#NeverRarelySometimesAlways

[kabukicat]

2週連続でステーションシティシネマへ。 主役の少女たちが魅力的だった。男たちの欲望の目に晒されても動じることなく行動する主人公のオータムが、手を差し伸べてきた女性たちに弱さを見せるシーンには涙が出ました。 #cinema #neverrarelysometimesalways (大阪ステーションシティシネマ) https://www.instagram.com/p/CRblIn5sZP2/?utm_medium=tumblr

[adamwatchesmovies]

The Best of 2020

Better late, than never. I enjoy seeing other people’s top-10 lists and I said I’d do one for 2020, so here we go. I haven’t had the chance to watch EVERYTHING I wanted to, but you’ve got to pull the trigger at some point. When the Academy Awards took place on Sunday, I felt like I hadn’t seen ANYTHING nominated but I could remember dozens of times where I felt like I wasted my precious minutes with cinematic detritus. I assumed putting this list together would be easy. It wasn’t. I’ve got a lot of runner ups but for now, here are my Top 10 “Best” (by which I kind of mean my favorite) movies of 2020:

10. Never Rarely Sometimes Always

Never Rarely Sometimes Always gave me a lot to think about. On the surface, it's about a teenager who has to travel outside of her hometown to get an abortion, but it could've been any kind of procedure she's uncomfortable (or unable) asking her parents for. It's about the lengths she has to go to when her main source of support is cut off. You feel uneasy throughout, wondering what lengths the girls will have to resort through and whether something horrible is just around the corner. For this reason, I think many parents would find the film enriching.

9. Mank

I haven’t posted my review of Mank yet - just haven't had the time so consider my star rating for it "spoiled". If you don't know, it's about Herman J. Mankiewicz (Gary Oldman) and the time he wrote Citizen Kane for Orson Welles. I can’t call Citizen Kane one of my favorite films, but I do often think of it. The story, the characters, specific shots, the overall look, etc. Every time I revisit it in my memory, my appreciation for it grows and in a way, Mank helps complete my relationship with the film. For that reason, I foresee myself revisiting Mank in the future - probably as part of a double-bill. I’d love to see it enough times to memorize some of Gary Oldman’s best lines.

8. One Night in Miami

One Night in Miami addresses the present while being set in the past but something about it clicked with me more than Ma Rainey’s Black Bottom. It's essentially a series of long conversations, the kinds that force you to really examine tough questions and see these legendary figures as normal people. Unlike Mank, it isn't so much the individual lines that stand out, it's more the vibes you get from the exchanges. Out of all the movies on this list, it's probably got the best ensemble cast.

7. Sound of Metal

I'm sure you've seen that clip from Un Chien Andalou where an eye gets sliced with a razor? It gives me the willies just thinking about it because if I were blind I wouldn't be able to watch movies or draw. In Sound of Metal, we're dealing with a career cut short because of deafness but the dots are easy to connect.  I immediately connected with this movie, which made its ending feel like a punch in the gut.

6. Tenet

I keep telling myself that I won’t love a movie Christopher Nolan directs just because his name is attached to it. Hopefully, this doesn't make me a fanboy, despite my falling for pretty much everything he's released. I love how ambitious Tenet is. The plot is so complicated but then again it isn't because once you're able to grok the mechanics of its reverse-entropy technology, you'll probably figure out most of the plot's mysteries. For me, that was the fun part. It felt good to see my understanding of the story and theories confirmed. I'll be watching it again once groups can gather so my friends and I can discuss everything in detail.

5. Trial of the Chicago Seven

I know The Trial of the Chicago Seven fudges history in ways certain people would say is irredeemable but I never go into a film “based on true events” assuming liberties won’t be taken. At the end of the day, I care about being entertained. My enjoyment was also amplified by the fact that I didn't know what the verdicts would be - my American history is spotty, at best. It's got laughs, outrage, drama, and inspirational moments. Aside from romance, you've got pretty much all the bases covered.

4. Palm Springs

Out of all the pleasant surprises of 2020, Palm Springs was the biggest. I thought the Groundhog Day thing was played out and the 0-star-worthy Love Wedding Repeat did nothing to convince me otherwise. Then, this movie comes along and does everything you want in one of those movies, and then some. Not only did Palm Springs give me the romantic comedy I'd been craving for (feels like we haven't gotten a good one since "Crazy Rich Asians" it also examines what love and relationships mean through smartly written metaphors.

3. Possessor

No, I didn’t put this movie on the list just because it’s Canadian; Possessor is on this list because it’s the most unsettling movie of 2020. I mean that in a good way. I've already talked about how unsettling the premise is but it's also the execution. Those bizarre “dream” scenes with the different identities merging in unnatural ways is unforgettable. That mask of Tasya's face, half-melted is already creepy enough, when worn by Christopher Abbott as he re-enacts her memories is just so weird it makes you wonder if you’re actually seeing what you’re seeing, or if you’re going mad. Then, there's that shot with the fingers at the end! Makes me wince just thinking about it.

