Hudson Struggles to Find Its Voice. By Jan Kalina.
Hudson starts with the two estranged cousins reuniting. Ryan (Gregory Lay) shows up at Hudson’s (David Neal Levin) door. It doesn’t take long for them to catch up. Ryan exaggerates his filmmaking and acting life in the big city and then the conversation steers towards reminiscence of Hudson’s mother, who has passed away recently.
After a while, where the audience finds out that Ryan is not such a big shot as he paints himself to be and Hudson is indeed the timid man he paints himself to be, they decide that they should go on a road trip upstate, with a clear objective to scatter mother’s ashes around a tree she often spoke of in her past. Along the way they pick up a hitchhiker, named Sunrise (Mary Catherine Greenwal), and form a bond.
What I have to lift up about the film is the mellow, feel-good score by Julian Scherle. It just sets the pace for the film and it gets going. It’s one of those pieces of music that you can put into your ears and just go for a walk.
The acting between the three leads feels so genuine as if they really would be friends that just met along the way on a trip.
But otherwise Hudson is a film that struggles to find its voice and then it falls into the ‘mumblecore’ category. Mumblecore being that the film focuses more on the dialogue and characters rather than a plot.
The film keeps you waiting for something to happen, but in the end nothing actually does. Hudson is one of those films where the journey is what matters not the destination. But the journey should have been more enticing.
It’s just a bunch of ordinary people on a road trip, and they somewhat become closer or friends but not really. It’s a film that starts out with an obvious goal (reuniting estranged cousins and scattering Hudson’s mother’s ashes) but in the end the characters accomplish nothing and I have no idea why to watch this film or what to learn from it.
It tries to be a feel good film but the film’s aimlessness is what makes the film tiresome and the reason it ultimately crumbles and falters.
4 Tough Guy Movies With Surprising Amounts Of Heart. By George Bate.
Movie genres have their cliches. Rom-coms have the will-they/won’t-they relationships, sci-fi has the neon spacesuits and in horror films, everywhere seems to be haunted. But tough guy movies (the action/crime thrillers where everything explodes on cue) are perhaps the worst offenders.
Audiences love an easy cliche, it makes us feel secure while we watch our comfort movies. But what happens when a genre flips the script? Sometimes, it can create a cinematic experience even better than we could expect.
An element that is notoriously missing from these tough guy movies is the heart, the emotion.
Where is the pain, the loss, the anguish? Where is the love that isn’t just reserved for an over sexualised damsel in distress?
These movies keep your adrenaline pumping but your heart warm and they are a must-watch for any tough guy fan.
Creed
Creed was the sequel to the Rocky franchise that no-one asked for but everyone loved. The classic boxing saga was revived after Rocky Balboa hung up his gloves in the ill received 2006 sequel.
Michael B. Jordan (Black Panther, Just Mercy) played Adonis Johnson, the illegitimate son of Apollo Creed, the legendary fighter from the previous films. Throughout Creed, age old Rocky fans are treated to the same cliches, from sweaty training montages to the exciting brass fanfare in the final bout.
However, director Ryan Coogler, hid away some truly emotional moments in what everyone expected to be a mindless grab for nostalgia at the box office. Creed explored Adonis’ damaged relationship with his biological father and the shadow of his legacy. Sylvester Stallone shines in his returning role and gives a surprisingly nuanced performance as Rocky battles with cancer and his own past.
Creed is full of high stakes fights, both in and out of the ring.
Mad Max: Fury Road
The revival of the Mad Max franchise was met with critical acclaim and smash hit responses from fans. Tom Hardy was a perfect replacement for Mel Gibson’s iconic role and it brought back the same campy adrenaline fueled mayhem of the previous three films.
But hidden away in the gunning engines and gun toting drivers were some truly impactful performances from the film’s real hero. But that wasn’t the titular character. Charlize Theron plays Furiosa, a general to a warlord who escapes with his sex slave ‘wives’.
While escaping, they all seek a far off paradise, an oasis of green in the middle of the scorched desert. But when they realise that their haven is nothing more than desolate scrubland, Furiosa breaks down in a ferocious scream. It is a deeper moment than anyone expected from the Aussie revival, full of anguish and hopelessness that the audience could not take their eyes off.
I Am Legend
In the mid 2000s, the iconic sci-fi thriller I Am Legend brought Will Smith into one of his most iconic roles. Adapted from a novel, Smith played Dr. Robert Neville, a military virologist who believes he is the last human alive after a zombie outbreak.
Dr. Neville fortifies his house and uses several big guns and explosions to hold back the hordes of zombies. But secluded behind the flames and bullets was a genuine struggle against loneliness and isolation. Smith delivers a genuinely heart-wrenching performance as his mind cracks more and more.
But the truly gut punching moment came from Neville’s only companion, a German Shepherd named Sam. When Sam is bitten while defending her owner, audiences are left with one of the saddest animal deaths in cinema. Sam was Neville’s only comfort in his loneliness and when he is forced to snap her neck, we see him fall deeper into his madness. As unmissable as the movie is, bring some tissues because it will leave you blubbing.
