A Story of Children and Film + Q&A with Mark Cousins at the Duke of York's

Mark Cousins knows more about cinema than you do. More importantly, Mark Cousins loves cinema more than you do. The concept for his latest documentary, A Story of Children and Film, is incredibly simple: he takes a home video of his niece and nephew playing in his living room as a starting point to take us on a personal journey around the globe and through time; on a journey through cinema. Like van Gogh looking through his window before painting the landscape, Cousins looks at his family before creating his essay film on children in cinema.

The approach he takes is not a historical or chronological one, but a loose, personal one. He does not attempt to construct a complete cinematic history; there is no concrete thread. It is the behaviour of his niece and nephew which reminds him of a certain aspect of childhood. This then makes him think about films whose young protagonists display similar patterns. At first, his niece is shy about being on camera, so Cousins looks at clips of shy children in movies. Thus A Story of Children and Film is roughly divided into several chapters, such as shyness, performance, framing, destruction or loneliness.

The range of films covered is incredible (a full list can be found here) and Cousins does very well to find connections between them. While sticking to live action, his selection stretches from the Hollywood blockbuster (E.T. The Extra Terrestrial) to the practically unknown work of Albanian director Xhanfize Keko, from 1921 (The Kid) to 2012 (Moonrise Kingdom), from Yorkshire (Kes) to Burkina Faso (Yaaba), and yet it somehow all fits together.

On one level the film works as a piece of cinema about cinema. Some of the choices may seem a bit erratic and some of the connections slightly far-fetched and/or underdeveloped, but Mark Cousin’s passion and intelligence make you accept this. However “intellectual” his thoughts may be, he is never talking down to the audience. He is not lecturing us, but he is sharing his ideas. Furthermore, it will give make you discover new films. You will walk away from A Story of Children and Film with curiosity, wanting to discover the films beyond the short clips you just saw.

On another level, it works as an examination of childhood itself. Cinema is arguably the art form which has explored childhood better than any other, and we can find similar (yet distinctive) thoughts and observations all over the world. Growing up ultimately poses similar pleasures and challenges to everyone, and seeing so many different perspectives on this universal theme is incredibly interesting.

I was lucky enough to attend a screening of this film in the attendance of the director, who made his way to the Duke of York’s in Brighton. Cousins took the stage to introduce his film and stayed for a lengthy Q&A session with the audience afterwards. He was, as always, a very engaging and intelligent presence, giving interesting answers and insights into the making of A Story of Children and Film. He brought along his “script,” which is basically a big, scruffy piece of paper with film titles written on it. It may sound simple, but A Story of Children and Film is an impressive achievement nonetheless and recommended viewing for all film fans.

A Story of Children and Film is also available on demand on multiple platforms here

My review of Cousin’s documentary about Albania, Here be Dragons is available here

Rating: ★★★★

More than a sausage fest: Stranger by the Lake (L'inconnu du lac)

If you are uncomfortable with seeing naked men, Stranger by the Lake (L’inconnu du lac) is not for you. Stranger by the Lake might be the first film I've seen that shows you as many penises as faces. Last years much debated Blue is the Warmest Colour seems almost prude in comparison. Alain Guiraudie’s extremely explicit, uncompromising cinematic creation is however much more than a simple sausage fest: it’s a spine-tingling, beautiful thriller which is not only for gay men. The sex scenes have a clear purpose and reveal a lot about the characters. Prestigious French film magazine Cahiers du Cinéma, hailed it as the best film of 2013 and I can see why.

The film is set around a lake, somewhere in the south of France, which has become a meeting place for gay men to meet up, sunbathe, swim and “cruise” (disappear into the bushes). The entire film takes place in and around this lake, including the bushes. We know that some of the characters meet and talk elsewhere, but we are not privy to those discussions. Even though everything takes place outside, after a while, we feel trapped by this lake, by the bushes and by the nearby parking lot. Making a cinema audience feel claustrophobia is difficult enough, but achieving this by depicting an open space is truly masterful.