2. Soul

During the Oscars, I get a little mad at Pixar. They effortlessly churn out these masterpieces that mean no other studio has a chance of winning an Academy Award for the Best Animated Film category. It makes me wonder if the voters even bother to watch the competition but I don't think anyone could argue against Soul. It's among their best films. It’s gorgeous, profound, and modern without showcasing any issues that might flush your day down the toilet.

Runner-Ups:

Enola Holmes

I never believed Enola Holmes would end up on my "Best of the Year" list but this movie is a lot of fun. If you haven't seen it yet, you should. Just wanted to remind you.

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) I was disappointed when audiences didn’t seem interested in Birds of Prey. Seeing Margot Robbie go all-out and given a script that actually makes good use of her character was lots of fun. I also found it refreshing to see a superhero movie (not really, but kind of) that didn’t involve a plot to destroy the world, upheaval all of civilization, or shoot a giant beam into the sky. I think this is one people will discover down the line and go “why didn’t I go see this in theaters when it was playing?”

Borat Subsequent Moviefilm I’m not 100% in love with Borat 2 but boy am I looking forward to showing it to people who have no idea what’s coming. That scene with Rudy Guliani might not have the same impact down the line as it did when I first saw this sequel, but that’s ok. It’ll still have you picking your jaw off the floor.

Nomadland It’s a great movie and I might’ve put it on my list of the best… but I just don’t see myself watching this one again anytime soon. Great movie though. It deserves every accolade you see directed towards it. Chloé Zhao is shaping up to be a major talent. While before I might’ve said “Eternals who?” Now, I’m excited.

The Vast of Night Until I saw Possessor, this was my favorite horror film of 2020. I love the way this movie does so much without showing anything. It’s all about letting your imagination do the work.

Hamilton I’m still unsure how I feel about the casting in Hamilton. Everyone does a terrific job. I understand why actors of color were chosen to portray the historical figures we meet during this story. It still doesn't sit 100% comfortable with me. Then again, who can argue with those results? I’ve seen the movie twice and the songs are still playing in my head.

1. Promising Young Woman

I only had so much before this post went up. Enough for one more movie. It was a tossup between The Father, Judas and the Black Messiah, and Promising Young Woman. As you can imagine, I’m pretty satisfied with the choice I made. Writer/director Emerald Fennell takes the rape-revenge genre and reshapes it into something that feels completely new. Like many of the other films on this list, it also feels relevant to what’s going on today. There are many reasons why I could’ve given it this slot. The writing, the performances, the way it puts your stomach in knots as you wonder what’s going to happen next, the pitch-perfect ending… but I’m going to pick a more personal reason. I try to look at films as snapshots of when they were made. There’s a part of me that winces when I look at Gone with the Wind but I’m also able to take a step back and say “but other than that…” and then just enjoy the movie. In Promising Young Woman, the past is confronted in a way that made me pause and think about two movies on my shelf: Wedding Crashers and American Pie. The Vince Vaughn/Owen Wilson comedy, in particular, has a lot of questionable bits of comedy, bits made even more eyebrow-raising by the fact that it isn't an "old" movie whose entire cast is now dead. Let’s just say that when a movie makes me go “This movie is replacing X”, makes me think this hard about things, and does everything else you want in a thriller… it’ll stick in your head for a long time. That's why I'm calling it the best/my favorite movie of the year.

[doomonfilm]

Memories : Top 15 Films of 2020

If 2020 taught movie fans anything, it was that we shouldn’t take things for granted.  On the dollars and cents side of things, movie theaters were already facing an uphill battle to stay sustainable, but the “shelter-in-place” practice of March and beyond decimated box office returns, with many theaters yet to reopen (if they will open at all).  In terms of famous names and faces, the list of those who passed away featured numerous icons : Kobe Bryant, Kirk Douglas, Max von Sydow, Honor Blackman, Carl Reiner, Ennio Morricone, John Saxon, Wilford Brimley, Chadwick Boseman, Sean Connery, Tiny Lister Jr., Adolfo ‘Shabba Doo’ Quinones and many more transitioned to the great beyond.  Netflix, Hulu, Amazon Prime, Shudder and a number of other streaming services saw themselves step into the forefront of the entertainment provider realm, with Warner Brothers and a handful of other studios making announcements that they will be following suit for at least 2021, if not for good.

With all of this uncertainty and chaos, however, the year 2020 was a surprisingly strong one, in my opinion, when it came to cinematic output... so much so, in fact, that aside from a number of Honorable Mentions, my list of top films was expanded to 15 in order to accommodate all of my choices.  For anyone who has checked out my lists from previous years, you will know that I did not see every film released this year, but I did make my best effort to cover as wide a range of films as possible.  Enjoy the list, and be sure to support film in whatever medium you are able to moving forward so that it can thrive.

HONORABLE MENTIONS

The 40-Year-Old Version (dir. Radha Blank) A nice little personal film that spoke to my hip-hop sensibility, as well as that ever-present awareness of the inevitability of age, and how it can skew our perspective in regards to our achievements.