Baby Driver
Baby Driver was the first feature film from writer/director Edgar Wright since he finished the iconic ‘Cornetto’ Trilogy. With more influence from Hot Fuzz, Wright brought back the firepower and did it with style.
With plenty of tire screeches, bullets and a prominent soundtrack, it had all the elements of being a standard action/crime flick. But Wright flipped the script, delivering a heartfelt script about family, love and entrapment.
Baby’s budding romance with Debora and his loving relationship with his deaf foster father deliver some of the most heart-warming and heart-wrenching moments from a heist movie. Baby Driver kept the action extreme but the emotions paramount and delivered some true moments of warmth that every action fan should see.
Queen Of The Beach: Review. By Daniel Theophanous.
Queen of the Beach details the compassionate, if clumsy, mammoth task of Canadian filmmaker Christopher McDonnell to help Shilpa, a young girl he meets selling jewellery on a beach in Goa. Child labour is illegal in India, yet on this beach it is ubiquitous. India’s social services appear to turn a blind eye, as do the tourists who are happy to pick up bargain souvenirs from an endearing bright-eyed child or find them unbearably hassling whilst trying to sunbathe.
Initially there is naivety on his part; perplexed by Shilpa and her siblings’ incessant need to ask and negotiate for things, obtusely unaware that this a survival mechanism. These kids are fully aware of the disproportionate exchange rates, little for him goes a long way for them. Eventually naivety subsides to resignation, as helping Shilpa is predictably not as straight forward. As sisters are married off, a father crippled by stroke and her family home demolished by severe weather, the responsibility as the sole earner weighs heavy and her connection to McDonnell a life support.
Filmed over five years, it’s a rather formulaic participatory styled documentation (McDonnell appears as a talking head throughout), which follows a chronological and expeditionary narrative that is more akin to a CNN news reportage; further accompanied by a truly unimaginative musical score.
You can see why McDonnell is instantly smitten by Shilpa. She is stunningly pretty, wise beyond her years, tenacious, and impressively clever. Along with her tragically impoverished background, it all ignites an impulse within the observer to help. Unfortunately, the side-effect is that the documentary reeks of ‘white saviour complex’ which at points is unpalatable. Yet I cannot completely discredit McDonnell’s efforts, if only that they highlight the futileness of one person’s actions; that ultimately real change will happen if the powers that be ever allow it.
Sofia Sousa: Interview. By Jan Kalina. Photo credit – Milos Nesic
Sofia Sousa is an actress currently based in Prague, Czech republic but originally hails from a different part of the continent: the sunniest place of all of Europe, Portugal. She is a multi-hyphenate talent- actress, musician (violoncello), and has her own puppet theatre (A Fantochada) with which she tours across Europe. She is also working at the cultural section for the Portuguese Institute in Prague.
She is a face that you have surely spotted on your TV screens lately. Perhaps most of you have seen her face last year during the SuperBowl commercial break.
I recently had a chance to talk with her about her influences, the Big Game Spot, and handling lockdown.
I have so many questions about the Superbowl Spot and how did that come about? Was it a rigorous casting process?
When I got an invitation to audition for one of Prague’s top casting agencies, I had no idea the ad was for the Super Bowl, I only realized after the shoot. A week after the first audition, I got a callback and there were still too many candidates, divided by similar physical characteristics, in order to pretend to be from the same family. But the actors who had the shooting with me turned out to be others who weren’t in my previous casting process. Actually I was very relaxed throughout all this process because I was supposed to be in Lisbon on the shooting dates for the Christmas holidays. But then, I ended up buying another plane ticket!
How is Roman Coppola as a director? Or mainly how did you feel to be working with him? Was it one of those ‘being completely in awe, fangirling’ situations or you kept your professional decorum?
Usually, when an actor has an advertising shooting, he knows the least bit about it. It turns out that sometimes he doesn’t even know the exact brand in advance! This time, I only realized who the ad’s director was when I was on set! I was happy with the opportunity I was given. Roman Coppola was kind and approached me very positively, making me feel confident about my work. He knew exactly what he wanted, had a clear image in his mind for which he asked actors to contribute.
Superbowl Heinz Ad- Four At Once:
Individiual – Diner:
Who influenced you the most as an actress? What was that one film that made you think “This is what I want to do for a living.”
For many years I just did theater. In fact, when I was younger, the idea of acting in movies and TV never crossed my mind. It was only when I attended an on camera acting workshop that I realized how amazing the intimacy you can share with the camera is, and that changed my motivations as an actress. Speaking of a movie that stuck in my head when I was a teenager, it was American Beauty. I remember how related I felt to the characters and how much I thought about life because of the film, also, I was amazed at how a plastic bag flying can be such a stunning shot!
How did you cope with the lockdown (s)?
My first impression of the pandemic was fear. Then there was a strange sense of relief when I realized we had to be in confinement. At that moment I realized how stressed my life was before, always worried with work and trying to make things happen. I saw lockdown as a chance to stop and spend time with myself. And then I started a creative process: I filmed a short on my cell phone, starring objects from my bedroom that I turned into puppets. I had the pleasure of sharing this animated short film in an online event organized by the Portuguese Institute in Prague. I also practiced a lot of the cello and also started a yoga routine that I keep up until now. But after almost three months locked in my room, with no outside contacts other than my roommate, I felt in a dark and lonely place, with no social connections and no human touch, and this greatly changed the way I approached the second lockdown, because although with all the care, I made sure to be surrounded by people I love and support me.
