The Divergent Series: Insurgent [2015]

MPAA (PG-13)  CNS/USCCB (A-III)  ChicagoTribune (2 1/2 Stars)  RE.com (2 1/2 Stars)  AVClub (C)  Fr. Dennis (3 Stars)

IMDb listing
CNS/USCCB (J. McAleer) review
ChicagoTribune (M. Phillips) review
RogerEbert.com (S. Wloszczyna) review
AVClub (J. Hassenger) review


The Divergent Series: Insurgent [2015] (directed by Robert Schwentke screenplay by Brian Duffield, Akiva Goldsman and Mark Bomback based on the novel [GR] [WCat] [Amzn] by Veronica Roth [wikip] [GR] [IMDb]) is the second cinematic installment of the Post-Apocalyptic "Hunger Games-like" teen-oriented Divergent Trilogy.  It follows the release of Divergent [2014], the first installment of the series, and for some better and for many others probably worse FEELS EXACTLY like the "second installment" of a series.

This is to say, for those enthralled by the possibility of "visiting alternate worlds," be they of Star Wars, or The Lord of the Rings, Harry Potter or perhaps, closer to home here, Mad Max / The Hunger Games a "second installment" with a promised third / fourth on the way would be "just great (!)" even if the plot perhaps meandered because ONE WOULDN'T CARE IF "THE PLOT MEANDERED." The main point of viewing "the second installment" was to visit the "alternate world" of the first installment once more.  Indeed, "meandering" could even be seen as a positive thing ... it would mean that one gets to remain in that world for a bit longer.

Indeed ever since Hollywood split J.K. Rowling's final Harry Potter book to make Harry Potter and the Deathly Hallows Parts 1 and 2, it's been standard operating procedure to do the same with regards film versions of successful teen-oriented book series: The final book of the Twilight Saga, Breaking Dawn, was split to make Parts 1 and 2, as was the final book, Mocking Jay, of the Hunger Games trilogy, as indeed will the final book of this, the Divergent series.   Heck, J.R.R. Tolkein's Hobbit was famously (or infamously...) broken up into THREE movies [1], [2], [3].  "Meandering" pays ... and THE FANS of these "story-book worlds" don't mind.

So then, even if this second installment of the Divergent series feels very much like The Two Towers  [IMDb] (the second installment of Tolkein's Lord of the Rings) and we're still two films from coming to the end of the series, because Part III of the Divergent series will be almost certainly split once more into two films, fans of the series get to spend some more time in "Post-Apocalyptic" Chicago ;-) and a society radically divided into five high school-like cliques (err ... factions): the "granola-eating" / peace loving folks of Amity, the "geekish" but also increasingly "know it all" / arrogant Erudites, the similarly "wonkish" but more argumentative "debate team" types of Candor, the brave / "jockish" Dauntless, and the responsible, self-sacrificing "student council" types of Abnegation.

The two enemies of this system were, (1) those who didn't fit-in anywhere, that is, "The Factionless" and then (2) "The Divergent" who could actually fit quite well into several of the factions.

In the first film, we were introduced to the series' heroine Beatrice or Tris (played by Shailene Woodley) who grew-up in a (necessarily "rather boring") Abnegation household but at her "right of passage" / "choosing ceremony", _chooses_ to enter the seemingly "far more fun / crazy" Dauntless faction.  Most of those coming to the "choosing ceremony," choose to remain in the faction in which they were raised, only about 15% would change faction.  According to societal rules once one chose one's faction, one could not go back.

So why would someone skip faction?  Well, it would seem that those who'd skip factions were at least IN PART "Divergent" (again, something viewed as dangerous in this rigid society).  And, of course Tris proves to be somewhat _radically divergent_ able to "fit in" with most / all of the factions.  Ironically, since she was able to "fit in" with all the factions, in the society portrayed, that ability made her something of an "outcast" to those who were happily members of the (one) faction to which they had chosen to belong.  She was BOTH someone who could bring social harmony to a whole new level in that society AND "dangerous" to the social order as well.