Ava (dir. Tate Taylor) This isn’t the action film that’s going to reinvent the wheel, but if you look at action films like wheels, this is a quality wheel.  Outside of Common, I couldn’t really find much to shoot down... this will definitely be one I consider the next time I have company and we’re looking for something fun to check out.

Bill & Ted Face The Music (dir. Dean Parisot) I honestly would have been satisfied with just two films in this franchise, but surprisingly, a third entry was created that didn’t ruin my overall enjoyment of the previous two films.  Keanu Reeves and Alex Winter jumped in without missing a beat, a healthy dose of familiar faces popped back up, and the new cast additions weren’t too jarring... it’s nice to know that a pair of my favorite childhood films are officially now part of a trilogy.

Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan (dir. Jason Woliner) This was possibly the most surprising release of 2020... outside of a couple of news blips that Sacha Baron Cohen made during production, not a lot about this film was leaked prior to its release.  For such a dated character and a seemingly outdated style of humor, Borat once again exposed the simplest parts of society in an incredibly insightful (albeit cringey as all get-out) manner.

Guns Akimbo (dir. Jason Lei Howden) One of the most fun films of 2020.  Somewhere, the creative minds behind Nerve are wishing that they’d made this film instead. 

Henrietta and Her Dismal Display of Affection (dir. Jeffrey Garcia) Jeffrey Garcia is the homie, and I’ve had the pleasure of being in a number of his short films, so when he announced his intentions to write and shoot a feature film in 2020, I was completely on-board.  Miraculously, he was able to film the movie while the world was being ravaged by COVID-19, and though I cannot publicly announce details yet, this film has definitely already met (and likely succeeded) his expectations.

The Midnight Sky (dir. George Clooney) With each film that George Clooney directs, I realize more and more than he is an old soul trapped in a body idolized by the new school of film.  That being said, it’s nice to know that there are directors out there willing to embrace patient, silent and contemplative moments while simultaneously withholding from force-feeding viewers exposition.  

Tenet (dir. Christopher Nolan) This was possibly the most anticipated release of the year, considering it was the king of the IMAX release crowd in its pre-release promotion.  After a small delay due to COVID-19, it was one of the first films released in hopes of testing the movie-going waters during what was sure to be a diminished period of time, which probably hurt its numbers.  Too many, the film was confusing, and the nit-picking was fierce from the criticism contingency, but in all honesty, this was pretty impressive Nolan fare... certainly a good second movie in a Nolan double feature.

The Trial of the Chicago 7 (dir. Aaron Sorkin) I cannot tell a lie... I was hugely impressed with how Sorkin managed to reel his personality and voice back in order to let this well-known, controversial moment in time present itself.  Sorkin has a tendency to be the star of his films, be it when he is in the writer or director role, but for this film, he managed to focus the best parts of his skillset into a highly respectful, educational and inspiring tale that fit the tumultuous summer we endured.

VHYes (dir. Jack Henry Robbins) I remember seeing this trailer as 2019 was coming to a close, and it was a film high on my list of desired viewing.  Then 2020 reared its ugly, stupid head and many releases disappeared into obscurity or found themselves delayed.  Luckily, this one slipped through the cracks and found a home in the streaming world, which in all honesty, suited its presentation very well.  One of the most delightfully weird films of the year, hands down. 

Vivarium (dir. Lorcan Finnegan) Of all the films cut from my Top 15 list, this was the toughest cut to make.  I went into the film totally blind (with Jesse Eisenberg and my respect for his acting chops being the sole selling point), but this film really hit a lot of my buttons... it’s trippy as can be, there is a character that is freakishly unique and wholly unnerving, and the production design leaves a lasting impression.  Don’t let the Honorable Mention designation fool you... this one is a winner.  

Wonder Woman 1984 (dir. Patty Jenkins) The Christmas gift that the masses collectively decided that they did not want.  Much like Ava, there is one glaring aspect of this film that I could have done without, but otherwise, I found this to be an enjoyable film.  Gal Gadot was made for this role, while Kristen Wiig and Pedro Pascal stepped up to the plate and impressed.  If you’re looking to be blown away, the Wonder Woman franchise isn’t the smartest place to go, but if you’re looking for entertainment, there’s plenty of it here.   

THE TOP 15 FILMS OF 2020

15. Mignonnes (dir. Maïmouna Doucouré) This one started off the year with plenty of controversy.  What was an award-winning tale about womanhood and the difficulties surrounding coming of age in an ever-changing and evolving world quickly devolved into a campaign to ban the film (and Netflix).  Many people overlooked the film as a cautionary tale about what access to the Internet and the sexually-charged nature in which women are portrayed can do to developing girls, instead choosing to accuse the film of being fodder for malicious types seeking to exploit the sexualizing of young women.  More than anything, in my opinion, Mignonnes served as an example of our outrage-fueled culture and the way it tends to skew our perspective and/or our ability to take art at face value.

