Go with the Flow

Do Not Expect Too Much from the End of the World (2023) - Jude As with his previous film, Bad luck Banging, Radu Jude's new film Do Not Expect Too Much from the End of the World is unsparing, uproarious satire that implicates everyone in this needlessly complex society we live in. And it's loads of fun. It's a frenetic, 'moving' picture as we take the passenger seat in a van driven by Angela, a hard-working production assistant of a PR firm, Forbidden Planet, hired by Austrian furniture company. Angela's Tik Tok filtered alter-ego is known as Bobita, a bold headed, thick unibrow and bearded dudebro who spews the vilest, sexist, racist rant with six thousand followers. She spends most of her time in her car driving because her job requires driving and interviewing potential workplace accident victims, one after another, who could be featured in the company's safety promotional video. And every chance she gets, she becomes Bobita anywhere.

Angela's hectic daily routine is intercut with an early 80s Romanian melodrama called Angela Moves On, about a wholesome female taxi driver and her life, as she drives from place to place in Bucharest. The film juxtaposes the changes in the streets and neighborhoods from Ceaușescu era. Many anecdotes, and musings of all the characters concern the reality today's Romania and of the world.

Jude's playfulness is infectious. The actress who plays Angela the cab driver makes an appearance as the character in the film. She plays a mother of a man on a wheelchair who was chosen to be in the promotional video. The man plays himself who was a victim of the workplace accident that is obviously the fault of the company for its negligence.

German Actress Nina Hoss plays the Austrian boss Doris Goethe (yes that Goethe), whose furniture company is leveling Romanian forests, Uwe Boll, the German b-movie director also makes an appearance as himself, directing a monster CGI movie in the green screen backdrop.

However hilarious, the film is not all laughs. In the middle of its 2 hrs. 30 min. running time, he devotes a good 4 minutes to feature a silent segment composed of hundreds of crosses that are strewn about along the highway which Angela describes as the 250-kilometer highway with 600 crosses, while giving Doris Goethe a ride to the hotel. Puzzled Doris asks what it means. It's a one-way road that has a very narrow emergency lane, but no one follows that. They use it as if it's two-way roads. "That's very stupid." Doris responds. "We are!" Angela responds. Nothing works the way it's supposed to. Corruption is everywhere. In the EU, Romania is the poorest country, she says. Maybe except for Albania. They are primitives, Angela utters.

Biting and thought provoking, Do Not Expect Too Much is a perfect survey of the state of our lives right now. Jude, along with Assayas and Bonello, is a master chronicler of ever changing, ever so complicated world we can't make sense of anymore. It's fun, it's tragic. All we can do is go along with the flow, like Taoists saying.

Top 10 Discoveries 2023

Crazy depressing year 2023 has been. The news feed is too scary to look at. Covid is still around. Makes you wonder what disasters the new year's going to bring.... But there's cinema and we take consolations from it. And I've discovered many good films this year. Being in school helps too. So, in alphabetical order:

Daïnah la métisse/Dinah the Black Girl (1932) - Grémillon A murder and racial/class politics in an ocean liner headed to New Caledonia in the South Pacific. Starring stunning Laurence Clavius as a temptress at sea who yearns to be free. Restored from a nitrate negative by Gaumont Pathé Archives in 2018.

Une femme mariée/A Married Woman (1964) - Godard Godard's take on women being objectified in the consumerist 60s is on full display here. Also the talk of holocaust hangs like a cloud. Charlotte doesn't know what Auschwitz is as the men talk about it on the way back from the nazi trials in Hamburg. Biting and provocative.

The Housemaid (1960) - Kim s it the puffy tail that makes all the difference between a rat and a squirrel? You might have achieved the goal of becoming petit-bourgeoisie by having a pet squirrel, but you will always have rat poison hidden away in the cupboard. The Housemaid pokes at these conundrums of living in a rapidly developing capitalist society.