So hers is the drama played out in this series ... and she does progressively build a coalition of friends/allies around her starting with (1) "past family" notably her brother Caleb (played by Ansel Elgort) with whom she had grown-up, then with (2) those who were perhaps "closeted divergents" as well, like her boyfriend Four (played by hunkish / Jacob of the Twilight Saga-like Theo James) and finally with (3) folks like "always Dauntless" Peter (played by Miles Teller) who initially really didn't like Tris, but as he's gotten to know her, has gotten used to her, even if he's always found her "odd."

This particular installment notes an interesting irony -- that for this radically rigid social order to be overthrown, an alliance between its two kinds of misfits, "The Factionless" who didn't fit in anywhere, and "The Divergent" who actually fit-in just about everywhere, had to be forged.

Can such an alliance be forged?  Well ... go see the movie ;-)

It all makes for a fairly long "Part II" of the story ... but it's an opportunity for those who are intrigued by the world / social order portrayed to bask in it for a couple more hours.


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After the Tone [2014]

MPAA (PG-13)  CineMagazine.nl (2 Stars)  FilmTotaal.nl (2 Stars)  MovieScene.nl (3 1/2 Stars)  Fr. Dennis (3 1/2 Stars)

IMDb listing
Cineuropa.org listing

Cinema.nl (K. Wolfs) review*
CineMagazine.nl (L. van der Meij) review*
Film Totaal (T. Verhoeven) review*
MovieScene.nl (N. van den Berg) review*
NWTV.nl (D. Steneker) review*


After the Tone [2014] [IMDb] [CEu] (directed and cowritten by Digna Sinke [IMDb] [CEu] along with Henk Burger [IMDb] [CEu]) I found to be a fascinating movie from the Netherlands that played recently at the 2015 - 18th Chicago European Union Film Festival held at the Gene Siskel Film Center here in Chicago.

The concept was deceptively simple yet the effect, as time went on, profound: A Dutchman, known as Onno, some kind of an ad-man or graphics designer from Amsterdam presumably in his 30s maybe 40s, simply stops responding to his voice-mails.

After hearing Onno's own voice message that he gives in both Dutch and English, "You've reached the voice mail of Onno ... please leave a message after the tone," THE REST OF THE FILM IS ENTIRELY COMPOSED OF THE VOICE MESSAGES LEFT IN HIS VOICE MAILBOX -- from his quite betrayed business partner Adriaan (voiced by Dragan Bakema [IMDb] [CEu], his mother (voiced by Olga Zuiderhoek [IMDb] [CEu]), his sister (voiced by Rifka Lodeizen [IMDb] [CEu]) and his girlfriend (voiced by Josefien Hendriks [IMDb] [CEu]) -- AND THE VISUALS FOR THE FILM were composed (more or less) of what the callers would have been looking toward while leaving the messages. 

So what the heck happened to Onno?  Well that's the key question, right?  Now he didn't appear to disappear completely.   OCCASIONALLY he (or perhaps someone else) uses a credit card of his -- in far off locations somewhere in the South Pacific.  So presumably he was alive.   But he CHOSE for some reason to disappear.  Why?  Again, a fascinating question.  What was clear though was simply that ONE DAY he simply disappeared from the regular circles of those friends/family/business associates who knew him:

He didn't show up at work.  About half of the messages on that first day were from his increasingly shocked/angry business partner who was left stood-up at a meeting with an important overseas client: "I know that you've always been a perfectionist / primadonna but WHERE ARE YOU?  THE JAPANESE ARE SITTING HERE WAITING..."   (Needless to say, THAT MEETING didn't go well ...)

As that first day proceeds there are also casual calls from from friends / relatives.  Nothing out of the ordinary.  BUT as the days of strange silence proceed, it's the family that becomes more and more concerned.  It becomes clear that Onno hasn't necessarily had the best relationship with his parents, BUT they were old and it becomes clear that his Father was ill.  "WHERE ARE YOU?  Why don't you return my calls?" his mother asks with an increasingly desperate tone as she comes to realize as the days, then WEEKS go by that he's really not calling them (or anybody). 

