Showing posts with label Australia. Show all posts
Showing posts with label Australia. Show all posts

Monday, June 3, 2024

Joie de vivre

Furiosa: A Mad Max Saga (2024) - Miller Screen Shot 2024-06-03 at 8.14.56 AM George Miller proved himself to be a unique action filmmaker when he revived his Mad Max franchise in 2015 with Mad Max: Fury Road with Tom Hardy as the titular anti-hero in a post-apocalyptic wasteland that was Australia. The kinetic energy, physicality, the mindboggling stunt work, rigging and colors with hardly any dialog looked and felt different than any Hollywood run-of-the-mill actioners. But there were two heroes that emerged from the film. One Mad Max, the former cop with his family murdered, wandering after the apocalypse to survive the dog-eat-dog world whose good heartedness has been hidden in grunts and cynicism. With its franchise history, we knew his background a little. We know what made him who he is. But Furiosa, the tanker driver, embodied by Charlize Theron, emerged from nowhere and stole the show. So, the next logical step for Miller to do is continue the saga with her in mind. And he does, gloriously.

Furiosa (Anya Taylor-Joy) is first seen being kidnapped by bandits from the Green Place- the place of abundance, governed by many mothers (who were shown as bike riding grannies in the previous film) who had sworn to keep the place secret from the outside world. Furiosa is taken to Demetus (Chris Hemsworth with a fake nose), a ruthless lord of a bandit gang. She is almost rescued by her mother, but Demetus recaptures them. Desiring to capture Immortan Joe's citadel which has water, food, and ammo, he exchanges Furiosa to become in charge of the Gas Town.

Furiosa, avoiding becoming a kept cycling baby machine for Immortan Joe, proves herself useful with machinery while posing herself as a boy, while scheming to break out of the citadel and kill Demetus. She befriends with Praetorian Jack (Tom Burke), the War Machine- a decked out tanker driver who becomes her mentor.

Just as the previous film, the set pieces featuring shiny silver tube War Machine on the road to and back from Gas Town is a movie-going experience to be had. The chase from both the ground and the sky, it's a spectacular display in acrobatics and vehicular mayhem.

Demetus, however brutal and ruthless he is, turns out to be a shitty leader. He cares very little about how to run his crew. He thrives in chaos. Immortan Joe is a cult leader, with those countless War Boys sacrificing himself for him for the promise of eternal life. Demetus's speech at the end to Furiosa reveals quite a lot, that he and she are 'already dead.' Come to think of it, Max and Demetus are just the flip side of the coin. He carries a teddy bear chained on his front, as a reminder for his wife and child who died, just like Max's. Even though they are from similar origins, Max bowed to avoid the human race and lead a solitary scavenger existence, Demetus became an all-out tyrant, relishing in chaos with joie de vivre attitude. It's the fleeting joys of destruction and cruelty he is after. And why not? Furiosa doesn't know it yet, but as we witnessed in the previous film, the Green Zone is gone. We know that she has to deal with the political bullshit of controlling and governing over marauding citizens of citadel. Who wants to deal with that?

But I hope Miller keeps making these. It's loads of fun.

Wednesday, March 2, 2016

Melancholy from the Future

Mountains May Depart (2015) - Jia
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Mountains May Depart might be Jia's most melodramatic film to date, but it's any less great than his other films in chronicling the rapidly changing Chinese society. His hometown Fenyang in Shanxi Province is once again the backdrop - vast flat area of upturned earth and old ruins. His choice of three time period shot on different aspect ratio: full frame 4:3 for 1999, 16:9 for 2014 and anamorphic for 2025 isn't too distracting, gimmicky or overstated, simply because it's Jia Zhangke film. His muse/wife Zhao Tao might be a little too old to play 26 year old woman, so is Liang Jing Dong or Zhang Yi in the first part of the film. But it does make sense when you think about Jia's first hit Platform came out in 2000. Zhao was in her early 20s then, that the end of millennium was a big turning point for China becoming a global superpower/capitalism on steroids. That these actors have weathered the tumultuous time with Jia, that they are sharing that collective experience with the audience. It is more apparent with his use of music: from Pet Shop Boys' 'Go West' to a sentimental Canto pop, extremely popular in the 1990s in not only mainland China but all over Asia.

First segment tells a love triangle of childhood friends- both Jinsheng and Liangzi loves Tao. Jinsheng hit big and is a raging capitalist now and wants to get rid of the forever third wheel Liangzi for good. First he buys out the coal mine Liangzi works at and fires him. But his intentions are more sinister. Tao, experiencing confessions of love for the first time, chooses Jinsheng over mild mannered Liangzi. In the back of her mind, she knows she is making a bad choice but ends up marrying Jinsheng anyway. Liangzi ends up leaving Fenyang.

The second segment is set in present: Tao and Jinsheng are divorced. He got the custody of their son Dollar (I kid you not). The father and son live in Shanghai. Liangzi's got a lung cancer working in the mines and comes back home with his new born baby and a wife. Dollar comes home for Tao's father's funeral. The kid's wearing ascot for crying out loud. There are some bonding moments with Dollar and Tao but will he remember her at all?

