#viff18

[what2watch2night]

UNDER THE SILVER LAKE; Where Nothing Is As it Seems...

UNDER THE SILVER LAKE is a nice surprise as it is nothing as expected - understandably since the film was the mystery from the start! - and is a very unique & strange story told in a similar fashion.

It is lengthy but meaty, perfect mash-up of all-things Hollywood/ Los Angeles movie making for a roller-coaster experience when viewers oddly laugh more than they should and worry less about the tension or scares as they will be too busy focusing on the  abundant visual enchantments as opposed to David Robert Mitchell previous film. However, it would not be surprising if UNDER THE SILVER LAKE grows up following in the footstep of IT FOLLOW in possibly becoming a bit of a of cult-following/niche movie  (puns intended!)

The Story Let's not get into details as it is 1. a film that will benefit form a "unspoiled viewing"  2. it is actually packing a lot of stuff making very little sense if not seen, and 3. the film is almost purposefully makes fun of the plot (in a good way!) but guess it's a twisted murder mystery so its full of the latest!But, in a nutshell, UNDER THE SILVER LAKE is the story of Sam (Andrew Garfield), a seemingly lost or aimless and jobless but privileged young man on a quest of sort by taking on some kind of detective work in order find a girl and embarks on a weird & fantastic journey as he finds himself caught in the middle of a peculiar situations twist after twist...

Genres and Influences It is at a the same time a typical neo-noir set in LA with the accompanying cliches (from glorious trillery score, to "detective work", femme fatales & ingenues, villains, eerie sets...) and a new-wave hipster style film by way of  Los Feliz / Silverlake vibes with quaint cafes, trendy places, models/actresses doubling in manic-pixie-dream-girls dressed for Coachella, guys wearing exclusively shirts  with quirky / obscure-to-not-subtle artwork, and it is provide a sensible would-be realistic portrayal of the many shallow Angelenos / people associated with the lifestyle of the actual and wannabee rich & famous... UNDER THE SILVER LAKE will also play as an homage to the golden age of Hollywood in its style and showing footage of classic movies as well as cinephiles love for the genre in the protagonist circle (which resonate genuinely to some extend knowing the crowd AND hip people over-appreciation or eagerness to often "make a thing" of all things twice older  their age!) One noticeable aspect of the film is its specific bran of humor playing on its ideal target market to "get" all of the jokes but still have plenty to go around with a unique brand of witty cynical line blended with stoner humor and a pinch of a social satire with comical elements from its surrealism .

Sight to behold Thanks to great location, great style and, as mentioned previously the surrealist nature of scenes with bonkers scenes adding supernatural twists, the film is a real feast for the eye! 

On top of that it also offers sensational musical moments a-la LA GRANDE BELLEZA but it will also occasionally - and to a very far reaching extend -  remind people of LA LA LAND (guess there is no other recent movie that showcased LA as well as UNDER THE SILVER LAKE than LA LA LAND ...and maybe NIGHTCRAWLER)

Hence ...

LA Movie   If this is not indeed one of the most "LA movie" ever since LA LA LAND (or perhaps a good-mix between the musical and, as stated above, the very LA thriller, NIGHTCRAWLER) In addition, UNDER THE SILVER LAKE, being an homage to old-school Hollywood movie from its golden age, is at time peak LA noir, and in part kind of a perfect "new hipster wave" Los Angeles film; with it's Silverlake setting and all that ensue!   

Casting Andrew Garfield is leading this 2 hours plus movie but it has an impressively large ensemble of characters (like another slightly similar LA film, INHERENT VICE) composed of Riley Keough, Topher Grace, Callie Hernandez, Jimmi Simpson and Zosia Mamet among other and everybody is compelling and believable. But although it is trying to paint a close to reality picture with the various characters it is a little realistic representation of the actual population in term of ethnicity - as in there were literally only 3 perhaps 4 speaking non-white character and they did not have much to say... A recurrent problem with recent movies trying to portray LA in "fair" light".