His girlfriend / sister have more practical concerns.  Both report to Nano that (after about a week) the police came by his apartment and a couple of weeks later the police come back at the behest of various financial concerns (after all, he wasn't paying his bills) to confiscate whatever financial records he may have left behind.

The burning questions quickly become and remain WHERE was Onno and WHY did he (presumably) do this?  In any case, the film becomes a very touching exposition of what it would be like for the loved ones / acquaintances of someone who simply disappeared.  Even his business partner, whose business was crushed as a result of Onno's disappearance leaves a message along the lines of: "Look, all kidding aside, YOU WERE A FRIEND AND DESPITE ALL THIS (all that you've done to me) I WILL NEVER FORGET YOU."

It is a remarkable story.

Now THERE ARE (more or less) OBVIOUS FLAWS.  First, most phone services allow only a limited number of voicemails before the box becomes "full."  Second along similar lines, after a few months if no one was paying for that phone, it would become disconnected (the story here goes on for a full year).  Third, friends and family TODAY would NOT only communicate with Nano by phone but also by text, e-mail, Facebook, etc.  The film focused ONLY on voice messages.

Finally, with a larger budget, the visuals could have been better.  Almost all were "outdoor vistas," that is, what the callers leaving messages on Onno's voice-mail would have been looking at if they were looking out the window.  More compelling visuals would have included Nano's business partner Adriaan making a desperate phone call to him from a busy office hallway / corridor, or Nano's sister or girlfriend calling from Nano's clearly ransacked (by bank officials / police inspectors) apartment, and/or Nano's mother calling him from the bedside of clearly a hospital room (when his father was ill) etc.

Still what a story!   And one that certainly makes one think.  Not only is silence inherently "polyvalent" (open to all kinds of interpretations by the receiver(s) of such silence), it is also quite cruel.  Nobody deserved what Onno did to them.


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

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The Judgement (orig. Съдилището) [2014]

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

IMDb listing
CineEuropa.org listing
Cinefish.bg listing* 
Kinopoisk.ru listing*

CineEuropa.org (S. Vahermägi) review

The Judgement (orig. Съдилището) [2014] [IMDb] [CF.bg]* [KP.ru]* (directed and screenplay cowritten by Stephan Komandarev [IMDb] [CEu] [CF.bg]* [KP.ru]* along with Marin Damyanov [IMDb] [CEu] [CF.bg]*[KP.ru] and Emil Spahiyski [IMDb] [CEu] [CF.bg]*[KP.ru]*) is a lovely and very, very sad Bulgarian film that played recently at the 2015 - 18th Chicago European Union Film Festival held at the Gene Siskel Film Center here in Chicago.
 
The film is about a middle-aged father named Mitio (played by Assen Blatechki [IMDb] [CEu] [CF.bg]*[KP.ru]*) and his son Vasko (played by Ovanes Torosian [IMDb] [CEu] [CF.bg]* [KP.ru]*) who is in his late teens.  They live in a Bulgarian village on the northern side of the Rhodope Mountains not altogether far from Bulgaria's border with Greece and Turkey.  If nothing else viewers will learn to appreciate WHY the historical border of Turkey and Greece in this part of the world was at these mountains.  They are haunting and beautiful but also ALL BUT IMPASSIBLE except by those who for proportionately desperate reasons have need to cross them.

Mitio (and thus also his son) are in trouble.  Why?  Well, Mitio's wife / Vasko's mother died sometime recently, presumably of cancer.   Yet before dieing, Mitio mortgaged their house to pay for medical treatments that had given them hope that she would survive.  She, of course, did not.  But now the home was in hock, and ... the milk company where Mitio worked was going bankrupt.

