Burnt Offering

Silver Haze (2023) - Polak Dutch director Sacha Polak teams up again with Vicky Knight, a British actress and a star of her previous film Dirty God, in her new film Silver Haze, which premieres at this year's Berlinale's Panorama section. Knight, who sustained serious burn on one third of her body as a child, plays Franky, a young woman who is a victim of a fire and carries the stigma both flesh and mind. Her East End family home is a mess - mom, an alcoholic who never recovered from her husband leaving for another woman, a younger sister who has yet to find her identity and an older male relative who is not quite the role model. Even though Franky is sleeping with a local boy, everyone close to her knows that she has lesbian tendencies. While working as a nurse at a hospital, she befriends a suicidal patient Florence (Esme Creed-Miles) and starts seeing her after being discharged. Florence, a young woman from a wealthy family, has been staying with Jack, her autistic brother, in the home of family friend Alice (Angela Bruce), an old black woman dying of cancer, near the beach in the south of London. Forever moody and unpredictable, Florence warns Franky that she is a bad person. Yet, Flo is the first person who makes Franky smile in a long time. She is the person who encourages her to come out of a shell. For the first time since she got burned, Franky can go out to swim, exposing her scarred body to the world.

But Flo is also a bad influence on Franky. She's Franky's id personified. After arguing and breaking up and disappearing for days on end many times, Flo encourages Franky to firebomb her dad's new house where he lives with his new family. It is dad's new wife whom she believes is not only responsible for the breakup of her family but also for setting a fire in the pub where she got burned.

Franky finds a makeshift family in Alice's home, away from daily bullying, physical, verbal abuses, and self-doubt. It is Jack, who has no filters, tells like it is - that the fire where Franky got burned might not have been an arson, that it could have been caused by a lot of different things, exposing Franky's hate and anger, and her desire to put a blame on one person all her life might have been willfully misdirected and a self-denial. Like the cannabis strain that Franky grows with care, where the title comes from, the film is about the smoke screens as a defensive mechanism to cope with life's traumatic events. But somehow you will need to face the reality to move on.

In the tradition of British kitchen-sink realism of Lynne Ramsay and Andrea Arnold and humanist makeshift family dramas of Kore-eda, Polak and Knight create an emotionally resonant film about forgiveness and finding peace via self-reflexive storytelling. Knight is a natural born actress and camera (captured by DP Tibor Dingelstad) adores her. Her brevity in using her life story and stigma she carries on screen is quite remarkable. Sensitively written and directed with clear eyes, Silver Haze is a great little gem and first great discovery of the 2023.

Self-Discovery in Snark

How to Build a Girl (2019) - Giedroyc

Falling somewhere between Almost Famous and Ladybird, Coky Giedroyc's How to Build a Girl, based on a novel by journalist Caitlin Moran, who also wrote the script, is a fairy dust filled coming of age story that is at times almost too fantastic to be believed. But considering a story of a nerdy 16-year old high schooler from a crowded working class household in Wolverhampton becoming a overnight rock critic sensation has actually happened to Moran, it lends more credibility than one might expect- just a little more amped up with rainbow sparkles. And thanks to Beanie Feldstein (Booksmart, Ladybird)'s electrifying performance, How to Build a Girl is an enjoyable romp that puts an instant smile on your face.

The year is 1993. Feldstein plays Johanna Morrigan, a nerdy but imaginative high schooler who writes to escape her dreadful suburban existence. From the bedroom she shares with her supportive brother Krissi, she writes funny, witty stories and poems while conversing with her literary, philosopher, artist heroes (Sigmund Freud, Sylvia Platt, Elizabeth Taylor, Frida Kahlo, Maria von Trapp and others) who adorn their bedroom wall.

After appearing in a local TV poetry contest to build up her confidence, Johanna applies for a writing gig at a posh London rock magazine even though she doesn't know anything about music. Her funny take on "Tomorrow" from Annie the musical leads her a job interview. Initially brushed off by the cynical writing staff, her persistence pays off and she lands her first gig. Reinventing herself as Dolly Wilde, with a fiery red hairdo and a Cabaret style slick outfit, she experiences a rock concert, a plane ride and sex, all for the first time. After interviewing John Kite (Alfie Allen of Game of Thrones), a soulful Irish singer, smitten Johanna writes a schoolgirl crush of a review of his music and gets rejected by her snarky co-workers. She is reminded that there's a difference between being a fan girl and critic, and that one has to be a bitch sometimes. Following that advice to the heart, Johanna turns herself into a queen bitch of the music publishing with a venomous tongue and becomes an overnight celebrity. The sudden fame brings money in and sexual escapades. But her cynicism bleeds into her family and friends and she is flunking school. All of this is happening and Johanna hasn't even turned seventeen yet.

How to Build a Girl easily could have been a 'fame got to her head' cautionary tale. But its sunny disposition never lets the party down. Feldstein's version of super awkward but funny and charming teen gets big laughs. So does Paddy Considine as forever supportive but illegally-breeding-border-collies-at-home-to-support-music-career dad who shows off his drum skills (as Considine is a great musician in real life) and Chris O'Dowd as a twitchy local TV host. Cameo appearances by Gemma Arterton (Maria von Trapp), Michael Sheen (Freud), Sue Perkins (Emily Bronte) among others as Johanna's heroes also lend a sense of levity to the film.

