become a _beloved aunt_ to her various nieces and nephews.  But what then about her own happiness?

Well, she was (perhaps finally) getting married.  To whom?  Apparently to someone who both she and the family had known when she was growing up but who along with his family had "emigrated to the West" when he was just a child.  So one gets the sense that this was at least partly "an arranged marriage."  Further since she was getting married to someone who had emigrated, hers was going to be something of a controversial marriage.  People were going "to talk" a bit.  And yet this was Pasandide, the youngest, BELOVED, sister / daughter / niece of her generation in her family, and she was _finally_ getting married!  SO THE WHOLE FAMILY, the religious, the not particularly religious (one of the cousins comes with a TV which he sets up in the shed to "not miss the game" ;-), the stern, the clowns, the cute as a button nieces, the nephews, EVERYBODY, was coming to the wedding.  HONESTLY, HOW NICE!

And yes, some of her sisters and cousins, even kinda envied her.  Her sister tells her: "Hey, you're gonna be lucky.  When your husband acts up, you're gonna be able to call the police, and they're gonna listen to you ..."

And yet, in the midst of the celebrations and preparations a tragedy strikes.  What to do now?  Does one go on with the wedding (and more to the point, with one's own aspirations / plans) or does one accept things as "meant to be?"

THIS IS AN EXCELLENT, SIMPLY EXCELLENT MOVIE ... and one in which pretty much ALL OF US will know the characters ...


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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The Disappearance of Eleanor Rigby: Them [2014]

MPAA (R)  CNS/USCCB (A-III)  ChicagoTribune (2 Stars)  RE.com (3 Stars)  AVClub (B-)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (J. McAleer) review
ChicagoTribune (M. Phillips) review
RE.com (M. Zoller Seitz) review
AVClub (J. Hessenger) review


The Disappearance of Eleanor Rigby: Them [2014] (written and directed by Ned Benson) is a gleefully convoluted tragedy / romance that could perhaps put some weary smiles on faces who don't necessarily have a lot to do this Valentine's Day. 

This is because the film was initially conceived as a pair of films each telling the film's story from the perspective of one of the two lead characters -- Eleanor Rigby (played by Jessica Chastain) and her partner/husband Coner Ludlow (played by James McAvoy). 

To quickly answer the obvious question, yes, Eleanor's parents in the film -- the Bohemian, formally Parisian, and still French accented Marie (played by Isabelle Huppert) and the Professorial (he is indeed is a Psych professor) Julian Rigby (played by William Hurt) -- did name her after the famous (and rather sad) Beatles song [YoutTube].  On the other side of the coin, the song doesn't necessarily inform much with regards to the film's story (other than that the film's story is also often rather sad).  Perhaps it's just a reminder to us that sometimes people do rather stupid or random things like name their kids after characters in stories or songs that _may_ then at least partly condemn them to live-out the story of the character depicted in the story / song.

Anyway, the original conception of this film project was to produce two parallel films that would would depict the same story (a rather sad one actually) from the perspective of two different characters.  There were originally His / Hers versions of the film.  When film was bought after the Toronto Film Festival in 2013, the production company that bought it decided that since the films repeated many of the same events in the story, that it would prefer that a single tale, a "Them" version, be released instead.  That's the version that's available on Amazon Instant Video (and reviewed here ;-).  I would suspect that the DVD would offer all three versions ;-).

Alright so what's the story about? 

Well, we meet the two lead characters, Eleanor and Conor, both in their early 3os, both clearly in love, in some New York restaurant.  And in the next scene, we see Eleanor riding her bike on the Brooklyn Bridge on one sunny day, stopping, leaning her bike against the fence, walking about 30 feet further from the bike and (apparently) climbing over the fence and jumping (we hear the splash).  The next shot we see is her being recovered (she did survive) by NYPD and taken to a hospital. 

What the heck happened?  Well, I'm not going to tell you ;-).  What I am going to tell you is that the story, progressively revealed does reveal a tragedy that could lead a thirty something woman to try to commit suicide and, to the film's credit, the story does involve more than just the two lead characters.  For instance, both sets of parents, hers already mentioned above and his, or at least his dad, a restauranteur named Spencer Ludlow (played by Ciarán Hinds) are quite important in the story and developed characters as are also other friends, family and coworkers.  

So this is an intelligently told story and one that from its very structure (again there are THREE versions) invites viewers to enter into it.

