film reviews, interviews, features | BRWC

Author: Hugues Porquier

  • The French Dispatch: The BRWC Review

    The French Dispatch: The BRWC Review

    “The French Dispatch” is the 10th feature film by Wes Anderson, who, at only 52 years old, is a film director who has managed to create his own universe and his own aesthetic. In his new film, the American filmmaker presents us several stories with an original narrative format that revolves around an American literary magazine which has a branch in France and which is directed by Arthur Howitzer Jr (Bill Murray). 

    “The French Dispatch” is a delicate and well realized ode to journalism, art and French culture. The film begins with an introduction in the form of an article for “The French Dispatch”. In this prologue, the journalist Herbaint Sazerac (Owen Wilson) introduces us to the city of Ennui-sur-Blase through his journey by bike, which reminds us of Paris in the late 60s.

    Three different stories follow, also in the form of articles.  The first story and article is about art. The French Dispatch tells the story of a psychopathic and talented painter, Moses Rosenthaler (Benecio Del Toro) who is imprisoned for years.

    The second story is about politics and deals with May 68 in France. We follow Zeffirelli (Timothée Chalamet) a protesting and committed student. The last story is focuses on Roebuck Wright (Jeffrey Wright) a food journalist who describe a very special police case.  Through these different stories, mainly filmed in Angoulême (France), “The French Dispatch” recreates a France of the time, probably inspired by French filmmakers such as Jacques Tati and Jacques Demy. 

    In his direction, Wes Anderson gives a particular importance to the settings and gives us the impression of a mastered work, accompanied by Robert D. Yeoman (a regular of Wes Anderson’s films) for the cinematography and by Alexandre Desplat for the music.  He alternates without difficulty between black and white and color, between film and animation and multiplies the cinematographic tricks to give an impression of life to his sets and to give a total fluidity between the sequences. 

    While remaining in a clear guideline between his different films, “The French Dispatch” is the most ambitious film but also the most successful of the American director.  The narrative format of the film allows him to maintain a good rhythm throughout the film. It also allows Wes Anderson to have a multitude of main and secondary characters, which allows him to integrate an incredible number of famous actors to his film. 

    In terms of casting, which is an important part of the film, we obviously find the usual ones such as Billy Murray, Owen Wilson or even Willem Dafoe, but also very well-known actors such as Frances McDormand, Tilda Swinton and Edward Norton. Interestingly enough, there are also some lesser known French actors such as Lyna Khoudri, Denis Ménochet and Guillaume Galienne. 

    However, this constant influx of familiar faces may confuse some. “The French Dispatch” is Wes Anderson’s most uninhibited, most ambitious film, a great proof of mastery and a great success. 

  • Zip It: Raindance 21 Review

    Zip It: Raindance 21 Review

    “Zip It” is a documentary by the French-Egyptian tv producer and reporter Anicee Gohar. It will be presented at the upcoming Raindance Film Festival 2021 which will take place from Wednesday, October 27 to Saturday, November 6.  In this documentary, we follow the life and career of Mohanad Kojak, an young Egyptian fashion designer. 

    The documentary begins with a scene where we find Mohanad in the car of Anicee. Mohanad removes anything that might seem provocative, he removes his piercings, puts on a cap, before entering an airport. “From a jury member to…” These words leave one wondering about the place of design-related professions in a country like Egypt, where extravagance faces a certain form of conservatism. In only 58 minutes, we gradually enter the intimacy and the life of the young man. 

    We discover, through different discussions between Anicee Gohar and Mohanad, the difficulties he encountered during his childhood and adolescence.  Periods during which he was often put aside and bullied because of the divergence of his interests compared to other children of his age or simply because of the clothes he could wear. Kojak tells us that these various altercations helped him to build the person he is today. He also tells us that when you love and accept yourself, you end up ignoring the negative interactions and focusing on the positive ones.

    The documentary also looks back at his relationship with the different members of his family. Between her strong relationship with her mother and one of her brothers, who seem to have always supported him in his choices and his decisions, and, on the other side, the conservative reticence of her father. Reticence that seems to disappear after the great success of his son. 