Leben - BRD/How to Live in FRG (1990) - Farocki Filmed just before the dissolution of the East Germany, but came out afterward, Harun Farocki's Leben - BRD or How to Live in FRG (Federal Republic of Germany/West Germany) stands in contrast to both, the egalitarian (East) or capitalist (West) utopias that never have materialized. He knew that the West hadn't really won the Cold War game- that there was something inherently unnatural and inhuman about the advanced capitalist system in the West. Farocki strings series of 'how to' instructional videos of all kinds from all over West Germany, where people were enacting scenarios - from birth to death, intercut them with various household products - toilet seats, washers, drawers, car doors, going through rigorous and repeat stress tests.

Schlafkrankheit/Sleeping Sickness (2011) - Köhler Sleeping Sickness is a complex film that says a lot about colonialism and its ugly symbiotic relationship in capitalist society. As a German directed film with a German main character, the subtext of losing one's identity in a global capitalist system and yearning for some sort of metamorphosis is quite striking.

The Spook Who Sat by the Door (1973) - Dixon Taking advantage during the integration era, a black man named Don Freeman, patiently works up the ranks as a token black CIA agent, learning everything he could while being a model employee and in turn use all the knowledge he acquired into an urban armed guerrilla warfare in his native Chicago against authorities. By the end, the film advocates armed uprising by the disenfranchised blacks in every major city in America. A radical film by African American director Ivan Dixon and writer Sam Greenlee.

Les Trois Désastres/Three Disasters (2013) - Godard (2013) - Godard Before Goodbye to Language (2014), where Godard embraced 3D as another art form, he participated in 3X3D, omnibus project commissioned by EU. I won’t even mention the other two shorts by other directors because they were terrible. But The Three Disasters, is a continuation of Godard’s contemplation on art and cinema. His wordplays are strong here: des =dice, astres=stars… as if predicting Hollywood’s short romance with the medium (again) as a gamble. “Writing was necessary. Printing was gratification. Digital will be dictatorship.” He drawls in his gravelly voice. He also observes the invention of perspectives in Western art ruined having any depth in content, correlating it to 2D and 3D in cinema. It’s Invigorating 20 minutes as any of his other films.

Typhoon Club (1985) - Sômai Breakfast Club it ain't. There's no highlighting their individual quirks. They instinctly understand each other and forgive one another. Mikami screams on the phone to his unhelpful drunken teacher, "I will never be like you!" In the meantime, Rie's Homerian journey home during the typhoon continues. She gets picked up by a college students while shopping in Harajuku. He invites her to his apartment. It's not as exciting as she thought. After changing back to her school uniform, she decides to come back home.

Typhoon Club predates all the 90s and 2000s Japanese teen angst films. Somai really had a great eye for small details and intricacies of human relations. It's one of the best Japanese films ever made.

Wanda (1970) - Loden Wanda seems to be always late to the party: the divorce court, the sewing factory, at the bank robbery. It's as if she is consciously late (slow quitting). With her options in life being very limited, she seems to be holding on to her time as if it is her only resistance against the world that's expectant of her blonde female self. It's not an easy movie to like. After fighting off a rapist, she ends up in a pub where other females show her some solidarity and kindness, she still seems very lost and frightened in an unforgiving world at the end. Wanda is certainly an interesting one.

Yo, la peor de todas/I, The Worst of All (1990) - Bemberg Based on a historical figure, Juana Inés de la Cruz, I, The Worst of All, tells trials and tribulations of a catholic nun who lived in the 17th Century Mexico. Sister Juana who was a poet, playwright, theologian and a philosopher. And because it was unorthodox for woman to be an inquisitive and brilliant intellectual in the age of inquisition, she was persecuted by the patriarchal church and forced to denounce her 'sins'. Maria Luisa Bemberg directs the unflinching version of Sister Juana's story. Assumpta Serna plays Sister Juana, whose brilliance was the subject of both envy and jealousy in the convent. She is afforded with a large library and fine material things, like a telescope and harpsicord within the convent walls. She makes a big impression on the viceroy sent from Spain to the new world, and strikes up the friendship with the Vicereine (played by Dominique Sanda) who feels a certain kinship with the Sister (convent/marriage = jail). The Viceroy and his wife become an ardent supporter and protector of Juana against the vicious archbishop who thinks Juana is a nothing but a harlot and heretic.

I, the Worst of All, is a searing indictment of hypocracy of the religious institution and clear eyed examination of the true devotion and worldly desires of intellect. What happened to Sister Juana is a real tragedy.