Anyway if yourselves so disposed on weekend, it's not a bad interpersonal story / romance / and at least partly tragedy to look-up ;-).  And again at least the "Them" version is available for a reasonable price on Amazon Instant Video.


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Kingsman: The Secret Service [2014]

MPAA (R)  CNS/USCCB (A-III)  ChicagoTribune (1 1/2 Stars)  ChicagoSunTimes (3 1/2 Stars)  RE.com (2 Stars)  AVClub (B-)  Fr. Dennis (2 1/2 Stars)

IMDb listing
CNS/USCCB (J. McAleer) review
ChicagoTribune (M. Phillips) review
ChicagoSuntimes (R. Roeper) review
RE.com (P. Sobczynski) review
AVClub (I. Vishnevetsky) review


Kingsman: The Secret Service [2014] (directed and screenplay cowritten by Matthew Vaughn along with Jane Goldman based on the graphic novel [GR] [Amzn] by Mark Millar [GR] [Amzn] [wikip] [IMDb] and Dave Gibbons [GR] [Amzn] [wikip] [IMDb]) is a film I did not expect to see.  I had found the trailer to be entirely too, "old time WASPish" even aggressively PRO-"old time WASPish" and then "on Steroids."  After all, the story promised to be about AN ORGANIZATION of OLD MONEYED / ARISTOCRATIC BRITS ACTING AS SUPERHEROES -- Jeez/Louise: imagine the "Downton Abbey" folks "IN MASKS / CAPES" :-).

Now don't get me wrong, I've liked, indeed even grown-up on James Bond (which the current film _repeatedly_ reminded viewers was a "gentleman spy" ... I had always considered him to be simply cool ;-).  I've also been able to accept (grudgingly) the American WASPish Bruce Wayne / Batman (who's always been my _least favorite_ of the popular American superheroes), and then the more redeemable Roosevelt-ine Xavier from the X-men.

BUT THE THOUGHT OF A WHOLE "GENTLEMEN'S CLUB" OF THESE PEOPLE????  Oh just what would we "little people" _ever_ be able to do without them? ;-)

Richard Roeper's review (link also given above) got me to see the film.  Paraphrasing, he called it an Austin Powers [2002] style send-up of the early James Bond films done in the style of Quentin Tarrantino's Kill Bill [2003].  I was intrigued ;-).

Having seen the film.  I can admit that the current film has its moments:

Samuel L. Jackson plays an inspired and appropriately crazy Bond-villain, a tech-mogul amusingly named Valentine (the film was released on Valentine's Day weekend ;-).

The film also _tries_ to soften the often insufferable Aristrocratic "Crust" of its "Kingsmen" premise by pitting an irredeemably "old school" / "snobbish" Arthur (played by Michael Caine) WHO HEADS the "Kingsmen" organization, against a more human, more open, more optimistic, indeed "more pure" Kingsmen AGENT named Harry Hart (played by Colin Firth) signaled also by his codename Galahad.  Hart / Galahad repeatedly appears to recruit "young people with potential" to the Kingsmen group, including the film's main / budding protagonist Gary 'Eggsy' Unwin (played by Taron Egerton), while Arthur seems to always look for reasons for belittling and rejecting them.

But the film has its problems:

Consider simply that the film's "Bond Villain" is both BLACK and a "TECH MOGUL" (by definition NEW MONEYED).   And the Grand Plot that he's concocted is that he's gonna "solve Global Warming" by killing off a vast number of (generally poor) people.  It's basically the saw that "Liberals are more concerned about 'the Planet' than about PEOPLE."

But then the actual means that Valentine conceives for liquidating all those people is actually quite frightening and MAY keep fair a number of "Bilderberg Group" conspiracy theorists up at night afterwards ;-)

So what then to ultimately say about the film?  It is a largely inspired send-up of the old James Bond films.  All the main characters are quite well drawn, even if there are aspects of the story that I find unsettling, in particular that the film does seem to portray the Old as being basically Good and the New as being basically Bad.

That said, I do believe that this is a story that's "one heck of a ride." ;-)


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Fish & Cat (orig. Mahi va Gorbeh) [2013]

MPAA (UR would be PG-13)  E4Film (3.5 Stars)  Slant (2 Stars)   Fr. Dennis (3 Stars)

IMDb listing

IMV.com listing
Cinando.com listing
Sourehcinema.com listing*

EyeForFilm.co.uk (A. Robertson) review
Slant (S. McFarland) review

Fish & Cat (orig. Mahi va Gorbeh) [2013] [IMDb] [CIN] [IMV] [SC]* (written and directed by Shahram Mokri [IMDb] [CIN] [IMV] [SC]*) is a rather strange / surrealistic (and intentionally so ;-) Iranian film that played recently at the 25th Annual Festival of Films from Iran at the Gene Siskel Film Center here in Chicago.