*The one criticism: Although Garfield was the perfect choice for the part of this hip guy, seemingly offensive to all the many half-naked women he stalked or who magically appear around him, it is not hard to see that some might find this film somehow problematic...(Garfield performance )It is definitely all about the male gaze and that okay but it feels as thought there is an attempt at "redemption" or "excuse for it (perhaps for the Manson-cult like doomsday polygamist  where vulnerable young pretty girl seem brainwashed or taken advantage in a way) by showing women rebellious and "kicking literal balls"... We can't help but imagine this is a story about a white privilege guy even when the focus should be elsewhere on the story.

MORAL OF THE STORY Above all, it's an absolute visual delight with delirious scenes, gorgeous cinematography, impeccable production design and musical extravaganzas (like we like'em) It might not be everybody cup of tea due to its length or its surreal aspect, but for most - and for most cinephile - it is surely is a "darling"; and without a doubt, one of the best, a 2018 personal favorite and MUST-SEE 9/10 

*Seen at VIFF 2018

[samantha-liana]

Mis amores!! 😙. I have another movie premiering this month called 'Spice it Up.' LOL don't ask why I'm impersonating a man in this 1st pic.. There's only one way to find out 😉. . . It will be showing at VIFF (Vancouver International Film Festival) on September 28th and on the 2nd of October. I'll be there watching it for the 1st time so I am both shook and excited! This movie was made such a long time ago, I was in such a different place mentally and career wise. I cannot wait to step into this time capsule along with other movie goers and experience the movie magic. I'll also be there with another 1 of the leading actresses doing a Q&A 😄. So if you happen to be in Van on September 28, 2018 hit me up! . . Info and ticket sales: https://www.viff.org/Online/2018-series-future-present . . #Viff #viff18 #movies #love #actor #actress #FilmIndustry #SamanthaCole #LeadWithLove https://www.instagram.com/p/BnmwYOuBxDG/?utm_source=ig_tumblr_share&igshid=18zktm9w1hhmo

[what2watch2night]

State of World; Best of Foreign Films 2018 : CAPERNAUM And More...

Foreign films that make their way around the world via film festivals and eventually ending on being their countries contender for the Academy Awards are usually the finest of their kind.

In addition of often bringing new or culturally different perspectives on various topics that happen to be universal, they are also good windows into the world at a time (if contemporary and not retelling historical event; like "the usual" WWI or WWII European - or more like French! - film telling kinda the same things in a different way ...unless they do it "DUNKIRK style"; revolutionizing the war-pic! Or being a biography, although there are few special cases!).

Thus, this year is no exception, and more, as six remarkable films (that are some of the best films of 2018 overall) stand out in telling very unique stories showing the universality of humanity wrapped up in cinematic masterpieces...

The Best Foreign Film Seen This Year: CAPERNAUM

CAPERNAUM by Lebanese actor/director Nadine Labaki might simply be this year best film (and maybe one of the best ever in its genre). After the Jury Prize at Cannes in May (where it received profuse acclaims after its premiered) there was very little doubt that it will be Lebanon official entry for Best Foreign Film at 9st Academy Awards and make wave everywhere it will be shown.

Its premise is quite simple on the surface, as it opens as a somehow surreal courtroom drama where a kid is suing his parent for bringing him to life, only to make way for the rich, complex, extraordinary and gripping story it tells to come to its conclusion.

The film, set in Beirut, revolves around Zain (Zain Al Rafeea) looking like a sad-eye innocent child but is fierce and mature beyond his years; he might be 12 years-old but he has no birth certificate, papers or proof of his age or existence... He lives in a rickety house with his many siblings and abusive parents; they all have to work (even the children... instead of going to school) or do whatever they can (including illegal activities) to make money or simply to survive.

His already complicated and chaotic young life turns for worse the day his parents decide to "sell" his (only) 11 years-old sisters for rent and few chickens. Furious and powerless, Zain decide to run away from home in order to find a way to "free" his sister and make a better lives for themselves. From there the kid goes on a journey in the streets of Beirut, from amusement park to slums and meeting all kinds of good & bad people. Among them, will be one of the only person willing to help him, Rahil (Yordanos Shiferaw), an illegal immigrant and mother of the very expressive toddler, Yonas, that Zain will end-up taking care of. Through numerous events and (mostly bad) encounters, Zain will show immense courage and resourcefulness facing adversities until the day he ends up in court suing his parents.