The third one takes place in Australia, where Jinsheng and Dollar live. Dollar is a college student now, thoroughly westernized and doesn't speak a word of Mandarin. He is not happy about the school or life in general. There he meets an older Chinese professor, Mia (great Sylvia Chang) who becomes Dollar's surrogate mother of sorts. He experiences a sense of deja vu when he's with her. She encourages him to visit his long lost mother whose name he doesn't even remember.

I would describe Jia's melodrama, reflecting rootlessness and losing soul in a rapidly industrializing society, as something that Ozu might have considered making in the 60s. It's interesting to see that Jia foresees this rootlessness happening for the next generation of Chinese. It's like predisposed collective melancholy that will hit China like tidal waves in the near future. Poignant and sad, Mountains is another great film from the modern master.

Mountains May Depart is now playing at FSLC's Howard Gilman Theater. Please visit their website for tickets.

Sunday, June 28, 2015

Solace and Freedom

Tracks (2013) - Curran
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I'm a sucker for road movies. If it's about a young woman, even better. Tracks is a film adaptation of Robyn Davidson's travelogue of the same name where she traveled across the 1700 miles of Australian desert to Indian Ocean with her trusty dog Diggity and 3 camels she acquired for the journey. It's the Australia in the 70s. Many hippie ideas are flowing and women's independence growing. A young white woman Robyn (Mia Wasikowska), tired of city life and inspired by her dad's African travels, decides to find solace and freedom in the desert. In order to finance the project, she contacts National Geographic and they send her a talkative and friendly photographer Rick Smolan (Adam Driver). At first, the presence of Smolan is a nuisance for fiercely independent Robyn, but he turns out to be understanding and supportive in her journey more than she gives credits for.

Shot in glorious anamorphic, the film's often stunning and eerily beautiful. Wasikowska is fast becoming my favorite actress. Considering her young age, her choices of roles impress me. She wears the same clothes and doesn't get to bathe often. She is sunburned, her skins cracking, her armpit hair shows, her hair's matted. The movie is also a searing love story between Robyn and her dog. Beautiful.

Sunday, November 23, 2014

Scary Movie Well Done

Babadook (2014) - Kent
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Babadook takes a well-worn premise, i.e.: monster under the bed/in the closet, and makes a superbly effective scary film. Amelia (Essie Davis) is a single mom working at a retirement house, raising a troublesome 6 year old son Samuel (Noah Wiseman). The death of Dad in a car crash 6 years ago really affected them both and Amelia is really struggling to make ends meet. Sam's fear of monsters and the thought of his mom's mortality makes him being extremely paranoid and result in increasingly violent behavior. He finds a scary children's storybook named Babadook which contains horrible drawings of Amelia commiting murders. Only he can sense this Babadook at night but soon enough, the monster haunts Amelia and scares her stiff.

What makes Babadook way above average horror is first and foremost in writing, among other things: Jennifer Kent's script is psychologically apt and plausible, therefore doesn't have to rely on CGI or easy scare to fill up the gaps in the plot. The second is superb acting. Both Davis and young Wiseman are not only perfectly cast but amazing in their roles as troubled, paranoid nuclear family. The third is the absence of overwhelming score. I mean, I can't remember any recent horror that don't rely on music to create tension? Babadook makes a case for 'less is better'. Too bad this didn't come out in Halloween.

Friday, February 8, 2013

The Awful Truth in Pretty Pictures

Lore (2012) - Shortland
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After her well-received debut feature Summersault (2004), a small indie film about a young woman's sexual awakening that launched the careers of Abbie Cornish and Sam Worthington, directing a WWII drama in Germany with all German cast is a curious choice for Aussie director Cate Shortland. But It's Shortland's knack for portraying a budding female's physical and mental struggle that connects the two films. Newcomer Saskia Rosendahl plays the red-lipped perfect Nazi youth whose world is shaken after finding out her parents' roles in the death of millions.

It's 1945. Hitler's dead. Hannalore (Rosendahl) and her four young siblings are left to fend for themselves after their Nazi parents are imprisoned. Having been informed that there is a relative living in Hamburg, the children set out on foot from their opulent mansion deep in the Barbarian mountains to an unknown, scary world. Things get hairy quickly as they run out of food (and milk for the baby) and shelter.

They team up with a suspicious young man, Thomas (Kai Malina), who crosses their path. Lore's younger siblings take a shine on him but she can't let her guard down. Germany is divided into zones with road blocks everywhere. Thomas, who may or may not be a death camp survivor, uses his street smarts to help Lore and her siblings to get to the British zone (because Soviets hate Germans, they were told). There is an obvious sexual tension between Lore and Thomas.

Rosendahl's typical Aryan beauty is accentuated by blissful cinematography, used effectively here as she gets battered, dirtied up and sun-blistered. There is a certain Grimm's fairytale quality to Lore's journey, with many grown up monsters in the woods waiting to pounce on a frightened little girl. The film makes a point of the war robbing one's childhood, that there are victims on both sides, several times. But thanks to beautifully balanced direction and great performances, the cliché-prone material never comes across as a didactic bore.

Lore opens February 8 in New York and Los Angeles and gets wide releases in March. Check the Music Box Films website for more information.