Based on a true incident that occurred around a restaurant in the hinterlands of Western Iran in the late 1990s, an incident that would evoke a mix of anticipation / revulsion in the viewer reminiscent of the bloodletting / imagery of the original The Texas Chain Saw Massacre [1974], after baiting the audience with such rather sordid expectations at the current story's very beginning, the film proceeds to _meander_ -- for 2 1/2 hours (!!) ;-) --  in its telling of the said and promised-to-be sordid story in a manner that amuses and frustrates audience and invites, repeatedly, the audience to reflect, in various ways, on the NATURE OF TIME ;-) -- Is it slow? Or is it, if perhaps after a time, in fact quite  quick and DECISIVE? Is it linear or cyclical?  And, as one awaits some kind of resolution (!), does one just give-up or care? ;-)

Adding to the amusement of the story-telling, the film was shot -- all 2 1/2 hours of it -- IN ONE CONTINUOUS TAKE ;-) -- on an overcast (largely featureless) day, along the shore of a random lake / reservoir, among a group of random, mostly young people, preparing for a random if perhaps beautiful (but also fleeting) activity -- a local / somewhat regional "kite festival."

Among those random and generally cheerful young people walk two rather strange middle-aged men, who own a random yet appropriately creepy "roadside restaurant" relatively "nearby."  Everyone in the audience, of course, knows what one or the other of these two, random, if rather strange-looking middle aged men are (eventually...) gonna do.  BUT WHEN?

And the director, perhaps in his 30s, smartly dressed, in black slacks and a black sports coat, with a nice smartly trim beard, BEAMED after the screening here at the Siskel Center, looking like a young Oliver Stone / Spielberg-like director who's gotten one over on the audience ;-), noting that a knocked-over box of pop-corn in one of the aisles suggested that at least one or two of the audience members had gotten-up and left in frustration / disgust ;-).   Mission accomplished ;-)  

What then was the point of the film?  Well, he said it was inspired by Aescher Prints where people seemed destined to walk around in circles and that yes, he saw the film as a fun, meandering, both linear and cyclical, exploration of time.

Honestly, this was one fun, if at times quite exasperating, film ;-) and it reminds the American / Western viewer of both the humor and sophistication of Iran's people and culture.  After all, as Iranians (whether they like the current regime or not ... and one would assume that many/most of those involved in this festival, curated and paid for by Iranian Exiles, do not) almost universally like to remind Westerners ... theirs is a culture that's "been around for 3000 years."


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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Girlhood (orig. Bande de Filles) [2014]

MPAA (UR would be PG-13)  RE.com (3 1/2 Stars)   Fr. Dennis (3 1/2 Stars)

IMDb listing
Allociné.fr listing*

AVoir-ALire.fr (F. Mignard) review*
Elle.fr (K. Moussou) review*
LaCroix (C. Renou-Nativel) review*

RogerEbert.com (S. O'Malley) review
Slant Magazine (J. Latimer) review
Sound on Sight (J.R. Kinnard) review

Girlhood (orig. Bande de Filles) [2014] [IMDB] [AC.fr]* (written and directed by Céline Sciamma [IMDb] [AC.fr]*) which played recently at the Gene Siskel Film Center here in Chicago, can make for a fascinating "opposite book end" to American director recent Richard Linklater's Boyhood [2014]:

Linklater, white, male / American, made a remarkable film focused on a boy, 8-18 y/o, American, white, growing-up middle/lower-middle class in "at the edge of the prairie" Texas.

In contrast, Sciama, still white but female / French, made a remarkable film that focuses on a girl, about 15-16 y/o, French, of West African descent, hence black, growing-up "in a project" (poor) "at the edge of the city" Paris.

Again, fascinating! ;-).

Both films were darlings of the 2014 Festival Circuit and both have received critical acclaim in their respective "home countries."  Linklater's film has been nominated for 6 Oscars including Best Film, Best Original Screenplay, Best Director and Best Supporting Actor and Actress, Sciamma's for 3 Lumiere Awards (France's equivalent of the Oscars) including Best Film, Best Director and Most Promising Young Actress.