14. His House (dir. Remi Weekes) As I’ve mentioned many times over the past week or so on this blog, horror films were one of the few genres that found a benefit from the film industry’s transition to streaming services for primary access to film.  While a number of traditional horror films received notice, His House took the opportunity to not only make a pure horror film, but one that spoke on racism and the conditions that asylum-seekers and refugees face.  The film is well-acted, the production value is high quality, and it’s paced beautifully... while not the highest film on this list, it is certainly one I will encourage others to see as time goes by.

13. All Day and a Night (dir. Joe Robert Cole) When human nature reared its ugly head during COVID-19 in the form of numerous race-related killings, multitudes of businesses quickly adopted the Black Lives Matter mantra, with film distributors and streaming services taking advantage of the moment to produce and release content relevant to cultural and social awareness.  Netflix was no different, and of the many films they released in the wake of the harrowing events, All Day and a Night is the one that feels the most sincere and honest in its approach and presentation.  The streets of Oakland are presented with a vast array of characters, each with complex backgrounds and states of mind, all of which helps the viewer understand the pressure many minorities live with and process on a daily basis.

12. She Dies Tomorrow (dir. Amy Seimetz) Execution is king, even when applied to the simplest of premises, and She Dies Tomorrow is a shining example of this.  In a very John Cassavetes move, director Amy Seimetz took her payment from her appearance in Pet Sematary and used it to fund a personal project that more than likely would have been ignored by studio heads.  The result is a hypnotic, entrancing and haunting film where stillness and anticipation play antagonist, while we as viewers feel the need to transpose ourselves into the protagonists we are presented due to their stilted but emotional performances.  Hopefully this one finds some notoriety in the cult classic realm as the years pass.

11. The Vast of Night (dir. Andrew Patterson) For a debut film, The Vast of Night handles itself with a surprising amount of confidence in its vision.  The immersion is nearly instant as we are first placed in the premise of a TV show, and then a 1950′s town, but once the actors and camera get going, it’s up to us as viewers to strap in for the ride.  The story is deeply intriguing, the performances are strong enough to carry a very dialogue heavy movie, and the final act is chilling in its reveals.  I will be surprised if this one finds its way to a Best Original Screenplay nomination due to it being a debut film from a relatively unknown writer/director, but if it manages to get the nomination it will certainly be a well-deserved one.

10. Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (dir. Cathy Yan) The movie that broke the list.  If someone would have told me in 2019 that a film directly connected to Suicide Squad would be anywhere on a Top Films list I curated, I would have laughed dead in their face, and yet, here we are.  It’s like every good idea that was poorly executed in Suicide Squad found new life in Birds of Prey, which makes the film not only an entertaining watch, but a satisfying one.  Not only is Margot Robbie perfect in this film (as well as given a break on the exploitative costuming), but Mary Elizabeth Winstead arguably takes a stab at stealing the show with her performance.  Don’t let the DCEU association fool you... Birds of Prey is the real deal.    

9. Never Rarely Sometimes Always (dir. Eliza Hittman) Probably the most contemplative film on the entire list, and impressive in its nature for sure.  To my knowledge, the cast is made up of mostly unknowns (unless I’m sleeping on actors and actresses, which has been known to happen), and as a result, a tough slice of life to swallow is presented in an extremely grounded nature.  Sidney Flanigan gives a powerful performance, hopefully the first of many.

8. Possessor [Uncut] (dir. Brandon Cronenberg) Easily the most “what the f-ck” film on this list, and certainly one worthy of the Cronenberg name.  Andrea Riseborough has been on my radar since Birdman or (The Unexpected Virtue of Ignorance) and Mandy, and seeing her in a lead role confirms her talent.  I’m a sucker for science-fiction films that don’t rely on digital effects and elaborate set pieces, and Possessor rings both of those bells with a vengeance.  I watched the uncut version, which has a couple of extremely brutal sequences that will unnerve even the most hardened viewer, but these sequences only serve to drive home the lost nature of Tasya, our protagonist.  This one isn’t for everyone, but for those who can stomach a bit off graphicness and process a narrative that doesn’t spoon-feed you answers, this one is a must see.

7. Da 5 Bloods (dir. Spike Lee) Spike Lee has always been a huge influence on me as both an aspiring filmmaker and a fan of the medium, but I’d be lying if I told you that his last decade was a memorable one.  Outside of BlacKkKlansman, Lee has found himself falling short of his vision more often than not, but Da 5 Bloods is a tonal and stylistic bullseye.  Fans of Lee will dig it, fans of Vietnam films will dig it, and anyone who had an inkling of respect or admiration for Chadwick Boseman will be moved.  If Lee continues to make films as good as this one, he may find an entirely new generation of fans as a result.

6. Soul (dir. Pete Docter) As mentioned at the top of this list, people love to try and sink films due to their own personal agendas, and Soul found itself in the crosshairs prior to its late 2020 release.  Many people were upset that a minority character would not only spend most of the movie as a blue blob, but would also seemingly serve as a tool for another character’s “salvation”.  That being said, once Soul dropped, anybody with common sense dropped those stances and realized that Pixar had not only made a stunningly beautiful film, but one that likely spoke to adults more than children.  Plain and simple, Soul is a bonafide instant classic.