Zain is a hero of a kind in a story that might seem incredible but in movie that feels very grounded with an almost documentary approach drawing inspiration from real events and tackling serious issues such as the cause of destitute children living in the street or in unsafe environment, refugees, undocumented migrants, hopeless parenting, and more that add to the vicious circle or poverty & violence.

CAPERNAUM itself is an achievement by its director who knows how to play with the emotions by combining a remarkable narrative and a compelling visual; from aerial shots of the city, bringing grandeur and levity when needed, to tight, almost "claustrophobic, shots of crowded desolated place/people highlighting distress, hopelessness and the tension.

The film is worthy of a classic Hollywood film, with moments of extreme sadness and touch of humor brought mostly by Zain "suffering no fools” attitude and his relationship with the baby. It MUST be said that the film nearly solely rests on his tiny shoulder and, Zain (the actor) was perfectly cast and gave the best performance of the year (and yet his name will probably never appear on any award lists ...) Actually the whole cast of basically non-actors - found on the street by Labaki - is perfect and it most likely have helped that, sadly, their own situations were not far remote from those of the characters populating CAPERNAUM.

MORAL OF THE STORY: CAPERNAUM will without a doubt have an effect on all viewers and most will possibly shed a tear at the end (or sob shamefully through various heavy scenes), it is the kind of difficult or depressingly beautiful yet entertaining film that inviting people to think and be hopeful that, thanks to this kind of story, changes might happen...one day...

Award-Worthy Must-see Films

SHOPLIFTERS

From Japanese maestro Hirokazu Kore-eda who never once disappoint, here is another film that will prove this right!

This year Palme d'Or , SHOPLIFTERS, is a kind of quintessential Cannes Film Festival winner; it hit all the perfect notes, pulled all the right string, balanced grandiose "Hollywood" scenes with intimate grounded moments, it delivered a fascinating and very touching story, it was impeccably acted by a great ensemble and on top of that it had a pleasant-looking aesthetic complimenting its contemplative aspect.

This story of a family of otherwise hopeless stranger living together and supporting each other like a joyous band of misfit through highs and lows has the delicateness, subtlety and elegance of the finest of Japanese cinema while depicting very real, though and dramatic situation.

In many way the film not only acts as a mirror of nowadays Japan but it opens up the discussion about many current issues in Japan that will also resonate globally. From people living precariously in the city trying to secure financial stability (or avoid being homeless), to child abuse or abandonment, to the cause of the lonely/unhelp elderly; it is extremely timely and will speaks to many viewers.

MORAL OF THE STORY: Although SHOPLIFTERS might not live up to the hype of people/connoisseur who were expecting it to be the "best of the best" or the best of Kore-eda (hard to beat LIKE FATHER LIKE SON emotional appeal!) maybe due to its third act, but ultimately, and at the bittersweet end of it, we all have to admit that the film is an undeniable masterpiece that deeply appeals to our humanity ...

WOMAN AT WAR

We are now getting accustomed to those hidden-gems from Iceland, very grounded in reality, tackling serious/deep subject (that would otherwise be, like the young are saying, "depressing AF") yet provoking extreme laugh in scenes that would appear straight out of an off-beat dark comedies for "serious adults"  (as seen recently in films like RAMS or UNDER THE TREE), and so this year quirky Icelandic title for Best Foreign Film by Benedikt Erlingsson is following this tradition and will leave a long-lasting impression on any viewer whether or not they agree with it.