    Through the alternation of audiovisual formats, interviews, images from television and camera in Mohanad’s family and in the heart of the preparation of his fashion shows, the documentary keeps a good pace during its 58 minutes. Sometimes, “Zip It” verges on an intimacy that could be embarrassing for some viewers. But, for the most part, the documentary allows us to grasp the issues that Mohanad Kojak has face in his life. 

    Anicee Gohar realizes a superb work, which allows us to discover a very interesting figure of a universe very few represented.

  • Titane: Review

    Titane: Review

    “Titane” is the new film by Julia Ducournau, and it’s one of the French films which is most talked about abroad this year since it won the very prestigious “Palme d’Or” at the Cannes Film Festival.  Following this victory, the film has been chosen (versus “The Event” by Audrey Diwan and “Bac Nord” by Cédric Jimenez) by the CNC (National Film and Moving Image Centre) to represent France for the 94th Academy Awards ceremony that will take place in March 2022. 

    Julia Ducournau had already made a name for herself in 2016 with “Raw” which at the time was a real shock in the very uninnovative French film landscape of recent years. With “Raw” and “Titane”, Julia Ducournau, assisted for example by directors such as Pascal Laugier “Ghostland” (2018) or Coralie Fargeat “Revenge” (2018), allows to confirm the craze for genre cinema in France, which appeared in the early 2000s with “Le Pacte des loups” by Christophe Gans. 

    These directors also prove to us that the French genre cinema exports well abroad.  Indeed, “Titane” is the fourth best opening of all time for a Palme d’Or in North America. “Severely injured in a car accident, Alexia (played by Agathe Rousselle), a dancer in her thirties, is saved by having a titanium implant placed in her skull. Suffering from a post-traumatic syndrome, she is overcome by murderous impulses.

    At the same time, Vincent (Vincent Lindon), a firefighter, finds his son who has been missing for 10 years after being questioned by customs inspectors at an airport.” Through this rather intriguing synopsis, the various actors deliver an incredible performance. 

    Considering the complexity and strangeness of the writing of Alexia and Vincent’s characters, the actors in “Titane” are a major key to the film’s success.  One struggles with a seemingly inevitable transformation that could expose her, and the other seems stuck in a hazy past. 

    Agathe Rousselle and Vincent Lindon give us exceptional performances. Not to mention the excellent Garance Marillier, lead actress in “Raw” (2016), who is a regular in Julia Ducournau’s films as she also appeared in her short film “Junior” (2011).  The inspirations of “Titane” are clear, we find mainly “Crash” by David Cronenberg and “Christine” by John Carpenter.  The film doesn’t hesitate to go into the trash, the very disturbing and the visually incorrect, kneading the flesh as Cronenberg and playing with mechanical eroticism. 

    This choice of excess was strongly criticized by the public but also by the press, many saw it as free violence that brings nothing to the development of the characters or the purpose of the film, an “avoidable” violence.  During the screening in Cannes, several people left the movie theater, they couldn’t handle the violence of the images. These exits have fueled a certain mystery around the film as for “Irreversible” (2002) by Gaspar Noé (which is now a cult film).

    “Titane” is therefore not a film for all audiences, it may even displease some fans of more “classic” horror. In any case, you will have to hang on to follow the film and it will not necessarily be a good time to spend.  The film is a UFO, it’s, as Pascal Laugier qualifies the genre films in France “a small miracle”. It also allows to approach some society’s subjects in a very interesting way such as the gender identity for example. 

    But whether during the viewing or maybe some time after, “Titane” is an interesting film, which will probably still be talked about in a few years. It is also the new reference film for Julia Ducournau, who is a talented director to follow in the coming years.

  • Fever Dream: Review

    Fever Dream: Review

    “Fever Dream” or “Distancia de Rescate” is a film by the Peruvian director Claudia Llosa, mainly known for having won the “Golden bear” at the Berlin International Film Festival for “Fausta” (2009). The film is an adaptation of the novel of the same name written published in 2014 and written by Samanta Schweblin, who actively participated in writing the film alongside Claudia Llosa. The film will be available on Netflix from October 13, 2021. 

    In “Fever Dream”, Claudia Llosa addresses the theme of the mother/child relationship. A theme that she has mastered and which represents her and her cinema since it is at the center of several of her previous films “Aloft” (2014) and “La teta asustada” (2009). Presented at the San Sebastián International Film Festival in 2021, the film was nominated for the “Golden Seashell”.