What to do?  Mitio goes to the only man in the region who could possibly save him from losing his home, a mafia figure that the locals would still call "The Captain" (played in the film by Predrag Manojlovic [IMDb] [CEu] [CF.bg]*[KP.ru]*) recalling "his time of service" in the Bulgarian army during Communist days.

Mitio hated this man from his own days of serving under him in the Bulgarian Army patrolling the border to the south.  But Mitio knew that he needed him, and "the Captain" clearly enjoyed the mafia-like respect if certainly NOT affection that he received from people like Mitio.  He knew well that Mitio hated him, but enjoyed that he had no choice but to come to him for help.

So what does "The Captain" have Mitio do?  Well, borders are generally well suited to make dirty money.  There's always some illicit cross-border traveling going-on, at some times more than at others.  In recent years, "business" has picked up: Today there are all sorts of desperate people fleeing places like IRAQ and SYRIA for Europe.  And despite the hardships, one of the easiest ways to get into Europe is over those mountains from Turkey to Bulgaria.  So "The Captain" has Mitio serve as something of a Bulgarian "coyote," smuggling refugees over raging rivers, precipices and still Cold-War era _mine fields_ that no sane person would really want to cross unless ... unless one was appropriately desperate.

Today, it's the Iraqis and Syrians who are often desperate enough to cross the border from Turkey to Bulgaria (and hence Europe).  But as the story develops, viewers are reminded ever more poignantly that a generation ago it was the reverse: All sorts of desperate people from (all over) Eastern Europe were coming to the same mountains hoping to cross from Bulgaria to Greece / Turkey.

So WHY then did Mitio and so many people like him living on that Bulgarian side of the Mountains separating them from Greece / Turkey HATE "the Captain" so much?  The answer didn't even lay so much in the present (even though "The Captain" was a dirt-bag even today).  No it had more to do with things that happened in those mountains "in the past."

GREAT FILM!  And one that ANY FAMILY (like mine) with memories of Eastern Europe's Communist past could very well understand.


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

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Gemma Bovery [2014]

MPAA (UR would be R)   aVaL (3.5 Stars)  LaCroix (3.5 Stars)  LeMonde (3 Stars)  L'Express (2 Stars)  FemmeActuelle (1 1/2 Stars)  Fr. Dennis (3 Stars)

IMDb listing
Allociné.fr listing*

aVoir-aLire.org (F. Mignard) review*
La Croix (C. Renou-Nativel) review*
L'Express (E. Libiot) review*
Le Monde (F. Nouchi) review*
Femme Actuelle (C. Bernheim) review*


Gemma Bovery [2014] [IMDb] [AC.fr]* (directed and screenplay cowritten by Anne Fontaine [IMDb] [AC.fr]* along with Pascal Bonitzer [IMDb] [AC.fr]* based on the contemporary novel by the same name (published in 2000) [GR] [WCat] [Amzn] by Posy Simmonds [GR] [WCat] [Amzn] in turn inspired by the 19th century French language classic novel Madame Bovary [en.wikip] [GR] [WCat] [Amzn] [IMDb] [AC.fr]* by Gustave Flaubert [wikip] [GR] [Amzn]) is a very well-made, often very funny French "dramedy" that played recently at the 2015 - 18th Chicago European Union Film Festival held at the Gene Siskel Film Center here in Chicago.

In the film that like the original Mde. Bovary plays out in "provincial Normandy", mild-mannered (and, truth be told, initially quite bored) Martin Joubert (played wonderfully throughout by Fabrice Luchini [IMDb] [AC.fr]*) who had previously had "a life of excitement" out in Paris, but had returned back some 10 years previous with his wife Valérie (played by Isabelle Candelier [IMDb] [AC.fr]*) and now teenage son (played by Kacey Mottet Klein [IMDb] [AC.fr]*) to help-out and then take-over his dad's small-town bakery, discovers to his surprise that the neighbor's house had been bought by a 30-something couple English couple named Charlie (played by Jason Flemyng [IMDb] [AC.fr]*) and Gemma Bovery (played by Gemma Arterton [IMDb] [AC.fr]*). 