Franck is a good looking, young, naive (one might even say reckless) homosexual. He is played by Pierre Deladonchamps who is 35, but could easily pass as being in his early 20s. Since he is unemployed, Franck spends his days at the lake. Here he befriends Henri, a likeable, overweight, middle-aged man who stays away from the others. Meanwhile he develops a crush on a mysterious newcomer with a moustache that would make Burt Reynolds proud. The crush quickly develops into a passionate relationship.

One moment of violence then changes everything. I won’t reveal the details of the event, which is depicted by Guiraudie, through a four-minute unbroken shot. This moment has elicited worthy comparisons with the master of suspense Alfred Hitchcock. When, a few days later, a police inspector appears and starts asking questions, we (knowing what happened) start to ask questions of our own: Why did he do it? Why is he lying? Why is he protecting him?

The nature of love, friendship and sex is challenged. The naivety of young love is exposed. We know a lot about the three main characters, but it’s what we don’t know that is most intriguing. We can never fully figure them out. Throughout the film, Stranger by the Lake builds an incredibly creepy and menacing atmosphere. This process is so slow and careful, that it creeps up on you until the tension boils over into a perfectly judged climax (not that kind).

The uncompromising, brave manner, which Alain Guiraudie has chosen to depict the lifestyle of these men, will surely take many people aback. Nevertheless, Stranger by the Lake is one of the most fascinating thrillers in recent memory.

Rating: ★★★★★

Review: Nebraska

Some movies simply need time to have a full impact. Alexander Payne’sNebraska was the first movie I saw at the London Film Festival, which is perhaps the worst possible timing. I really enjoyed the film, laughed all the way through and was touched by it. However, only one hour after the lights went up after it finished, I was sitting down for the next film, the second of four of the day. 10 days and 30+ movies later, when it came to pick my top 10 films of the festival, Nebraska wasn’t one of them. While I had not forgotten about it, I judged it to be light and less memorable than other films.

About a month later, when I was picking my favourite films of 2013, Nebraskamade the initial long list. Clearly there was something about it that stayed on my mind. Then Nebraska was finally released in UK theatres, and with it came the usual articles, interviews and reviews. After reading Matt Micucci’s excellentreview of the film, I finally did what I had neglected to do after seeing it: I thought about it. Well over two months had passed since I had seen the film, and yet more and more details came back to me. Another month later, and I still can’t stop thinking about it, which is why I have decided to write about it. Sometimes, it just takes a little time to fully appreciate a film.

Woody is an old, retired mechanic on the brink of senility. The film’s opening shot shows him walking on foot next to the highway and being stopped by the police. He has received a letter promising him a million dollars if he shows up in Nebraska, and is determined to walk the 700 miles from his home in Montana to claim his prize. Despite everyone repeatedly assuring him that the million dollars does not exist and that the letter is a marketing scam, Woody refuses to (or is unable to) see sense. Finally his son David takes pity on him and agrees to drive him to Nebraska. Together they embark on a journey which has no pot of gold at its end. On the way, they stop in Woody’s home town, where the supposed millionaire quickly becomes a local celebrity. 

First of all, the film looks absolutely beautiful. Payne, who was born in Nebraska, has an eye for rural America like few other directors. His decision forNebraska to be in black and white was an inspired one and the visuals give the film simultaneously a stylised looked and a certain sense of realism. The cast is also outstanding. Stacy Keach and June Squibb (as Woody’s ceaselessly bickering wife) shine in great, scene-stealing roles, but at the heart of the film are Bruce Dern and Will Forte. Dern’s performance has been rightly receiving a lot of attention, winning the best actor award at Cannes, but Forte (primarily known as a comedian on SNL) is the biggest surprise. He takes a very difficult role of the quiet, anxiety-ridden son and makes it his own; first-class under-acting.