5. Kajillionaire (dir. Miranda July) If Evan Rachel Wood doesn’t win an Oscar for her performance in Kajillionaire (or at least garner a nomination), Hollywood needs to collectively have their head checked.  Every year worth its salt has a weird, quirky but loveable film, and Miranda July more than succeeded in making one for 2020.  The humor, both physical and dialogue-based, is on point, and the bittersweet nature of the story is gut-wrenching as the film progresses.  This one was probably the biggest surprise for 2020 in terms of prior awareness versus post-watch admiration.

4. Ma Rainey’s Black Bottom (dir. George C. Wolfe) The final film of Chadwick Boseman’s short but prolific career is one that allowed him to exist in the wake of his reality, making his performance powerful and (seemingly) cathartic.  He is surrounded by supreme talent on all sides, as there are no weak performances in this film, and despite it essentially being a play shot for film, it feels far from limited, contained or constrained.  Not only does it speak on larger issues of the commodification of Black pain and talent, but it may serve as a vehicle for a posthumous Oscar for Boseman.

3. The Devil All The Time (dir. Antonio Campos) This was the first Netflix original that made me really and truly respect them as a film distributor.  The list of talent for The Devil All The Time is truly impressive, and Tom Holland knocked his lead role out of the park.  Robert Pattinson is great as always, and the way that the story winds back into itself keeps you locked in and connected until the credits roll.  For something that came out so many months ago, it’s respectable that it was able to hold such a high position on a list that was as fluid as any I’ve ever put together.

2. Mank (dir. David Fincher) For a time, this was the hands down film of the year on my list.  Gary Oldman has basically become a “can do no wrong” actor, and his performance was amplified by David Fincher’s ability to emulate the look, sound and feel of a bygone Hollywood era.  On top of this, the built in intrigue that comes with handling anything remotely connected to Orson Welles is present, making Mank almost feel like a companion piece to the prolific film that is Citizen Kane.  If The Devil All The Time was a victory for Netflix, then Mank was the win that put them into a true spot as contenders in the future of film distribution. 

1. I'm Thinking of Ending Things (dir. Charlie Kaufman) Where does one even begin with Charlie Kaufman?  Time and again, he proves to be one of the most truly unique voices to gain fame.  For I’m Thinking of Ending Things, Kaufman seemingly returns to his foundation of odd, offbeat love stories, only to take us on a journey of truly mind-bending and psyche-warping proportions.  Of all the movies on this list, this is the one that almost demands repeat viewings, as one must have an idea of the entire journey before they can understand the individual aspects laid out.  If dialogue isn’t your thing, then this one may not hold you, but that would be a shame, as this beautiful mystery stands head and shoulders above the rest of 2020′s stellar output.

[geekbroll]

Never Rarely Sometimes Always - Hit theaters in limited release the same weekend that Bloodshot  did, March 13th. It was theoretically several weeks away from opening here in Portland. Before the world ended.  Now this weekend the movie is available as a $19.99 Rental on VOD spots like Amazon. https://amazon.com/Rarely-Sometimes-Always-Sidney-Flanigan/dp/B085N6NHMV https://www.youtube.com/watch?v=BMWm6id4kQ0 https://www.fandangonow.com/details/movie/never-rarely-sometimes-always-2020/MMV952958F26C32691AD1B0A19C50A94F589MWm6id4kQ0 Who's Involved: Eliza Hittman (writer/director), Talia Ryder, Sidney Flanigan, Ryan Eggold, Adele Romanski, Sara Murphy, Théodore Pellerin, Sharon Van Etten, Rose Garnett Plot: The story focuses on two teenage girls in rural Pennsylvania. Faced with an unintended pregnancy and a lack of local support, Autumn and her cousin Skylar embark on a brave, fraught journey across state lines to New York City. Trailer: https://www.youtube.com/watch?v=hjw_QTKr2rc   Here’s a list of upcoming movies. It lists a bunch of upcoming streaming. And a bunch of stuff has not yet been cancelled or postponed, for whatever reason. https://www.movieinsider.com/movies/2020   Seberg, a biopic about Jean Seberg starring Kristen Stewart, got a limited release that never got to go wide. The poster for the movie on Amazon, lists it as an Amazon Original, but the movie still has not yet hit Prime Video. https://amazon.com/Seberg-Kristen-Stewart/dp/B084H33WSZ     #neverrarelysometimesalways #newmovies2020 #bloodshot #focusfeatures #SidneyFlanigan #RyanEggold #TaliaRyder #abortion #waronwomen #plannedparenthood #autumn #skylar #pennsylvania #ElizaHittman #fandango #vod #primevideo #youtube #newreleases #endoftheworld #seberg #jeanseberg #kristenstewart    (at Portland, Oregon) https://www.instagram.com/p/B-kj5v5BZei/?igshid=9hbeet0qlzfo