Rehearsals for Living

Leben - BRD/How to Live in FRG (1990) - Farocki Filmed just before the dissolution of the East Germany, but came out afterward, Harun Farocki's Leben - BRD or How to Live in FRG (Federal Republic of Germany/West Germany) stands in contrast to both, the egalitarian (East) or capitalist (West) utopias that never have materialized. He knew that the West hadn't really won the Cold War game- that there was something inherently unnatural and inhuman about the advanced capitalist system in the West. Farocki strings series of 'how to' instructional videos of all kinds from all over West Germany, where people were enacting scenarios - from birth to death, intercut them with various household products - toilet seats, washers, drawers, car doors, going through rigorous and repeat stress tests.

It's 'how to' instructions on anything in life from sex, birth, caring for child, crossing the road, interacting with clients, customers, climbing out of a wrecked car, letting others know when locked out of your house, de-escalating arguments, reprehending a gun wielding hooligan, attacking the enemies in combat, stripping even, ANYTHING. Everything is prepped early on in life. There's an instruction for everything. Unlike other 'documentaries', Farocki's non-narrated film creates its own rhythm as it equates these 'learned' human behaviors to the repeated slamming of inanimate objects. All these activities are heavy on the business transactions and also law and order. The film shows a series of rehearsals to live 'actual life' as if you are not ready to live it yet.

Leben - BRD makes you wonder about human existence before all the technologies we have now. How did human beings survive without knowing how to have a baby without hurting either mother or a baby? How do we deal with difficult people without resorting to violence? The capitalist world is so complicated that it needs an Ikea instruction mauals on everything we do? The whole endeavors seem so patronizing. But that's the point Farocki is making. In this so-called free world, you need to be told early on how to live. How is it any different than the communist totalitarian society?

Often funny yet pointy, especially intercutting between the residents of a group home discussing and organizing their grocery list for dinner and people practicing dining table manners with empty plates and learning the orders of cutlery use.

Leben-BRD will make a great double feature with Godard's Germany Year 90 Nine Zero about East-West dynamics.

Hit the Road

Eileen (2023) - Oldroyd Based on award winning novel of the same name by Ottessa Moshfegh (who also wrote the screenplay with her husband Luke Goebel) and directed by British director William Oldroyd (The Lady Macbeth), Eileen tells an oddly satisfying tale of a young woman's emancipation from her dreadful surroundings.

Thomasin McKenzie (Jojo Rabbit, Last Night in Soho) plays the title role, a young woman working in a juvenile detention center in a depressed New England town in the 60s. It's winter. The film doesn't waste any time to establish that Eileen is a loner and sexually frustrated, as she is seen masturbating in her dad's beat up old car on the lover’s lane, while peeping at others making out in another car, parked close to hers. At work, he also fantasizes about a detention center guard wildly groping her against the glass window. At home and work, she is considered an odd duck, who doesn't have any prospect in love and life in general. Her Alcoholic father, a retired cop (Shea Whigham), tells her that she is "one of them in the movies in the background, of no consequences," that she will amount to nothing.

Things change when a Harvard educated, new psychiatrist, Rebecca (Anne Hathaway) shows up at the prison. With no friends among colleagues, Eileen is smitten by this beautiful older woman who seem to command her life and those around her so effortlessly. They share the same interests in the case of Lee Polk, the boy who stabbed his father to death. Why would anyone want to kill their father? Rebecca asks Eileen. Wouldn't anyone? She answers, somewhat surprising the psychiatrist. When Rebecca asks her for a night out at a local dive, excited Eileen dolls herself up in her mom's clothes. The night of drinking and dancing and the kiss on the lips, seals the deal for the spell and obsession to set in.

Eileen finds herself the next morning in her own vomit and still dressed in mom's clothes in the car which crashed into a tree in front of her house. After a shouting match with dad, he finally concedes that he finds her more interesting than before.