How to Build a Girl is a funny movie largely riding on the charm of its star. Appearing in her first lead role after building a reputation for playing an awkward, overweight besties in high school comedies and a college virgin nerd in What We Do in the Shadows TV series, Feldstein commands the screen as a wide-eyed teenager embarking on a road self-discovery and redemption.

How to Build a Girl is opens in select theaters, digital and cable VOD today 5/8.

Amour fou

The Souvenir (2019) - Hogg







Joanna Hogg's new film, The Souvenir, drawing from her own experience in her 20s, tells a delicate story of amour fou. On the onset it looks like another one of those involving a charismatic older man taking advantage of a younger, more fragile woman story, or some fluff about a rich white girl being manipulated, but Hogg is such a strong director/writer who has an ability to deeply empathize with her characters, you can't help but be moved by it in the end.

Julie (Honor Swinton Byrne) is a film school student from an affluent family. She is still figuring things out. She wants to make a film about working class people in Sunderland: a story of a boy and his strong attachment to his mother. Her advisors try to steer her toward making something that she knows and is perhaps more comfortable with. But just like anyone around that age, she is quietly rebellious and wants to go through it in her own way. She is afraid that she won't grow as a person if she doesn't get out of her comfort zones.

Julie meets Anthony (Tom Burke). With his slurring words, arrogant but confident attitude and bitter outlooks on life, he is extremely magnetic to her. He is apparently working for the Foreign Affairs agency or something mysterious like that (we never get to see him working really). It's the Thatcher's England in the 80s. There are bombs going off on the street and news of kidnappings on the radio.

The romantic notion of being in a relationship with a mysterious, intelligent, charismatic person, Julie neglects to see his imperfections - he is always broke and constantly asking for money and has needle marks on his arms. She is so green that it takes her a while to realize that Anthony is a heroin addict. It is infuriating for the viewer as she forgives him and lets him get away with taking full advantages of her financially time and time again as he lies and even steals from her to satiate his habit. Against good judgment, she keeps asking for money from her parents, especially from her stern but caring mother (Tilda Swinton, Honor Swinton byrne's real life mother).

Their intense relationship is eating Julie up and she falls behind in her studies and gets isolated from her circle of friends. But the film makes unexpected turns: after catching him red handed with a needle, she finally kicks him out. She puts her life back on track - studies, new lovers etc. Anthony appears in her life again. He is still broke, charming but broken. He cries and suffers greatly while kicking the habit.

Even the power dynamic has changed, Julie can't help but loving him.

Every writer or film director encounters the criticism at some point or another when they try to create something not related to your life or your background. The Souvenir examines this aspect in the film. But every film Hogg has done so far, there are elements from her life in it. And she is not apologetic about it. Calling The Souvenir an autobiographical filmmaking would be selling the film short. It's a delicate film that doesn't seem to have a special agenda other than humanizing the aspect of the people she encountered earlier in her life. With her baby face and pale complexion and her gaping mouth, Swinton Byrne is terrific in the role of Julie. But it's Tom Burke who steals the show here. His charming yet slightly dangerous demeanor - a cross between Oliver Reed and Hugh Grant is magnetic.

We meet people in our lives who changes and shapes you when you are on the verge of adulthood for better or worse. The Souvenir succeeds in eulogizing that period of your life lovingly and poignantly. One of the year's best.

Not Quite Thoroughly Modern Bathsheva

Far from the Madding Crowd (1967) - Schlesinger









In anticipation of Thomas Vinterberg's remake, starring Carey Mulligan, I decided to visit Schlesinger's original which I wanted to see for a long time. Shot in anamorphic and unmistakably Nick Roeg (cinematographer here) style in its presentation - jarring wideshots, zoom-ins and beautiful visual transitions, the great John Schlesinger's Far from Madding Crowd is a handsomely told tragic romance of a prudent, independent woman and her three suitors on the rolling hills of English countryside.

A young farmer Gabriel Oak (Alan Bates) loves her neighbor, Bathsheva (Julie Christie) and proposes to her. She turns him down as she is too proud and regards him unworthy of her. Soon Bathsheva inherits a big farm from her dead uncle and moves out of his life. Gabriel loses everything when his inexperienced sheep dog drives his entire flock over the cliff. This bad luck leaves him to wander to find work in neighboring town.

They meet again when he puts out the fire at her farm. She reluctantly hires him to look over her farm. In the mean time, Mr. Boldwood (Peter Finch), a wealthy but cold farm owner next door gets smitten by Bath's jest involving a valentine's card, but she turns him down too, not promising anything.

Then she meets a dashing army sergeant Troy (Terrence Stamp). His thrilling display of swordsmanship on the hills takes her breath away. Deeply infatuated, she hastily marries him. Alas, Troy's heart belongs to poor young Fanny (Prunnella Ransome) who stood him up at the altar not long ago. He is also a compulsive gambler and not interested in farming. He also makes a big enemy out of Boldwood. As Fanny turns up again, things get complicated.