Payne not only has an eye for the look of rural America, but he also has an ear for the people of rural America, their character and their language. Even though he did not write the script for Nebraska himself, it feels very much like an Alexander Payne film (one might call it Payne-ful), balancing drama and a particularly warm and human sense of humour, which has distinguished his films in the past.  Woody’s home town and his family are crowded with quirky, unique characters and the small town politics play out perfectly.

The most interesting thing about Nebraska is however the father-son relationship at the centre of it all. Woody has not been the best father to David, prone to have a drink or two; but there is clearly a lot of love, even if he struggles to express it. David is unsure how to feel about his dad, he desperately wants to love him, but doesn’t know how or why. The journey to Nebraska is also a journey for David into the unknown realms of his father’s past. Meeting people from his father’s youth helps him understand the old stubborn man he is travelling with, and slowly they start to reconnect. It is this troubled, affecting relationship that remained with me all this time and which makes Nebraska my favourite Alexander Payne film.

Rating: ★★★★

Top 13 of ‘13: 5. All is Lost

This is my London Film Festival of All is Lost. It’s out in the UK on Boxing Day, so go see it!

J.C. Chandor’s follow up to his debut Margin Call, All Is Lost is without a doubt easier to summarize than any other film playing at the London Film Festival. It only takes five words: Robert Redford on a boat. That’s all. In the beginning of the movie, we meet a man sailing alone on the Indian Ocean. Soon thereafter, while he is asleep, his boat crashes into a roaming container full of sneakers, which must have fallen of a ship, leaving a gaping hole in the side of the ship. Subsequently, everything that could go wrong goes wrong and when the inevitable storm hits, we watch Redford’s struggle for survival.

There is no dialogue. Except for a short narration at the beginning and perhaps a handful of lines, there is no monologue. There is no backstory for the main character either; we don’t even learn what he is doing in the middle of the ocean.  Walking into the screening of All Is Lost, I was dreading it as I couldn’t imagine it working. Coming in year which for some reason is filled with quality seafaring movies (Life of Pi, Kon-Tiki, A Hijacking, Captain Philips), my expectations were limited.

I was wrong. It is exactly the simplicity of All Is Lost which makes it work. That and Robert Redford. Casting was absolutely vital for this movie, and they got it spot on. It had to be someone familiar to audiences, so that they can relate to him immediately, and it had to be someone with an intense stare. Redford delivers a spectacular, extremely physical performance and shows that he is one fit 77-year-old. If there is any justice,All Is Lost will give the legendary man his only second (!) and well deserved acting nomination at the Oscars.

It would however be wrong to give all the credit to Robert Redford. Writer-director J.C. Chandor creates an intense, exciting and scary ride, which will keep audiences on the edge of their seats for two hours. The visuals are strong, and the deafening sound is terrifying. The only way All Is Lost could be more intense would be if cinemas put air blowers in front of the screen and sprayed sea-water at the audience.

All Is Lost may be a simple survival story, an acting vehicle, which we all have seen many times, but it’s executed with great skill. It is one of the best thrillers and most cinematic experiences of the year, and should be seen for Redford’s performance alone.

Cine-City film festival: We Are the Best!

Published on The Badger website: http://www.badgeronline.co.uk/review-best/ 

We Are the Best!, which screened at the Duke of York’s after a lengthy festival run, including Venice and London, is one of the highlights of this year’s CineCity film festival. Written and directed by the Swede Lukas Moodysson, who brings us a wonderful tale about growing up, friendship and punk music, it will transfix teenage and adult audiences alike.

Bobo and Klara are thirteen years old and best friends in 1983 Stockholm. They are passionate punks and rebels, cutting their own hair short (Klara has a glorious mohawk) and listening to Swedish punk music. One day, they decide to form their own punk band and as Jack Black’s School of Rock character would put it: “Stick it to the man!” Full of enthusiasm, they write a song about their horrible P.E. teacher (chorus: “I hate the sport! I hate the sport! I hate hate hate the sport!”) and start rehearsing at the local youth centre. The problem however is that they don’t know how to play instruments. Therefore, they enlist the help of guitar-playing loner Hedwig, who fortunately also hates sports.