Things take a darker turn when Rebecca calls to spend Christmas Eve with her. When all dolled up Eileen gets to the house, and after a warmup with some wine with stale cheese and pickles, Rebecca tells her that the place is the Polk house and she tied up Mrs. Polk in the basement. Apparently, the Polk boy killed his father after years of sexual abuse and the mother was complicit. Rebecca can't afford to go to jail for assault, so Eileen needs to help her to get a confession out of the mother as a witness. At first, Eileen is disappointed and repulsed by the whole scene, but still decides to help Rebecca, her object of desire.

With eerie score by Richard Reed Parry of Arcade Fire and decidedly old-fashioned title sequence, framed 1:66 ratio, Eileen sets the unsentimental, natural, grainy tone of the film very early on. There are some fantastical spurts of violence, like Eileen shooting herself with her father's gun, is reminiscent of the humor from Lindsay Anderson and British Kitchen Sink Realism days, rather than more contemporary tongue-in-cheek way for cheap laughs.

Oldroyd again, delves into a strong female character with Eileen as he did so in his feature debut The Lady Macbeth which made Florence Pugh a star. This time the character arc is reversed. Instead of the main character being trapped in her own scheme, Eileen in an odd and unique way, makes herself free. Thomasin McKenzie finds herself playing a role in a psychosexual thriller again. Looking like young Jodie Foster, she kills (literally and figuratively) as a woman stumbling her way through finding herself in the world, all by herself. Hathaway is a smart blonde femme fatale, doing her best Cate Blanchett impression with ease.

Eileen is much more than what I described in the plot above. Oldroyd, with the help of Moshfegh and Goebel and a talented cinematographer Ari Wegner (The Lady Macbeth, The Power of the Dog), explores surviving physical and emotional abuse that women had to endure in the 60s and finding out who they are by themselves, very subtly and skillfully.

Eileen opens in theaters this Friday, via Neon, 12/1

Empty Lust

Saltburn (2023) - Fennell Oliver (Barry Keoghan) is a nebbish freshman at Oxford; the year is 2007. The soundtrack is all MGMT and Bloc Party, The Killers, etc. All around him are wealth and privilege. Only friend he can find is a weird math nerd with no social skills. Then there is Felix Catton (Jacob Elordi), a very tall, handsome kid from an aristocratic family, whom everyone is swooning over. Felix's life is a never-ending party and drinking and girls. "Did I love him," Oliver asks over the series of close-up shots of present and near future Felix engaging in sexy activities. Oliver's lustful stares from a distance betrays his emotionless narration, or does it? "No I wasn't in love with him," he declares. But his luck would have it, Felix takes a liking to Oliver's poor scholarship kid with an addict/alcoholic parents sob story and off they go on the summer break to a sprawling Catton mansion, Saltburn.

The Cattons, unimaginably wealthy family of Felix, consists of frazzled dad- Sir James (Richard E. Grant), ice queen mom- Elsbeth (Rosamund Pike), nympho sister- Venetia (Alison Oliver) and snooty, gossipy cousin and fellow Oxford mate, Farleigh (Archie Madekwe), leading gilded life pampered by a group of servants. Golf, swimming, tanning, champaigns, lounging around naked in the garden, the works. The Saltburn manor is even equipped with The Overlook Hotel-style hedge maze. The film rapidly develops into a cross between Teorema and Talented Mr. Ripley, where everyone's giving Oliver sultry looks and he in turn, taking advantage of their curiosities, one by one.

Saltburn is unapologetically horny film. It's all about sweat, saliva and other bodily fluids. There are copious amounts of flesh shots of shirtless Felix as he is Oliver's de facto object of desire. Elordi as spoiled rich brat with a heart of gold (as his Elvis in Sofia Coppola's Priscilla) is perfect for the role. So is Keoghan, doing his creepy turn again (Killing of a Sacred Deer, Banshees of Inisherin), as an obsessive kid with dark desires. Fennell's script, bristling with sardonic wit and irony tickles your funnybones and gnarly, yet beautifully photographed transgressions (captured by Linus Sandgren, La La Land, Babylon) tickles your senses. But what does all of this amount to? Where do all these plot twists and turns and revelations ultimately lead us to?

Oliver's methodical plan to get closer to Felix come crashing down when the trip to his home reveals that he's not whom he pretends to be. With Oliver's planned birthday celebrations that would mark an end to their friendship, things take a dark turn. And this is where Fennell's steam runs out. Saltburn loses its rudder and ends with a massive hangover and disappointment.