[yanarchy072]

・ ・　 『17歳の瞳に映る世界』観た。 ・ ラストの安堵感は不意に殴られた様な衝撃だった！ 女子は勿論観た方が良いが、(自分はフェミニストではないが)寧ろ男(漢)の方が観た方が良い。 究極の選択という2択はあるが、原題の「Never Rarely Sometimes Always」は“一度もない、めったにない、時々、いつも”という正直で悲痛な4択の意味。 “一度もない”と「うんうん！」と共感する男子は0.1%もいないだろうし、勿論自分も耳が痛かったし、逆に99.9%の男(漢)の中で尤もぶって嘯く様な輩がいたら相当な聖人君子気取��だね(笑) ・ ところで、邦題の「17歳の瞳に映る世界」の意味が分かった。 なんとも！純文学的で目から鱗！このタイトル付けた人は神だね！ 主人公である2人の17歳女子の目線(ある意味“視点”)が異様なまでに男(漢)の本質を掘り起こす！ 裏返してみれば、男(漢)を本能的に上手に使うコトが出来るのは女子なのかもしれない。 ・ #17歳の瞳に映る世界 #NeverRarelySometimesAlways #エリザヒットマン #ElizaHittman #バリージェンキンス #BarryJenkins ・ #シドニーフラニガン #SidneyFlanigan #タリアライダー #TaliaRyder #ライアンエッゴールド #RyanEggold #シャロンヴァンエッテン #SharonVanEtten ・ #フォーカスフィーチャーズ #FocusFeatures #ドラマ映画 #dramafilm ・ #映画 #movie #ビバムビ #instamovie #moviestagram #instagood #instapic ・ #staysafe #socialdistancing #withコロナ #newnormal (シネクイント) https://www.instagram.com/p/CR_KA6vrhlU/?utm_medium=tumblr

[fashionartfilmalien]

Great Films and Performances not nominated at the 2021 Oscars. Never Rarely Always Sometimes I’m Thinking of Ending Things The Assistant- Julia Garner I Care A Lot- Rosamund Pike’s incredible Miss Juneteenth #bestfilmsnotnominated #oscars2021 #neverrarelysometimesalways #elizahittman #sidneyflanigan #imthinkingofendingthings #charliekaufman #jessiebuckley #tonicollette #firstcow #kellyreichardt #theassistant #juliagarner #icarealot #rosamundpike #missjuneteenth #nicolebeharie https://www.instagram.com/p/CMd3nnMhk0K/?igshid=199zcugespran

[film-book]

Film Independent Spirit Awards 2021 Nominations: NEVER RARELY SOMETIMES ALWAYS, LITTLE AMERICA, MINARI, & More https://tinyurl.com/yxcpgrwk

[trendingawards]

Film Independent Spirit Awards 2021: 36th Annual Nominations https://tinyurl.com/y3l5pvfx

[awardseasonblog]

Annunciate le nominations ai Film Independent Spirit Awards #SpiritAwards gli importanti riconoscimenti che mirano a promuovere e a sostenere il cinema indipendente. Anche se la convergenza tra i vincitori degli Spirit Awards e i verdetti degli Oscar è decisamente bassa (su 35 edizioni solo 6 volte il vincitore del miglior film ha poi vinto anche l’Oscar nella medesima categoria: Platoon (1987), The Artist (2012), 12 anni schiavo (2014), Birdman (2015), Il caso Spotilight (2016) e Moonlight(2017) restano comunque dei premi importanti in chiave awards season perchè consentono di capire quali sono i film indipendenti che potrebbero essere presi in considerazione dagli Academy Awards. Quest'anno a conquistare il maggior numero di nominations è stata la pellicola rivelazione di Eliza Hittman #NeverRarelySometimesAlways che ha ottenuto 7 nominations: miglior film, miglior regia, miglior script, miglior attrice, miglior supporter femminile, miglior fotografia, miglior montaggio. Segue con 6 candidature #Minari di Lee Isaac Chung: miglior film, miglior regia, miglior script, miglior attore e le 2 attrici supporter. Con 5 nominations si piazza la pluripremiata pellicola di Chloé Zhao #Nomadland: miglior film, miglior regia, miglior attrice, miglior fotografia e miglior montaggio. A quota 4 candidature il film di George C. Wolfe #MaRaineysBlackBottom: miglior attore, miglior attrice e i 2 attori supporter. #AwardsSeason #Awards #Movies @filmindependent #FilmIndependent https://www.instagram.com/p/CKg38NBFiaQ/?igshid=1tizovzldktiu

[gsmcpodcastnetwork]

GSMC Movie Podcast Episode 263: Promising Young Wonder Woman

[regardezmoica]

Never Rarely Sometimes Always - Berlinale 2020

Never Rarely Sometimes Always

[Berlinale 2020]

USA, 2020

101 Min

Director: Eliza Hittman

Cast: Sidney Flanigan, Talia Ryder, Théodore Pellerin, Sharon Van Etten, Ryan Eggold

17-year-old Autumn is faced with making serious decisions after an unwanted pregnancy. Abortion is illegal in her home state of Pennsylvania, and the introverted teenager cannot count on getting any support from her family. Only her brash cousin Skylar turns out to be her ally in this difficult situation. In search of prospects, the two young women travel to New York City, where they have to survive without money or accommodation.