    The film unfolds through Amanda’s (played by María Valverde) reminiscences through her conversation with a child, David (Emilio Vodanovich). Thanks to Amanda’s memories, which are refined as the film progresses, we learn more about the different protagonists and the different events which already have already taken place. For the vacations, Amanda and her daughter Nina (played by Guillermina Sorribes Liotta) move to an isolated house. They will have Carola (played by Dolores Fonzi) and her son David for neighbors, who maintain a very nebulous relationship. 

    Soon, Carola will share with Amanda some very disturbing elements about her son David. These revelations will tip the film into another dimension, more spiritual and mysterious, gradually losing touch with realism. The main strength of this film is this narrative peculiarity, the film being articulated around the dialogue between Amanda and David. But this strength tends to become a weakness at some points in the film where the pace sometimes becomes a bit jerky and the plot seems to struggle a bit to move forward. 

    However, the interest of the plot and the superb photography manage to make us forget about these small drops in rhythm. The relationship between these two women that everything opposes, Amanda and Carola also allows the film to work well, the interpretation of the Spanish actress Maria Valverde is particularly convincing. 

    Like in the book from which the film is adapted, “Fever Dream” tries to address in an underlying way, environmental and social problems present in the world but especially in some South American countries like Argentina. Where we find an excessive and uncontrolled use of pesticides leading to various very negative consequences for local populations.

    “Fever Dream” will capture the interest of the audience thanks to its original plot, its convincing actors and its narration. But this narrative bias could also displease some. 

  • The Invisible Life Of Euridice Gusmao: Review

    The Invisible Life Of Euridice Gusmao: Review

    Winner of the “Un Certain Regard Award” at Cannes 2019, “The Invisible Life of Euridice Gusmao” is a film by Brazilian director Karim Aïnouz, well-known for Madame Sata (2002), which was nominated for the “Golden Camera” and “Un Certain Regard Award” at Cannes, as well as for “Suely in the Sky” (2006). Most of his films have received many awards in various festivals around the world. The film is partly based on the book of the same name by Martha Batlha published in 2016.

    Through the tragic destiny of two sisters, Euridice (played by Carol Duarte) and Guida (played by Julia Stockler), “The Invisible Life of Euridice Gusmão” illustrates the ungrateful place that women had in Brazilian society in the 1950s.

    A life under the yoke of the domination exercised by men, having to respond to their various desires. A life punctuated by repeated pregnancies resulting in an inability to build a sustainable professional project. In fact, pregnancies appear in the film more as a condemnation than as a blessing.  Guida and Euridice grew up in a traditional Brazilian family. Guida’s unexpected departure for Greece with a sailor she has just met causes great shame for the patriarch, who disowns her on her return. 

    Following this event and the lie of their parent, the two sisters will never see each other again and will both lead an existence on their own.  Karim Aïnouz tackles a very thorny subject for countries where religion is very anchored such as Brazil, abortion.  Even today, abortion in Brazil is only allowed in cases of rape or other very special cases.  

    This Brazilian society of the 50’s presented in the film, deeply misogynistic, does not seem so far from today’s society, led by the infamous Jair Bolsonaro.

    The first pregnancy of Euridice will not be desired. It will occur as a result of the actions of her husband who will do as he pleases despite the multiple prohibitions imposed by Euridice. 

    Following this pregnancy, she will see her hopes to integrate the conservatory of Vienna totally impossible. Throughout the film, the different sex scenes are painful to watch, since most of them look more like a rape than a sexual act between two consenting adults.  Through this, Karim Aïnouz paints a rather interesting portrait of Euridice, a woman broken by a society in which she has nothing to say, crushed by social pressure, putrid traditionalism and by the destructive power of religion. 

    The story of these two sisters is told by Murilo Hauser, Inés Bortagaray and Karim Aïnouz, who, thanks to this well told story, deliver a well-paced film, where the actors shine with their talent and which will make the spectator go through different intense emotions. However, some will probably reproach the film to sometimes fall into miserabilism and melodrama, but the film knows how to remain sober in its entirety. 

    “The Invisible Life of Euridice Gusmao” is a very accessible film and a great success, which I hope will be able to participate in creating a discussion around the subject of abortion in Brazil as well as popularizing the Brazilian cinema to the public throughout the world.