Not quite thoroughly a modern woman, Bath is conflicted by her ever shifting feelings. No one in Madding Crowd is truly evil or has harmful intentions. Who gets Bath's heart at the end? Trusty servant/long time friend who she can always depend on? A dreamboat who can stir fire in her with one look? A wealthy, kindly benefactor who'd tolerate her equivocation til kingdom come?

All actors are fantastic in their respective roles. And Julie Christie is very lovely indeed. Thomas Hardy's portrayal of a nineteenth century woman is an overly melodramatic one for sure, yet it's a very entertaining one.

Spy in Our Midst

Shadow Dancer (2013) - Marsh

Shifting loyalties regarding family, cause and country are the basis for Shadow Dancer, a sensitive and affecting new political thriller from director James Marsh (Man on Wire, Red Riding: 1980). It boasts a great ensemble cast that includes Clive Owen, Gillian Anderson, Domhnall Gleeson and a relative newcomer, Andrea Riseborough in the central role. 

Soon after witnessing a senseless family tragedy in 1973 in the Occupied Northern Ireland, we are transported to 1998 London, where a sullen Republican member, Collette (Riseborough) reluctantly disposes a bomb in the tube station stairways. Then, she is swiftly scooped up by two ready MI5 agents and delivered to an interrogation room. The whole wordless botched bombing attempt and following apprehension sequences are tense and swift. There, Collette is given an ultimatum by an MI5 officer Mac (Clive Owen): become an informant in her own community and her family or lose everything and go to jail for 25 years. Fearing her young son's fate with the prospect of her being locked up, and after Mac's pledge to become a protector of her and her son from any harm, she accepts being a mole in her radical IRA household.

Back home, with the news of The Good Friday Agreement between the elite Republicans and the British Government looming, Collette's brothers, who belong to a more radical faction of the IRA and are frustrated by nimble politicians, plan an assassination of a high level judge. Collette, being under suspicion from the Republican higher-ups and radicals alike after her supposed unscathed escape from British authorities, is once again pushed into taking part in the terror act. Her absolute last minute phone call to Mac results in the death of her brother's colleague and the failure of their plan. The pressure and suspicions mount. Not wanting to harm anyone by her spying activity, Collette wants out, but Mac's boss Fletcher (Gillian Anderson) won't have any of it. Furthermore, she is willing to give Collette to the dogs when push comes to shove. "There are other informants," she coldly declares to concerned Mac.

Even though it's a classic 'pawn in their game' film, with its deliberate pacing and mood, Shadow Dancer never stays too far from its characters. Handsomely shot in grainy, anamorphic widescreen by Rob Hardy (Boy A, Red Riding: 1974, The Forgiveness of Blood, Inni), the camera often lingers on Collette and Mac's anxiety-ridden faces in close-ups. Working from his own novel of the same name, Tom Bradby's script beautifully sketches out sympathetic characters and their dilemmas without ever being sentimental, all the while pointing out the ugly circumstances brought on by years of systematic humiliation.

Not only is Riseborough fantastic as our morally tangled heroine, always dependable Owen also gives a fine tuned performance as an MI5 officer trying to do right by his subject. Domhnall Gleeson (Harry Potter series) turns gritty as Collette's militant younger brother. Most surprising is Gillian Anderson in a small but meaty role. Her double dealing MI5 commanding officer, Kate Fletcher, is an imposing presence in every frame she's in. Ever since re-relocating to London, Anderson is having a sort of renaissance of her career all across the pond - after her critically acclaimed performances in BBC's Bleak House and Great Expectations, she currently stars in an Irish TV series The Fall and NBC's Hannibal. Anderson's beauty is well utilized by Marsh here as a source of intimidation.

I see this film as a perfect antidote for often faceless, visceral filmmaking that has become the standard for today's action thrillers, which I call the 'Paul Greengrass school of filmmaking.' Shadow Dancer is understated, classy, solid filmmaking with intelligence and soul.

The Defiant One

The Loneliness of the Long Distance Runner (1961) - Richardson

Colin (Tom Courtenay) is a bitter young man from a poor household. His dad is dead and his mom is blowing dad's insurance money while his body's still warm. He is sent to a reform school for stealing 75 quid from a bakery. The governor of the institution (Michael Redgrave) takes a shine on him because of his running ability. He unwittingly becomes enemy of many people in there but he doesn't want to play anyone's game. As the film builds up to its climax where he and the lads go up against privileged public school running team, we get to know more about Colin. It's his stare that pierces one's heart.


Richardson's British class observation is very acute. At one point, Colin retorts when asked about getting a job, "It's not that I don't like work. It's just that I don't like the idea of slaving me guts out so the bosses can get all the profits. Seems all wrong to me."


The Loneliness of the Long Distance Runner is the ultimate F U to the system movie and I really loved it. Glad finally got to see the greatness of Courtenay. Compare to Malcolm McDowell's all-knowing cynicism, his anger and loneliness seem genuine and all the more innocent. Gotta seek out more of his performances.


The film also features twitty (even back then) James Fox as the nemesis runner at the end.