Noting immediately the name, okay, its spelling was one letter off, but also their appearance and lifestyle -- she was an artist, he some kind of an arts dealer / restorer -- poor 50-something mild-mannered "baker" Martin Joubert declared, in a voice-over, recounting to viewers the story: "I knew that 10 years of sexual tranquility were over."  And indeed they were ...

Now it wasn't as if HE was destined to have an affair with this generally kind / charming and with each passing scene ever more sexually EXPLOSIVE Gemma Bovery -- to her he was just a kindly (perhaps even somewhat odd) _old_ man who lived next door and ran the bakery (along WITH HIS WIFE) where she'd buy her bread each morning -- but she DID soon enough strike-up a truly TORRID and ultimately ART-PIECE SHATTERING (note again that her husband was an "art restorer ...") affair with a _rich_, "easy on the eyes" 20-something year old named Hervé (de Bressigny) (played again magnificently by Niels Schneider [IMDb] [AC.fr]*) who lived, yes, in a palatial "chateau" nearby.  Poor husband Charlie, and odd/previously bored neighbor Martin for that matter ... they didn't stand a chance ...

Then, a past lover of Charlie / Gemma's age, Patrick (played by Mel Raido [IMDb] [AC.fr]*) passes through as well. 

Now this is just WAY TO MUCH, ahem, "energy" concentrating in WAY TOO SMALL OF A PLACE (all this was playing-out in-and-around a TINY, OTHERWISE UTTERLY NON-DESCRIPT TOWN in otherwise "sleepy" Normandy) SO THIS COULDN'T POSSIBLY END WELL ... and it doesn't.

Now throughout the story, Gemma keeps being startled by "field mice" both outside and more problematically inside her home.  And she keeps saying that she has to "go to town" to get some "poison" to get rid of them to which the older (perhaps wiser but mostly _odd_) neighbor Martin KEEPS TELLING HER "NO, _YOU_ don't want to be buying any arsenic" (That's how in the classic novel Madame Bovary finally kills herself... ;-).  So Gemma DOES NOT ... but (mild spoiler alert) SHE does die anyway ...

HOW Gemma dies is both terribly tragic but also, for those who see the movie, honestly "kinda funny."

But six months later, Martin's teenage son informs him that a new couple was moving into the neighboring house where Boverys had just lived the previous summer.  They're Russian ... guess their names:  They are the Kalenins ;-).

The film's not for everybody ... But a few older past "lit. majors" would certainly get a kick out of it ;-).  A good and very clever job! ;-)


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

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Cinderella [2015]

MPAA (PG)  CNS/USCCB (A-I)  ChicagoTribune (3 Stars)  RE.com (3 Stars)  AVClub (C+)  Fr. Dennis (1 Star)

IMDb listing
CNS/USCCB (J. McAleer) review
ChicagoTribune (M. Phillips) review
RogerEbert.com (S. Wloszczyna) review
AVClub (I. Vishnevetsky) review


Cinderella [2015] (directed by Kenneth Branagh screenplay by Chris Weitz based on the European Fairy Tale best known by that name [wikip]) gets credit from many of the above listed critics for "for once" "playing it straight" with the story.

Yet, I'd honestly beg to differ.  I found both the set design and costuming about as _over-the-top_ ostentatious / STUPIDLY "frilly" (honestly, can one say, no shout "FAAAABUULOUUS...") as I've seen in years, fit far more for Rio de Janeiro's annual Carnivale than for the retelling of a Central European story about THE HUMBLE (if put-upon) little heroine of the _Tales of the Brothers Grimm_.

And while I understand that various tellings of the story have portrayed Cinderella's Evil Stepmother (played here by Cate Blanchett) and Stepsisters (played here by Sophie McShera and Holliday Granger) as "cheap / gaudy", honestly this version has the main difference between Cinderella (played here by Lily James) and her new, forced-upon-her family, being simply that Cinderella certainly had "better hair." ;-).