This is not a film about the discovery of the next big punk stars, but rather a character study of these three girls who are entering puberty. There are very few grown-ups and the children take centre stage. A difficult relationship and disconnect with the parents, a crush on an older boy and first experiences with alcohol are some of the typical teenage anxieties Bobo, Klara and Hedwig go through.

The reason that We Are the Best! works is because you enjoy listening to their lively discussions and generally spending time with these girls. Lukas Moodysson clearly has a lot of affection for these characters and this translates to the audience, creating a very mature and balanced portrayal of adolescence. The three young actresses are excellent, by the way. Crucially, the film, while taking a grown-up point of view, is not patronising at all towards the girls, taking them and their anxieties seriously at all times and avoiding cute for cuteness’ sake.

That said, it is much more fun than this review has made it sound so far. The tone is constantly light-hearted and there are numerous humorous (try saying that out loud) moments, particularly when they are discussing boys or God (Hedwig is a Christian, whereas Klara is a convinced atheist). Moreover, the finale is a perfectly timed, heart-warming, low-key conclusion to this very good film.

Rating: ★★★★

Cine-City film festival: A Teacher

Published in The Badger newspaper.

This year’s Cine-City festival has brought some excellent new films to Brighton. “All is Lost”, “A Touch of Sin,” “Jeune & Jolie,” “Nebraska,” “Ilo Ilo” and “The Double” are all highly recommended. Low-budget, American indie “A Teacher”, directed by Hannah Fidell, on the other hand is not.

Diana (Lindsay Burdge) is a good-looking, young teacher in Texas. She is afraid of growing up and the responsibility that this entails, behaving like a teenager instead. In an awkward subplot, which is inexplicably abandoned after one scene, we learn that she is unable to face her mother who is suffering from Alzheimer’s. She also has an affair with one of her students, the well-built Eric (Will Brittain). This illicit relationship is at the centre of the film, and also its biggest problem. Diana lets herself be completely dominated by Eric, sexually as well emotionally. Whenever they are together, she transforms into a giggly, clingy 19-year-old, who cannot believe that she gets to be with the “hot boy,” and does whatever he tells her to do. This not only raises a number of questions about the film’s gender politics, which I won’t go into, but also makes it very difficult to like or even feel much sympathy for her. She is clearly at fault for her problems, and comes across as rather pathetic. Watching her make the same mistakes over and over is a frustrating experience, like watching a bad horror movie, in which the characters go into a dark cellar to check out a creepy noise.

The other characters are underdeveloped and two-dimensional. We learn hardly anything about Eric outside of his sexual relationship to Diana. Sophia (Jennifer Prediger), Diana’s roommate, only exists to give her someone else to talk to and hide the relationship from. On the whole, the plot is predictable and doesn’t really do anything interesting or new with the premise. The soundtrack is particularly bad and intrusive, trying to build tension where there is none.

That said; it’s not all bad. The central performance by Lindsay Burdge is actually very good and convincing. Hannah Fidell’s visual style, using a lot of handheld shots and frequent camera movements, is quite interesting and fits the material, giving it a sense of grittiness and realism. The film’s short running time (75 minutes) also does it a lot of favours: the narrative is tight, and there is little unnecessary or indulgent material, which makes it more or less watchable.

Rating: ★★

Review: All Is Lost (London)

J.C. Chandor’s follow up to his debut Margin Call, All Is Lost is without a doubt easier to summarize than any other film playing at the London Film Festival. It only takes five words: Robert Redford on a boat. That’s all. In the beginning of the movie, we meet a man sailing alone on the Indian Ocean. Soon thereafter, while he is asleep, his boat crashes into a roaming container full of sneakers, which must have fallen of a ship, leaving a gaping hole in the side of the ship. Subsequently, everything that could go wrong goes wrong and when the inevitable storm hits, we watch Redford’s struggle for survival.