The short film with puppets created during lockdown:
Did you notice a change or a shift in how the casting process has transformed during/after the pandemic?
Totally. Fortunately for the best! Now we’re in the self tape era, and it’s the best for me! I love traveling and I can’t stay at home too long, so now I have the freedom to be anywhere and I just have to bring my ring light and my iphone and I’m ready to audition!
Is there perhaps an advice you want to give to fellow actors or an affirmation for them?
An actor often deals with rejection, but it pays off when you have the opportunity to be on set and do what you love the most! It’s very stressful not knowing when the next performance will be and you can easily start to doubt yourself. That’s why I think it’s very important to do meditation regularly and be kind to yourself. Get other hobbies that make you feel good. Be surrounded by your loved ones. Befriend creative souls, keep practicing, aim to be your best version of yourself, and trust the process! The universe will take care of the rest!
Seen any good films lately? Or any films from this year that you would recommend to our readers?
Well, I’ve been traveling for the last two months in the Azores islands, but when I get the chance I watch Netflix. I really like documentaries. This week I saw Fantastic Fungi, and I was amazed at how the world is connected by a mycorrhizal network and how inteligent nature is, sharing information, nutrients and more! I recently watched I Care a Lot, with the incredible performances of Rosamund Pike and all the cast involved, and it really revolted me about how people can take advantage of the American seniors system. I’m now finishing up a hilarious comedy drama show called The Chair.
Where can we see you next?
You can see me now in the worldwide spot for Elmex. After the summer ,I will bring my puppet show to Prague, entitled A Trip Around the World, which is aimed at the Portuguese community. I’m also going to direct a Portuguese play with performances in several cities in the Czech Republic. In the near future you will see me in new ads (I can’t reveal which brands yet). I’m preparing some short films too, and then let’s see what the universe brings to me!
The Man Who Sold His Skin: Review. By Alif Majeed.
When you come across a movie that was nominated for an Oscar for international film, it can play big-time with your expectations. It is often one of the most dissected and controversial of the Academy categories. It gets scrutinized so much because the world is the oyster, and you keep wondering why a particular movie deserves to be in the Top 5 among all the films submitted. After watching The Man who sold his skin, I’m still not sure if it deserved to be up there as opposed to any other movie submitted last year, but I was moved by what I saw.
The movie is about Sam Ali (played with assured arrogance by Yahya Mahayni), who runs away to avoid getting arrested on the same day he proposed to his girlfriend Abeer (Dea Liane). It is a decision he instantly regrets as her family forces her to marry an affluent man working in their Embassy in Brussels for her safety and future.
He desperately tries to find his way to Belgium and has many a door shut in his pursuit to get there because of his nationality and the complicated circumstances in his country. He then sells his soul (or rather his skin) to the devil, who comes in the form of Jeffrey Godefroi (Koen De Bouw), a world-renowned artist who wants to use Sam as part of his latest project.
Keon is a real highlight of the movie, both being the devil and angel in disguise at various parts of the film. He is a person who is well aware of the privileges his nationality affords him over many other in the world and has become quite jaded to the fact. His latest artwork involving Sam is almost a cruel joke as he is trying to make an ironic point that shows the extent some people have to go through to move around. He also inadvertently works as a binding link between the two separated lovers.
The love story between Savant and Jubail is lovingly portrayed here. The circumstances under which they had to separate were tragic and felt rooted in reality, which is exactly why you root for them to get together. It is charming to see how much Sam is willing to go to unite with her and does not feel like a meet-cute farce at all. In movies like these, what you are scared of is not whether the couple will get together in the end but simply if they will survive. Because no matter how the movie plays out, you always feel a sense of danger lurking around for the characters and how easily the film can turn into a tragedy. The director, Kaouther Ben Hania, makes us wonder how it would end, and thankfully she manages to keep you invested until the end.
It also makes a brilliant statement about how locals perceive outsiders once the gloves are off. Watch out for the scene where Sam uses the very perception they have of him to his advantage in a moment of utter desperation. It is a powerful scene that works because of its ballsiness.
My biggest issue about the movie, though, is the portrayal of Ziad, Abeer’s husband. Saad Lostan was probably supposed to play him like a sophisticated person who ultimately shows his true colors as a traditional bigot. But, he comes across as a shrill villain who does not have any personality. It looks like it was done so that it would be easier to draw the line for Abeer to make her choice, but you do wish he had a little more personality. The same goes for Monica Belluci’s character as Jeffrey’s manager, whose sole purpose seems to be the villain in Sam’s life while making Jeffrey and his laid-back indifference more appealing.
Now the fact that it gained wider attention because of the Oscar nomination is not important anymore. It is remained in my thoughts long after watching it for what it is trying to say. It deserves to be seen and discussed for its take on freedom and choice. Or how some people have neither as an option.