Add to this the UTTERLY THROWAWAY / STUPID "flourish" that the Stepmother's CAT was named "Lucifer" (!?!) and one wonders what the heck were the film-makers thinking ...

Positively, the film portrayed the kingdom in which the story played out as race neutral.  So there were darker complected characters scattered throughout the cast.

YET even here, it actually also turns out that the "real rival" to still blond haired / blue eyed Cinderella for the Prince's (played by Richard Madden) affections in this film was _an added_ dark haired/brown eyed, darker-skinned princess named "Chelina" (played by Jana Perez) "from Zaragoza" (read HISPANIC...).  One wonders how many DECADES more we'll have to wait before CINDER-(meaning ASHEN)-ella will be played by a humble DARKER-complected girl rather than a blonde playing the character in a kind of fairytale "blackface" ...

So I guess I really didn't like the film ... ;-) ...  And I will note that there is a strange irony in traditional Hollywood renderings of the Grimm Fairytales: "Snow White" is generally played by a brown eyed / dark-haired girl while Cinder-(Ashen)-ella is played generally by blue-eyed blonde.  Go figure ... 

But above all, I found the "Baroque" / "Rule Britannia" over-the-top frivolity of the costuming/set design of this film most difficult to bear.  Perhaps it all "looked better in 3D" (I saw it in two) ... but the appalling gaudiness of the film would probably make even the makers of the recent remake of The Great Gatsby [2013] (where the _decadence_ of the 1920s era was _part of that tale's point_) blush.


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White God (orig. Fehér Isten) [2014]

MPAA (UR would be PG-13)  The Guardian (4/5 Stars)  Irish Times (4/5 Stars)  Fr. Dennis (3 Stars)

IMDb listing
EuroCinema.org listing
HMDb listing*
Port.hu listing*

Irish Times (D. Clarke) review
TheGuardian.co.uk (P. Bradshaw) review
The Hollywood Reporter (S. Dalton) review
Variety (G. Lodge) review

White God (orig. Fehér Isten) [2014] [IMDb] [CEu] [HMDb]* [Pt.hu]* (directed and cowritten by  Kornél Mundruczó [IMDb] [CEu] [HMDb]* [Pt.hu] along with Viktória Petrányi [IMDb] [CEu] [HMDb]* [Pt.hu] and Kata Wéber [IMDb] [CEu] [HMDb]* [Pt.hu]) Cannes' 2014 Un Certain Regard award winning film from Hungary is certainly one of the most compelling if also disturbing films I've seen since beginning my blog four years ago.  Yes, like the 1960s era The Planet of the Apes films, the movie is an obvious parable about anti-Semitism / racism (of all kinds of stripes) that has plagued Central Europe for ages, BUT ... the targets of abuse in this film are ... DOGS, yes OFTEN CUTE AS CAN BE DOGS, but DOGS nonetheless.  And THAT will disturb a lot of people watching this film (as if a film series about "the rise of the APES" would somehow be less disturbing...).

Seriously I GET THE FILM.  I think it's certainly well intentioned and at times FUN (the screening as part of the 2015 - 18th Chicago European Union Film Festival held at the Gene Siskel Film Center WAS PACKED WITH SMILING FROM EAR-TO-EAR mostly ART STUDENTS from the nearby Art Institute of Chicago of which the GSFC is part) ... BUT, BUT, BUT, BUT ... do I really want to entertain employing DOGS (as CUTE, CUTE, CUTE as they can be AT TIMES) TO SYMBOLIZE the TARGETS OF RACISM???  Dogs as a symbol are ... well, rather POLYVALENT.  Sigh ...

So how does this compelling if fairly disturbing film then play out?