There's no subtext to its period setting, there's no lessons to be learned about class disparities, not that there has to be. But with her last film Promising Young Woman, Fennell seems to be an ambulance chaser when it comes to topical issues of the day, but only on the surface level. Oliver, with his fuzzy motivations, is not consistent enough to make the film a character study even. Grant, Pike and Mulligan and others become toys to be played around and tossed (off screen even). Why do they deserve such cruel fate? Fennell never addresses. All we are left with is images of Keoghan slurping bath water, humping a fresh grave naked, and dance around full frontal in the empty manor. Keoghan is a major talent and a risk-taker obviously. I understand the film's concentrating on very narrow Gen Z and young LGBTQA+ audience. The promotion for the press screening made it very clear. But Saltburn ends up a titillation of flesh and nothing more.

Wrestling Picture

Neirud (2023) - Faya Brazilian filmmaker Fernanda Faya's Neirud is an intimate and affecting documentary that tells a larger-than-life story of a woman whom Faya thought she knew. Using wealth of family home videos, photos and historical news reels, Faya sets out to solve her family mystery like a good detective and constructs a beautiful portrait of her family friend, aunt Neirud, who happened to be a trailblazer in a country where things were still very much steeped in traditional ways.

With the Roma heritage on her father's side of the family, the filmmaker’s family has a long history being in the circus business. And her ancestral history is a fascinating one - they fled the persecution during the war in Europe to Brazil, moving place to place to avoid prejudice and racism. Faya's grandmother, Nely, a trailblazer in her own right, became the first in the family to be educated, and became a well-known actress in a traveling theater group. After a stint in Europe, Nely came back to her roots and start managing the circus theater group as an artistic director. That's where she met Neirud.

Aunt Neirud is seen in many home movies shot by Edgard, the filmmaker's father, gleefully holding the baby Faya on many occasions with Grandma Nely in the background. They are joyful family occasions. Donning full afro, Neirud, a towering black woman was a gentle giant. Her life story, told by herself in an inquisitive interview conducted by Faya, which was filmed when Neirud was nearing the end of her life, is as dramatic as any great fiction - after being abandoned by her biological mother in the small village to be cared for in a better to do household (as it was a common practice back in the day), young Neirud, being black, was put to work while attending school, not like other white children. At 8, she was already very tall and strong.She ran away to the city and asked to be hired as a nanny. At 12 when the circus was in town, enamored by the spectacle, she runs away again to join the circus. Strong as she was, she quickly established herself as a pivotal member of the troupe, then a main attraction. The legend has it, Neirud was the only one who can wield two hammers, one on each hand to put the spike in place to pitch the circus tent. The female wrestling, forbidden by law in still a conservative society, was allowed as the circus act. Developed by Nely, the female performers took on their own special characters -a pretty one, a vampire etc. In the ring, Neirud was the kimono wearing, 200 pounds of pure muscle, invincible Gorilla Woman.

Faya, finding wealth of pictures and footage of Grandma Nely, as she was the matriarch of the family and the face of the family business, but none of aunt Neirud from the wrestling days, sets out an investigation into her family history. She tracks down the only living remaining wrestler, Rita, from back in the day. In series of phone interview, Rita reveals that most of the photos were lost in the flood. She sends her a poster featuring "the Gorilla Woman" from that period. It's a towering picture of Neirud staring down. Neirud never wrestled again after Nely's passing, retired from the business, and lived in the house by the beach that she shared with Nely. Rita also informs the clue to Nely and Neirud's relationship. From all the materials she gathered, to her surprise, Faya finds a fantastic love story between the two women whom she dearly loved. It is also revealed that how they fled together on a road trip all over South America and ultimately formed their own circus troupe.

Neirud is not only a great love story, but an acute survey of Brazilian history and progress made in women's place in society. Aunt Neirud, along with Grandma Nely turn out to be a trailblazer in more ways than one. Switching gracefully between intimate home movie and a historical documentary, the film is also a wistful love letter to a person who meant a lot to the filmmaker. Gently bookending with the reenactments of her childhood memories of aunt Neirud driving with big colorful inflatable balls strapped on the roof of her station wagon on the beach, Faya possesses a kin eye for visual lyricism that conveys yearning and sweet sorrow.