WOMAN AT WAR is the story of Halla (Halldóra Geirharðsdóttir), a middle-age woman with a “take no prisoner” attitude, choir conductor officially and extreme environmental activist (or eco-terrorist) known as the “Mountain Woman” anonymously. For some Halla will be the modern hero we need but for other a criminal, so the story is set up as "Robin Hood dilemma" of sort. Conveniently or inconveniently, as her "side project" takes over her life, Halla is granted a last minute adoption of a Ukrainian little girl and conveniently for her, her twin sister Asa will not only be the next of kin, but also the next in the adoption line if she cannot secure it... Asa, also played brilliantly played by Halldóra, is a yoga teacher bohemian woman who has plans to go on a retreat in Asia (another piece of information that will come in handy towards the end) and has somehow the same value but a very different approach on how to solve problems. She is more "passive" more thoughtful but maybe less effective.

The story will get crazier and bigger as the whole country will hear about Halla’s acts of sabotage (or eco-terrorism); the Chinese are involves; the Americans,; the FBI, and soon enough the whole world is watching... However, only few characters will come into play and help Halla on her quest to take down "big corporation"; a choir member who is also a politician helping her orchestrating her coups  and a sheep farmer who might also be a "distant cousin", because, of course, it would not be an Icelandic movie without herds of sheep and a good Samaritan farmer!

Nevertheless, the film is not without cliches but it uses them wisely as what makes it so fun & funny is also what makes it so predictable in its jokes and slapstick; so what comes as a surprise get turned into repetitive "memes". Although this predictability might cut the fun short for some, other "easy-laughters" will have a field day with the foreign national /alien (who might as well represents the "unwanted" immigrant) always at the wrong place at the wrong time (it is a mystery why this guy is not suing anybody - the whole country - for all kind of things...) or the musicians "reveal". This last element, or the witty use of a live on-screen band and traditional singers to set the mood and act as a viewer, commentators and continuity of the character inner feelings through music, is actually one of the highlight of the film.

MORAL OF THE STORY: WOMAN AT WAR is the kind of film creating "conflicting emotions" as it acts as some kind of philosophical thesis on the moral of the protagonist action but at the same time "messes" with moralities! At the end, one might think, it would be too easy to root for our protagonist as half the theater will be cheering at her act of "eco-terrorism" or felling sad that she might have to pay for her crime, but then there will be doubt knowing that other viewers might rightfully think this movie is basically: 'white woman commit crimes and get away with it - while brown foreigner always "funnily" get caught...' A dicey stand to take for an otherwise great movie that boldly deals with universal subjects such as the environment, the link between the economy and ecology, the eco-friendly “conservative” way to preserve the resource vs the "environmental-nuts" and their radical methods ...

YOMEDINE

This film is the perfect “happy-sad movie” and there is no doubt that if this was a Hollywood production (and bonus point if it had able actors portraying disable characters) it would have been the talk of the town and a sure Oscar best picture nominee bet... Actually it would have a shot at being a winner as it has all the elements of the great classics: A story of an unfortunate hero befriending a kid while going on a personal journey and an epic quest traveling a country, passing through all kinds of incredible landscapes in order to find his family...

On top of that, YOMEDINE by acclaimed director, A.B. Shawky, focusing on Egypt necessitous, people living in the street, the beggars, the trash diggers, the underrepresented disabled or sick sticking together like a band of misfits (an aspect that it shares with SHOPLIFTERS or even CAPERNAUM), is a film that will have its load of (non-gratuitous) miserabilism with many sad - very very sad - BUT beautifully human moments,.

On the other hand, the film reaches comedic height through the incongruous duo many ups and more downS, and like mentioned earlier, it has a lot of very "classic Hollywood moments".

Last but not least, the very touching film, although grounded in this bleak reality, is quite the entertainment; filled with fun and heart-warming situations involving a leper (Rady Gamal) and an orphan (Ahmed Abdelhafiz) playfully self-named Obama. (Seriously the image of an old-man and a kid travelling across country with a donkey while fending for themselves and finding happiness where they can; how much "old-school Hollywood" can it gets!)

MORAL OF THE STORY: This  masterpiece of Egyptian Cinema (also representing its country for the 91st Academy Award - so maybe maybe maybe it will end up being nominated somehow!) was also part of the Cannes roster this year, so some might have heard of it and will get a chance to see it (or hopefully want to) but as it might sadly not get as much attention as other foreign films, most will never hear a peep about it... Which might actually be the best way to see YOMEDINE! Unspoiled and ready to be captivated by this vivid, realistic yet incredible part road-trip, part dramedy and 100% unique story...