Thirteen year old Lili (played by Zsófia Psotta [IMDb] [CEu] [HMDb]* [Pt.hu]), a child of divorce, is shunted-over by her mother to her father for the summer while she flies with her new beau to Australia on some several month long academic assignment over there.  Besides her backpack, Lili is transferred over to her father with two items of import -- her cute as can be Labrador Retriever mutt named Hagan and her trumpet.  Both play key roles in the film.

Her father appears in favor of her having taken-on a musical interest (she appears part of a student orchestra, so it gives her "something to do during the summer...").  However, her dog, Hagan, proves to be a bigger problem:

First, it seems that her father doesn't particularly like dogs to begin with.  Then, he lives in an apartment building where dogs aren't supposed to be present.  Finally, he goes through the roof when it appears that his EX-WIFE apparently hasn't paid-up the license fee for the dog.  Apparently dog license fees in Budapest are quite high and almost nobody chooses to pay them UNLESS they have a "pure bread" and ... Hagan's a mutt.  Further, he's a mutt THAT HIS EX "bought" for his daughter and THERE WAS NO WAY THAT HE WAS GOING TO PAY THE RATHER EXPENSIVE LICENSE FEE FOR A DOG THAT "REALLY WAS THE RESPONSIBILITY OF HIS EX-WIFE" ... THE ONE WHO'S NOW WITH HER "NEW GUY" ... SOMEWHERE OUT IN AUSTRALIA (!).

But there's his thirteen year old daughter Lili in his apartment with her "illegal dog" and his EX was _literally 10,000 miles away_ and, inevitably, a "nosey neighbor" _chooses_ to be "unhappy" about the presence of the dog.

What to do?  After a few days of harboring a dog that the other residents don't seem to want around, who at that moment ENCAPSULATED EVERYTHING that had infuriated him about his ex-wife, daughter or no daughter, he decides to _ditch the dog_, basically parking his car at a park (far away) one morning and leaving Hagan there.

This of course is quite upsetting to Lily, his thirteen year old, BUT he saw no other reasonable solution.  He didn't like the dog, the dog was even LESS LIKED by his dog-averse neighbors, and the DOG, Hagan, represented EVERYTHING THAT HE FOUND ANNOYING ABOUT HIS EX-WIFE, who arguably DUMPED him along with Lily at his doorstep while she flew-off with her new boyfriend to Australia!  Argh!

Well, that may be how Lily's father thought of Hagan, Lily's dog, but Hagan then had a life of his own ... and that's then the rest of the film ...

Dumped then in some Budapest park far from ANY familiar surroundings, and certainly far from Lily, Hagan eventually gives up trying to find his past owner (even as she keeps looking for him).  Eventually he runs into other stray dogs ... and eventually he and the other stray dogs get into trouble with local, Budapest, "Animal control" who attempt to round-up the dogs.

Hagan escapes the initial round-up by "Animal Control," but is then _sold_ by a local homeless person to some lowlife running a "dog fighting ring."  Poor Hagan ESCAPES that sadist only to be caught then for real by "Animal Control."  Yet, just before being Euthanized, he uses his acquired dog-fighting skills to make a quick break out of the dog pound, AND ... helps about a hundred other dogs flee pound as well.

SO ... "Dogs of Budapest UNITE, you have nothing to lose but your ... LEASHES ;-)"  Soon Hagan is at the forefront of a Budapest-wide dog rebellion ;-) and pretty much ALL those who would have mistreated those poor mutts ... start getting their due.

But what of 13-year-old Lily?  At the beginning of the summer ALL THAT SHE "REALLY HAD" was her dog Hagan (who was taken from her) ... and her trumpet.   Well, of course, she has to play a key role now ... ;-)

Again, a it's pretty cool film ... it's just a fair number of the scenes in the film will be unsettling / disturbing to a fair number of viewers.  And what is the film really about?  Is it "just about dogs?"  Or is it about a lot more than that?  And if it is about "more than just dogs" ... How comfortable are you really, that the film makers _chose_ to make _dogs_ even OFTEN CUTE DOGS represent THE TARGETS OF OPPRESSION AMONG US.