Along with this year's Kleber Mendonça Filho's Pictures of Ghosts, Neirud chronicles changing Brazilian society through the bounds of first-person home movie narrative. Neirud works as a playful cinematic investigation with great warmth and heart.

Neirud plays part of DOC NYC. It has a theatrical premiere on 11/11 at Village East by Angelika, NYC.

A Ghost Anywhere

Schlafkrankheit/Sleeping Sickness (2011) - Köhler Ulrich Köhler's Sleeping Sickness examines a complicated relationship between Europe and Africa. It also shows how losing one's identity (in this case, being a German) is indirectly, but yet deeply connected to Germany's colonial, post-war revival past.

Epidemiologist Dr. Ebbo Velten (Pierre Bokma) and his wife Vera have been stationed in Cameroon for a long time. Velten is there to eradicate Sleeping Sickness, the insect borne disease that causes neurological problems if untreated. He has been successful and therefore, he has no reason to stay there any longer. It's time for him and his wife to go back to Germany. But something is nagging at him. Their sullen teenage daughter's visit only exacerbates his ambivalent feeling about going back home to his mundane life as a pharmacist, according to his expat doctor/industrialist pal Gaspard (Hippolyte Girardot), "prescribing pills for a living in the suburbs."

We see the whites' arrogance and the locals peddling for their money everywhere - at checkpoints, in restaurants, in Velten's home with guards, peddlers in city streets, in medical board meetings. The colonialism and free market enabled this ugly relationship to perpetuate and made any meaningful relationship between them impossible. The wife and daughter go home. Three years pass by.

A well-meaning, young doctor Alex Nzila (Jean-Christophe Folly) who works for the World Health Organization is first seen at a medical conference where a black representative is advocating cutting off relief funds to Africa and letting the free market take care of everything. He scoffs at the speaker. After Alex deflects his colleague's racist joke with 'I am born here,' speech, he is sent to Cameroon to evaluate Velten's project on sleeping sickness. The problem is, when he gets there to his compound/clinic, in the remote jungle, the German doctor is never around to meet with him. After failing to perform a Cesarean birth by throwing up and passing out on Velten's pregnant Cameroonian wife, Alex finally meets Velten. But it seems the illness is almost eradicated in the region. Then why does Velten ask for an evaluation on his progress?

It becomes slightly clear that it's Velten's cry for help, who is in the country he doesn't belong to and perhaps doesn't belong anywhere. He is pulling Colonel Kurtz. He is completely lost and wants someone else to decide his destiny.

The film ends with Velten and Gaspard taking Alex to a night time hunting in the jungle. Alex has no idea what they are hunting for. Again, for Alex, it's a wild goose chase.

Sleeping Sickness is a complex film that says a lot about colonialism and its ugly symbiotic relationship in capitalist society. As a German directed film with a German main character, the subtext of losing one's identity in a global capitalist system and yearning for some sort of metamorphosis is quite striking.

Spellbound

A Woman Under the influence (1974) - Cassavetes What more can be said about John Cassavetes's A Woman Under the Influence, I mean really? The immediacy, the realness of it all. Gena Rowlands's performance is perhaps the greatest of all in the cinema history?

Always portraying working class people with eccentricities, people who are little bit out of the norm. I keep thinking that all the people who are considered being on the spectrum and there's a large support community nowadays, if Mabel would be perceived differently today than back then - at least the frustration of Nick (Peter Falk) would've been largely aleviated because a half of the film is about him not knowing what to do about his cooky wife, other than raising his voice and knocking her down. For today's standards, Mabel might not have that much filter when it comes to social interactions, but it's not too extreme to be that upsetting. It says much about Nick and misguided masculinity as much as her.

Overall, it's a great, affecting love story between two people. Also I have to say kids performances are also amazing, especially the little girl who plays Maria. The beach scene where Nick agressively dragging his children to 'have a good time', and Maria running away was so good. These women can not be contained! What a film! Instant favorite!