In both cases, though perhaps for different reasons, the directors wished to primarily present their stories through vignettes.  Since Linklater's story was filmed (remarkably) over the span of 10 years the director didn't have much of a choice but tell the story through evocative vignettes (or else his would be a very long movie ;-).  In contrast, in Sciama's film, lead character Marieme's  horizons seemed so limited that what life / freedom / "victory" could be found could _only_ be found in sometimes quite _stolen_ "moments" / vignettes. 

With regard to this last point noting Marieme's limited socio-economic horizons, it would be worthwhile to recommend to American viewers another evocative American film that treads similar ground, though again through a mostly young male (if African American) perspective, the American gang classic Boyz n the Hood [1991], this in particular since the French title to Sciamma's current film is Bande de Filles or Gang of Girls.

So then, to the film ;-)

The film centered on Marieme (played remarkably by Karidja Touré [IMDb] [AC.fr]*) 15-16 y/o, of West African descent, living in the projects at the outskirts of Paris.  There was no father in the picture, and her mother (played by Binda Diop [IMDb] [AC.fr]*) mostly working, as a cleaning lady, was largely out of the picture as well.   Who "ruled the roost" at home was her older brother Djibril (played by Cyril Mendy [IMDb] [AC.fr]*) who dominated her and her 11-or-so y/o younger sister with violence and the threat of violence.  Indeed, "the grounds of the projects" seemed to be dominated by listless, generally unemployed, young men.  Outside there were "strangers." Inside there was the "abusive older brother" who perhaps afforded the girls _some_ "comfort" of being at least "the Devil that one knew" and being ... "Family."

So life, if it was to be found, was to be found outside _beyond the projects_.  But here horizons appeared to be shrinking for Marieme as well.  Her grades not being good, early in the film, she's counseled by her school's administrators to put herself "on a vocational track" because College was NOT going to be in the cards, NOT with her grades (or perhaps having at least partially compensatory monetary fortunes).

Well, one door closes and ... another (perhaps not the greatest) ... opens.   Perhaps shaken by what she was told at school, Marieme, decides (for the first time?) to give "the time of day" to three slightly older and certainly tougher-looking girls, led by "Lady" (played wonderfully by Assa Silla [IMDb] [AC.fr]*) standing by a vending machine _outside_ of school.

Initially it's a rather "awkward" encounter.  The three slightly older, certainly somewhat tougher girls are probably "of the type" that Marieme had been previously "warned about" by her older (abusive) brother and (absent) mother / family.  On the other side of the coin, "Lady," et al, certainly know that previously Marieme would not have given them, "fallen" / "dangerous" girls that they were, much consideration.  So ... some "negotiation" or even "reconciliation" has to take place.   But "Lady," et al probably knew that they too were "once like Marieme," and perhaps Marieme came to appreciate, perhaps more than before, that "Lady," et al probably came-to-be who-they-were as a result of a "once upon a time" conversation like she just had with her school's administrators.

So ... Marieme basically joins their "gang."  And for a good part of the movie, one naturally fears for her and even for some of the others in this "gang of four."

And there are moments that are quite scary and there are moments that are simply _heart-rending_, because these four girls are not "simply evil" or had somehow become "simply evil."  To a good extent they are still "young girls" who "if things were different ..." would also certainly be different:

The show stopping scene in the movie is when the four, dress-up in cheap hotel room somewhere (again "the projects" themselves were apparently considered unsafe by all of them) in clothes that they had obviously "lifted" (stolen) from some department store (the bulky "security clips" still hanging on them) and DANCE / LIPSINC-ING to the Rihanna song named "Diamonds."  Again, "if things were different ..." ... but of course they are not.  And it does make one want to cry ...

It all makes for a very, very interesting movie.  And there are more things going on. Miriam now going by the name "Vic" (for "Victoire / Victory") has, of course, her "Gang of Four."  But she ALSO has her (abusive) older brother and her younger sister (who looks up to her).  Further out, she does have her mother who does care for her but is just too far away too often to make a difference.  And then there is also a young guy in her project named Ismaël (played by Idrissa Diabaté [IMDb] [AC.fr]*)  who likes her (and she kinda likes as well) but ... and she asks him the question ... "what kind of a life would we have together?"  (He'd be unemployed and she'd be his housekeeper / wife?)

Again this is really, really good, thought provoking stuff ... and certainly worthy of the accolades that the film has received.


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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