Meritable Mentions

AT WAR

One word: intense

This film by Stéphane Brizé and featuring an all-out Vincent Lindon is an adequate successor to their previous exceptional collaboration THE MEASURE OF A MAN and it might be the closest thing we can get to a documentary about (the very french thing that is) going on strike. 

Few scenes in and viewers might not be sure whether they are watching the real thing or very raw reenactment of true events as the camera and narrative offer an intriguing mix of few contemplative, cinema-verite style scenes in an energetic and "loud" socialism-realism project that focus on the behind-the-scenes of our protagonist fight to save his jobs and a factory.  The filmmaker meticulous attention to details and desire to make a powerful and truthful statement is meritorious, and additionally, all the cast and all the other component of this film appear to be truly "at war" as there is no misstep, everything feels like it is at 100% all the time.

The film might be a bit too much or overpowering/overwhelming for some but it is a one-of-a-kind experience that will not leave viewers indifferent to the plight of workers fighting for their jobs...their lives.

All in all, AT WAR Might be the better French movie of the year! [sorry but between MEMOIR OF WAR and COLD WAR it’s always "same old same old"… Can we just stop rewarding European films doing slow & sad, and above all, deja-vu or "deja-told-this-way" movie of white people suffering and war and stuff...We know it was terrible but do we need 10 films about it every year!? FANTASTIC WOMAN was a nice welcoming change so let's hope they follow that way this year...(with CAPERNAUM!)]

ALA CHANGSO

Another film flirting with the documentary style, ALA CHANGSO, being one of the rare film from Tibet (to be seen oversea) will naturally offer viewers something quite singular. 

It is a very emotional film that uses a soft and subtle approach to, regardless, achieve a poignant result. The director, Sonthar Gyal, tells this very intimate story, sets in a rural area, following a reconstructed family journey as the young mother Drolma (Nyima Sungsung) decides to go on a strenuous pilgrimage to the mountain city of Lhasa while sick. As expected, the road will be long, full of obstacles and they will face many challenges and heartaches as the unstable 10-year-old son Norbu (Sechok Gyal) will try to make sense of things.

Filmed elegantly, ALA CHANGSO, takes its time and makes no judgment in a contemplative exposé depicting the lives of its characters and acting genuinely as a window into a way of life. In this physical and spiritual adventure of a kind that values and questioned human connection, the kindness of strangers, faith and "its price", the film finds its truth and purpose.

Additional Must-See Materpieces

ASH IS PUREST WHITE 

BIRDS OF PASSAGE

SHADOW

 (Films seen at VIFF 2018)

*ROMA is not included here in this selection for obvious reasons!

[what2watch2night]

THE FAVOURITE is a true delicious delight of high-Art entertainment with - and without an ounce of doubt! - the best lineS (all of them!) and delivery made by the 3 fascinating female characters that will suffer no fools, hence the 3 actresses portraying them. They are Olivia Coleman, Rachel Weisz and Emma Stone, on top of their games here, being way too good for us to pick one (our favorite!) and so that is why they deserve a "trio award" of some kind. Even though the highlight of the film is the acting, other aspects of the Yorgos Lanthimos latest period satire/dark-comedy are not to be dismissed...

This lavish historical-ish film set in 18th century England, about the behind-the-scene shenanigans happening in the mercurial Queen Anne's court (portrayed by Coleman), is mainly focusing on the story of two cousins fighting to be monarch's "the favorite": Weisz, as Lady Sarah, the queen fierce and sometime scary right-hand woman / confident / truth-teller / whisperer / advisor / only friend and maybe more; and Abigail, played by Stone, the freshly arrived maid, sweet, lovely, helpful and docile at first, we will soon find out that she truly knows how to play this game and might even be more vicious or conniving than her "cousin Rachel" (pun intended as Weisz seemed to reprise a MY COUSIN RACHEL-esque role!) by using her charms (and occasionally people) to her advantage...