Never Rarely Sometimes Always follows the difficult journey of Autumn, a young teenage girl, who wishes to have an abortion. She is not alone; her cousin, Skylar, offers her unfailing support and accompanies her on this journey. In her small region where abortion is not really the solution because it is illegal, she has no other choice but to go to New York. 

Rather on a gentle emotional ascension without worthless pathos, the film does not spare its subject and treats it in a limpid way. There is a sense of empathy for the teenage girl who has had to overcome multiple obstacles to be listened to at a crucial stage in her journey, which echoes the title of the film.

Eyes and presence of actress Sidney Flanigan (who plays Autumn) are infused with loneliness backed by the flawless support of Skylar, a sort of sorority between them. 

A hard, very silent cinematic work of overwhelming realism and unique emotion.

Grade : B+

Trailer - https://www.youtube.com/watch?v=hjw_QTKr2rc 

Never Rarely Sometimes Always won Berlinale's Silver Bear Grand Jury Prize.

Berlinale Press Conference - https://www.berlinale.de/en/archive-selection/archive-2020/programme/detail/202012290.html#video-press_conference 

[adamwatchesmovies]

Never Rarely Sometimes Always (2020)

You expect Never Rarely Sometimes Always to draw all sorts of emotions from you. Even if you think you're prepared for it, you're not.  It isn't so much the story, it's the way it's told that gets you.

17-year-old Autumn Callahan (Sidney Flannigan) is 10-weeks pregnant. After realizing she cannot get an abortion in Pennsylvania without her parents’ consent, she and her cousin Skylar (Talia Ryder) travel to New York - alone - to get the procedure done.

Never Rarely Sometimes Always has a documentary-like quality (a testament to its performances). It maintains a distance by showing without judging. Eliza Hittman simply asks you to keep watching. Then again, the nature of this story is so personal you feel like a ghost walking next to the two teens, frustratingly powerless. The movie is solely about Autumn’s trip to New York and the obstacles she faces as she tries to get the abortion. The focus is so narrow we hardly get to know her - or anyone else at all. This choice makes you forget about everything else but what's on-screen. The whole movie is entirely composed of quiet moments that make you think. For instance, we never find out who the father is or what circumstances caused Autumn to become pregnant. You have to fill in the blanks yourself. This makes the film so powerful and thought-provoking. This could be anyone's story. Since you're right there, it becomes yours.

It's like there's always someone making Autumn's life difficult. Her father (Ryan Eggold) isn’t in the movie much but he establishes himself as a complete turd. You’re mad at Autumn’s mom (Sharon Van Etten) for staying with him. Everywhere else, Autumn is either bullied or eyed by guys who have no business giving a second look to a 17-year old. You’re put into such a state of unease your nerves start to fry. What's with Jasper (Théodore Pellerin's)? Maybe there is more to this movie after all. This may be a cautionary tale or a harsh lesson. Anything could happen.

Our protagonist is such a blank slate (sometimes frustratingly so) that you wind up projecting yourself onto her. Everything Autumn faces seems so unfair and the injustices seem even bigger because this… shouldn’t be this hard. By simply showing the scenario, it asks hard-to-answer questions. Why does she need her parents’ permission? How can the lady who works at the crisis pregnancy center be so hellbent on pushing her agenda? Isn’t there anyone willing to help this vulnerable girl? By the time we meet someone who is, it's too late. The paperwork and questions feel way too personal, way too intrusive. They may be doing their job but to Autumn - and you - it's another intrusion.

Never Rarely Sometimes Always packs an emotional punch that's guaranteed to stick. I might even call it important considering the current climate. Certainly, this is one of the year's best. (November 15, 2020)

[doomonfilm]

Review : Never Rarely Sometimes Always

Youth-driven stories are nothing new to American cinema, but the scale of content often tips towards the lighter side of things.  Every once in a blue moon, though, we are given an honest look at the teenage condition that does not sugar coat or shield us from the darker sides of that experience.  Teen pregnancy is a problem that all generations tend to face, and while film is a medium that provides us an ability to look at these issues through a different lens, we are often beset with the machinations of Hollywood in the form of tropes and undercutting quips.  For Never Rarely Sometimes Always, we are given a stripped down, uncut and very real look at the pressures a pregnant teenage would face, and the infinitely challenging choice between life or the termination of it.