Again, this is one COMPELLING / THOUGHT-PROVOKING if also DISTURBING film!


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

<< NOTE - Do you like what you've been reading here?  If you do then consider giving a small donation to this Blog (sugg. $6 _non-recurring_) _every so often_ to continue/further its operation.  To donate just CLICK HERE.  Thank you! :-) >>

Déjà Vu [2013]

MPAA (UR would be R)  Fr. Dennis (4 Stars)

IMDb listing
CineEuropa listing
Cinemagia.ro listing* 
 
Cosmopolitan.ro  review*
LiterNet.ro (A. Gorzo) review*
MaraleEcran.net  (I.M. Mares) review*
MediaFax.ro (A. Obretin) review*


Déjà Vu [2013] [IMDb] [CEu] [CM.ro]* (written and directed by Dan Chişu [IMDb] [CEu] [CM.ro]*) is a very clever film from Romania that played recently at the the 2015 - 18th Chicago European Union Film Festival held at the Gene Siskel Film Center here in Chicago.

It's playfully inspired by director Ridley Scott's YouTube-inspired Life in a Day [2011] project in which Scott had asked people all across the world to video record their doings on a specific day, July 24, 2010, to then send the video to Scott and his team, who assembled the often quite poignant film out of the video received.

So the current film tells a "day in the life" story of sorts as well:  After several years of juggling his wife Valeria (played by Mirela Oprisor [IMDb] [CEu] [CM.ro]*) and mistress Tania (played by Ioana Flora [IMDb] [CM.ro]*) some sort of a Romanian (probably media) executive (played by director Dan Chişu [IMDb] [CEu] [CM.ro]* himself) decides _perhaps_ to "finally set things in order."

The film _made entirely_ with a camera mounted to the director's er "some sort of Romanian media executive's" head, BEGINS with the alarm-clock going off at 6 AM by the said Romanian media executive's bed at his (presumably Bucharest) home.  We see his hand reach-out to turn-off the alarm and him, like most of us would do, getting-up and out of bed and heading to the bathroom to relieve himself.  After doing so, he heads down to the kitchen...

... that's where we meet Tania, his mistress of 2-3 years.  It's the first time that she's spent the night at the media executive's home.  Before that they would presumably meet-up at hotels or at her place.  SO ... today is (from Tania's perspective) finally, "different."  But, it's ALSO "different" in ways that are unexpected (and not particularly pleasant) to her ... When _she_ first came down to the kitchen, before he did, she ... ran into / surprised his mother ....

Anyway, they eat breakfast, get dressed for the day ... And "the plan" is for the two of them to drive-out of city to the media exec's / his wife, Valeria's, "other place" by some water (a lake or a river) about an hour-or-two away. 

So they get into the car and drive.  Again, Readers remember that this entire movie is filmed using a camera mounted to the director's (some sort of media executive's) head.  So we view the conversation that ensues in the car from the perspective someone who's driving the car.  And let's face it, it's kind of a tense drive.  The media exec and his mistress, Tania, are going to confront his wife, Valeria, at the media exec/his wife, Valeria's, "other place" an hour-or-two outside of town.  And neither of the two is particularly sure how it's going to go.

Further, since they are heading to the media exec / his wife, Valeria's, "other place," this is a drive that the media exec has done MANY TIMES BEFORE ... with his wife sitting in the passenger seat (rather than, now, with his mistress...).  SO ... as he and his mistress, Tania, are heading over to this place to confront his wife, Valeria, HE INEVITABLY HAS FLASHBACKS _OF MAKING THE SAME JOURNEY_ WITH HIS WIFE, VALERIA, IN OTHER, PERHAPS COLD, BUT ALSO (PERHAPS) "HAPPIER TIMES."

So what happens when they reach "the other place" and confront the Media exec's wife?  I'm not going to tell you ;-) ...

What I do have to say is that this is a GREAT FILM about the messiness of adultery.  A "day in the life" ... yup, one heck of a day ...


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

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