THE FAVOURITE is poised to a be a favorite itself this award season and one can make many bets as to how it will thrive...

Nomination for Best Female Actor in a Lead & Supporting Role (and possible winners of the race so far...) The seeming equal amount of screen-time or importance given to the 3 main protagonists is admirable and it is hard to tell apart whose the main one. The film starts with Stone then seems to put the focus on Weisz - casually delivering her lines after lines to perfection looking like a walk in a park - to finally giving us Coleman gloriously inhabiting this queen... Although it appears that the later will be upped to lead in the award race (fresh from her Venice win), interestingly Rachel and Emma might coincidentally have to "fight" for best supporting; one will be satisfied if, in a rare turn-of-event, these two get to share the best supporting award!

Nomination for Best Casting / Ensemble The movie is a real treat already but it is quite an achievement for a film where no actor plays a small part and all act like their lives depend on it; from the "one-liner characters" in brothel or in parliament to the supporting players such as Nicolas Hoult - giving possibly his career's best performance.

Nomination for Best Screenplay Giving credit where its due: the many great lines, quotable dialogue between characters, exquisite bonkers scenes and the comic of situations were bestow upon us thanks to this one-of-a-kind script by Deborah Davis and Tony McNamara. These writers really need to be celebrated for this clever, funny and thoroughly entertaining tale.

Nomination for Best Costume Design / Hair & Makeup This is where the anachronism of THE FAVOURITE gets all the more fun! It can be seen from the very detailed dresses & outfits ingeniously blending epoch style with modern details or fabric in order to give the film its unique style and its hint of surrealism veering toward an ALICE IN WONDERLAND. On top of that, the cleverness of this film, its play on genders and its certain brand of feminism, is likewise best illustrated in the costumes, hair style and even makeup. From Rachel Weisz bold and often modern outfit (with a "manly" or androgynous touch), wearing pants while shooting, sporting a scar "that would have make her a dashing or awesomer man if she was one" (or something along these lines!) to Nicolas Hoult or Joe Alwyn flamboyant presumably "feminine" styles and attitudes wearing their wigs and fancy clothes while often trying not to loose face against the terrible cousins; nothing is left unnoticed and the result is a stunning commentary perhaps mirroring our modern predicaments in some way...

Nomination for Best Production Design & Locations Like the costume design, the sets and locations were luxurious - as you would expect from of a solid period film. Shooting in a real castle allowed the visual to take a "grand & noble" stand, abundant in genuine details and where nothing felt "fake" or "paper-thin". A visual opulence bringing to mind  (one of the many) recent Oscars nominees such as THE DANISH GIRL or other well-put-together historical films. It was a admittedly real feast for the eye, where many shots where composed like a painting (thanks to a wonderful cinematography job - Robbie Ryan might have a shot at a nom for it as well) The wallpapers, the many candle lights, chandeliers, the details on floors or ceilings, the paintings donning the halls, the sumptuous garden and flowers everywhere.... And "props to the props" that are not to be left out! (cake and all!! )

Nomination for Best Music & Sound If one thing was a strong or obvious trademark of the director, it was surely the very Yorgos-esque use of sound effect; those disturbing and odd burst of ominous notes, horn +string almost misplaying or dissonant volume-wise and (although "era-appropriate") the music felt at times purposefully either contradicting or highlighting the grotesque of the story. It might be a kind of hit or miss situation, but connoisseur will surely enjoy and appreciate how these audio additions make thing all the more amusing!

*It should be noted that the film features one epic dance scene - also one of the weirdest dance scene in recent years (using anachronism to maximum effect!)

And of course...

Nomination for Best Direction It would not be right to not recognize the tremendous achievement of the maestro Lanthimos himself! For better or "different" this is surprisingly not another LOBSTER and if his touch is more subtle here there are not many director who excel in crafting insane deranged and droll scenes like him... Guess you can't hide this kind of crazy!