Teenage outside Autumn Callahan (Sidney Flanigan), after an extended bout with sickness, begins to suspect that she may be pregnant.  After visiting a crisis pregnancy center and taking a test, her fears are confirmed.  Autumn hides the secret from her mother (Sharon Van Etten) and her stepfather Ted (Ryan Eggold) while attempting to live as normal a life as she can, but after failed attempts at a miscarriage, she eventually confides in her cousin and closest confidant Skylar (Talia Ryder).  With the walls closing in on Autumn, and abortion not being a legal option in Pennsylvania, the duo makes plans to head to New York in hopes of finding an option to terminate Autumn’s pregnancy.

The mental anguish and actual stress that comes with an unplanned teenage pregnancy is laid out in a very straight-forward manner, without the extra flourish that normally pairs with the situation in other films.  While there are family troubles and rude interactions from peers in Autumn’s world, not to mention the burden of school and a part time job, the lion’s share of the attention is devoted to Autumn’s personal moments, the support of Skylar, and the incredibly difficult decision to terminate the pregnancy.  Due to this focus on the toughest moments in Autumn’s life, and her contemplative silence that accompanies these moments, the viewer is not given the normal outlets and humorous asides that ease their experience.  It is painfully obvious that Autumn has massive regrets from her moment of discovery to the completion of the termination, but you can also see her weigh these regrets against the reality of bringing a new life into her already tough situation, and with all of the cards out on the table her decisions are presented without judgement.

It is this lack of judgmental gaze that really allows the film the work.  There are no self-righteous speeches delivered to Autumn, and outside of the introductory moments that set up Autumn’s place in the world, there are no jokes made at her expense by her peers.  Her boss is much more worried about having cute teenagers working registers than whatever the cause of Autumn’s sickness is, and customers aren’t used in comparison or contrast to examine Autumn’s so-called “bad decisions”.  Autumn is the eye of this storm, and the film makes sure that we know this, understand this, and carry the weight of her life with her, which deepens the impact of the viewing experience.

The color grading is warm and nostalgic, which makes the story inviting rather than trying to set a somber or depressing tone.  This look really allows the viewer to come in with an open mind and an emotional clean slate.  The dialogue is minimal and true to life, with sanctimonious monologues and witty banter moved to the side for efficient talk between characters that makes their relationships instantly understandable.  The warmness also recedes as the location switches to New York, making things much more direct and to the point, and enhancing the transactional interactions on both Autumn and Skylar’s side.  The film is well-cast, with the young leads more than stepping up to the plate in terms of handling the ups and downs of such an emotionally taxing narrative.

Sidney Flanigan is powerfully subtle in her ability to emote deep, dark realms of thought simply through a distant stare of a contemplative gaze, very much embodying the way that we often hide life-changing secrets from those who can help and support us.  Talia Ryder brings a cautious optimism to her performance... she is willing to do whatever it takes to assist her cousin, but not so much that she is blind to or ignorant of potential dangerous people and situations.  Théodore Pellerin inhabits the role of a hormone-driven teenager perfectly, presenting a paper-thin casual guise that hides a clear and present attraction to Ryder’s portrayal of Skylar, and fueling a tension that runs alternative to the natural tension found in Flanigan’s journey as Autumn.  This core group handles a vast majority of the acting work, with performances by Ryan Egoold, Sharon Van Etten and a group of supporting actors filling out the minimalist cast.

Never Rarely Sometimes Always is a powerful watch, which is an impressive feat considering it doesn’t way heavily on gimmicks and tropes.  It really and truly works best in its quiet, observational manner, as this space that is generally taken up by narrative noise remains vacant, which in turn almost forces the viewer to fill in that space with their own thoughts, reflections and worries.

[naaf]

Maskwearers. #movietheater #centralimbürgerbräu #wearamask #stayhealthy #neverrarelysometimesalways #mamaweed #persianlessons #ladolcevita #movies #movietheatre #maskyourselves #tuesdayafternoon #kino #supportlocalcinema #supportlocalmovietheaters #blackandwhite #blackandwhitephotography #moonfilter #shotwithsamsunggalaxya51 #instagood #instapic #instafilm #instacinema #instabw #thisisbagleyblackandwhite #photooftheday #gay #queer #instagay #gaystagram (hier: Central im Bürgerbräu) https://www.instagram.com/p/CGk7d5NJEp5/?igshid=izbevles3ju9

[mrholmes-minorclassics]

浪停下像拿着鏡　難辨舊日風景 #TobiasPhotoADay #neverrarelysometimesalways (at Millwall Slipway) https://www.instagram.com/p/CAtmQE-JGkJ/?igshid=1tre3zx0ybpc9

[kathleenkaiser]

NEVER RARELY SOMETIMES ALWAYS – Rated PG-13 – 1 hr. 41 mins.

This review is brought to you by Kathy Kaiser

  NEVER RARELY SOMETIMES ALWAYS – Rated PG-13 – 1 hr. 41 mins.

Directed & Written by Eliza Hittman

Starring:  Sidney Flanigan, Talia Ryder, Theodore Pellerin, Sharon Von Etten and Ryan Eggold

When you’re seventeen, living in rural Pennsylvania, and find yourself faced with an unplanned pregnancy, what do you do?  This is the premise of Focus…