There is no dialogue. Except for a short narration at the beginning and perhaps a handful of lines, there is no monologue. There is no backstory for the main character either; we don’t even learn what he is doing in the middle of the ocean.  Walking into the screening of All Is Lost, I was dreading it as I couldn’t imagine it working. Coming in year which for some reason is filled with quality seafaring movies (Life of Pi, Kon-Tiki, A Hijacking, Captain Philips), my expectations were limited.

I was wrong. It is exactly the simplicity of All Is Lost which makes it work. That and Robert Redford. Casting was absolutely vital for this movie, and they got it spot on. It had to be someone familiar to audiences, so that they can relate to him immediately, and it had to be someone with an intense stare. Redford delivers a spectacular, extremely physical performance and shows that he is one fit 77-year-old. If there is any justice, All Is Lost will give the legendary man his only second (!) and well deserved acting nomination at the Oscars.

It would however be wrong to give all the credit to Robert Redford. Writer-director J.C. Chandor creates an intense, exciting and scary ride, which will keep audiences on the edge of their seats for two hours. The visuals are strong, and the deafening sound is terrifying. The only way All Is Lost could be more intense would be if cinemas put air blowers in front of the screen and sprayed sea-water at the audience.

All Is Lost may be a simple survival story, an acting vehicle, which we all have seen many times, but it’s executed with great skill. It is one of the best thrillers and most cinematic experiences of the year, and should be seen for Redford’s performance alone.

Rating: ★★★★

Review: The Double (London)

The Double is Richard Ayoade’s (aka Moss from The IT Crowd) second feature film after his impressive and widely acclaimed 2010 debut Submarine. In The Double, Jesse Eisenberg plays Simon, a young employee at a big company (we never learn what exactly it does). He is shy, mumbles a lot (like most Jesse Eisenberg characters) and no one seems to notice him. He blends in perfectly. Hopelessly in love with Hannah (Mia Wasikowska), the copy girl who works in his office, but too scared to approach her, he stalks her, watching her through a telescope from his apartment. So far so bad, but things take a turn for the worse (and strange) when a new employee appears in the office. James is everything Simon wants to be: confident, successful, popular and good with women. Oh, and there is the small matter that James looks 100% identical to Simon (which no one notices, as they hadn’t bothered to look at the latter). From then on, the film centres on the love-hate relationship between these two polar opposite characters, who essentially the same (not just physically), which begins as friendship of sorts, in which they help each other out, until James’ true, dark nature is revealed.

Tonally, The Double is a major departure from the charm and quirkiness ofSubmarine towards a dark, almost gothic fantasy world. In other words, it’s closer to Terry Gilliam than Wes Anderson. Based on a novel by Dostoevsky (but the subject matter of identity and paranoia also inevitably invokes the great science-fiction writer Philip K Dick), The Double creates a very distinct world of its own into which the audience is thrown right from the beginning. The film is very rich in terms of visuals, but it is the creative and effective use of sound that is most striking. Subways, clocks, jukeboxes or blenders all become incredibly loud, drowning out all other sounds whenever Simon feels particularly agitated, creating a sense of paranoia and oppression.  

The only criticism one could aim at The Double is that none of the characters are likeable, making it difficult to love the film, particularly in its darker moments. However, the film is not without humour. Ayoade’s comedic talent shines through in frequent funny and/or absurd situations, coming primarily from the impressive supporting cast (virtually every cast member of Submarine has a cameo appearance, as does Ayoade’s IT Crowd co-star Chris O’Dowd). Mia Wasikowska (who doesn’t have too much to do), Jesse Eisenberg (who manages the difficult feat of having chemistry with himself) carry the drama with strong performances. 

The Double  thusfirmly establishes Richard Ayoade as one of the most interesting and original up-and-coming voices in British cinema, and I for one can’t wait to see what he does next.

Rating: ★★★★