MORAL OF THE STORY We might say this too easily when it comes to the Greek director but this is a very UNIQUE movie; one may say that THE FAVOURITE could be more "accessible" than his previous films but it does not diminishing its genius and some may even rightfully even consider it a masterpiece ... Although, if only the ending was not so... "typical-Lanthimos" ! 9/10

*Seen at VIFF 2018

[what2watch2night]

VOX LUX; THE AFTERTHOUGHTS...

With only a couple of films as a director, CHILDHOOD OF A LEADER and now VOX LUX, Brady Corbet already made a name for himself as there is no denying: "we know it when we see it: this is Corbet movie!". It has these very dark and violent outbursts, it is very intense yet with very low-key and sometime very slow moments, the focus is on the effects or emotional responses rather than the shocking actions (which however still come as disturbing and jarring for unaware viewers), it has this specific audio-visual quality with a unique brand of cinematography and a somber, angst-inducing score. On top of that his films seemed to revolve around similar thematic axes: violence and the cause of it, a special or "devil child", "what makes us", familial relationship... In a way, Corbet's films are like at the opposite end of the Wes Anderson ones; tonally and spiritually different but with comparable use of vintage looks and avantgardist but classic music of sorts: a perfect mix between an "instant classic film" and a "hype-culty-movie"!

And so VOX LUX, like CHILDHOOD OF A LEADER, is meticulously blending fact & fiction in a kind of alternate reality where the story happens somewhere between Columbine, 9/11, the new era of domestic & international terrorism and today's drama in this political climate…

THE STORY The film is a true spectacle that opens like a modern tale in 3 acts, with a before & after story, narrated by William Dafoe.

ACT I is called Genesis but it could have also been called CHILDHOOD OF A POP-STAR as it mirrored in many ways Brady previous film! In 1999, after witnessing the atrocity and surviving a school mass-shooting teenage Celeste (Raffey Cassidy) learns to play music and write a songs with her sister Eleanor (Stacy Martin) while recovering from a spinal injury. She sang one of them at a commemoration event for the victims and the catchy yet meaningful song strike an emotional chord with the nation in mourning becoming an anthem ; a viral hit... Soon, with the help of her manager (Jude Law) she is catapulted to stardom and becomes a ideal teen-Idol with "baggage"; the rest is history... She records her album, shoots extravagant music videos, and travels the world with her sister and manager; it is all fun & game until Celeste discovers the hard reality of this world and loses her innocence...

ACT II is a "regenesis", showing the reverse of the medal of fame or the aftermath of what "should've happened, happened"... As opposed to the previous act where events occurred over the course of a few years, here everything happens fast in dizzying BIRDMAN-esque style within an afternoon. 

20 years later, after being exploited or overused and leaning how the media / paparazzi treat their celebrities, Celeste (now played by Portman) is suffering the "curse of stardom". She is a diva pop-star  cliché who had it all to quickly and went haywire (combo of alcohol, drug, verbal & physical abuses, crimes, settlements, invasion of privacy and exposure of her various personal dramas...PR disaster & the "usual afflictions" of celebrities). Portman version of Celeste encapsulates various aspects of famous singers; from the artistic visual and clever use of mainstream music of Lady Gaga, to the rise-fall-rebirth attempts of Britney Spears, to the good-simple-girl-ascension-to-pop-diva status of Taylor Swift, and, even to the "I say what I want no matter the consequence" attitude of the like of M.I.A. or Madonna ....

She now has a daughter Albertine (astutely played by her young self minus facial spots, Raffey Cassidy), that she had quite young with a rock star, but the famous mother-daughter relationship is tumultuous and not the best; hence her Eleanor acts as the motherly figure to Celeste discontent as she holds grudges against her. In an unfortunate turn of event, Celeste has a press-conference for a "comeback tour of sort" - with the actual first concert taking place in the evening (third act) -  just hours after a terrorist attack happened in Croatia where the perpetrators were wearing masks similar to the ones in Celeste’s music videos; it all snowballs into a PR nightmare as Celeste goes off-script and adds fuel to fire.She says and does the wrong thing knowingly but her addiction and personal problems are just making things worse; she is indeed the perfect example of an "unmanageable" artist...

ACT III, or the finale, felt like a faithful recreation of a somehow popular live concert shot for 3D cinema (or DVD!?) where Natalie Portman becomes the star of the "Sia show"! It is extravagant with sparkly energetic dancers moving like insects from the future, big screens, full of bright lights, flamboyant costumes and theatrical make-up, it looked like a glossy pop scifi show, but the narration (by William Dafoe) reminds us that there is more to this than meets the eyes...

AFTERTHOUGHTS

• Portman was mesmerizing as Celeste fierce yet fragile, going for melodramatic to comedic scenes telling “her truth” with a foul-mouth. However, from the first moment she comes on screen, for some strange reason, some of us could oddly see hints of Jackie piercing trough as she can’t shake this natural elegance – and as she completely melted in that role it is now hard to dissociate Jackie and Natalie! But even though Portman gave herself to Celeste 100% elevating the performance to the max (once more deserving of an Oscar nomination!), again we can't help to see the classy act behind the hot mess…What can we say she's classy lady and Jackie will forever be her best role fitting like a glove! (until the next hopefully)

• Raffey Cassidy, the young actress portraying Celeste was phenomenal as well, she is without a doubt one of this new generation of actor who uses their awkwardness to great effect, and she is proving with this performance a year after her THE KILLING OF A SACRED DEER, that she is indeed a valuable member of “team weird”! (*no wonder she played a young Kristen Steward...)

• Stacy’s character was very strangely developed and it felt like something was missing in the story or bits of the film were cut between the second and the third act as something felt odd and viewers were left to fill-in-the-gap when it came to the sisters’ relationship. Although we understood that the young Celeste felt betrayed and of lost her innocence when she witnessed her manager and sister together – happening coincidentally around the same time the nation lost its own with the World Trade Center attack.

• The attacks and violence was somewhat not prevalent onscreen despite its shadow of gloom & doom, and aside from a couple of scenes, the movie did not drown in clichés for dramatic effects only. Maybe it was for the better that they didn't show more as the first scene was already engraved in viewers’ minds at this point… (also it would've been hard to “top it up” and there was no need to add more to this young girl drama /trauma between 1999 and 2001)

• Talking about it, the first scene set in the now of Act I (with Raffey) is one of the highlight of the year so far and one of the most powerful scene. It is insane, unexpected and supports the whole message behind this movie in a very direct manner as violence is a central theme. Brady handling of violence or people committing terrible/unspeakable act seemed quite “fair”, and, whether in his previous film about a dictator-in-the-making or this one where he tackles terrorism / mass-shooting, he tries finding motives behind these acts through pain or misunderstanding or whatever else could be the “root of all evil“ and he addressed the issues in a very straightforward way nor justifying or sanitizing or vulgarly exploiting sufferings as it could seem. The thinking behind this approach might be a bit “outside of the box” but it comes across more as a commentary opening the discussion rather than a statement on sensitive issues made exclusively for shock purpose.

• The approach to violence takes another form when the film focuses on the topic of toxic fame or the sad consequences of celebrity faux-pas. Sad because, often, celebrities like Celeste have no choice (and growing-up famous they would not necessarily know how to act “normal” and true to themselves) but to get briefed and polished in order not to say anything wrong or dumb things (like most some people do without consequences… sometime!) or thing that would otherwise aggravate situations that are out of their control; like saying" I have more hits than their AK 4"... It highlights how unfair and complicated the situation is from the beginning, the price to pay for fame; it can be viewed as a sort of pact with the devil (especially true considering Celeste’s art was used for nefarious reasons).

• Seeing VOX LUX shortly after A STAR IS BORN makes it all the more interesting as they both are “a star is born kinda story” about toxic fame in the music industry and all that ensues. But when Lady Gaga is becoming the actor she was born to be (she was born this way!!) portraying the lead in A STAR IS BORN, Natalie Portman is, funnily enough, playing a Lady Gaga-esque popstar (with a lot of a Britney Spears personal drama and craziness into the mix!).

• In the 2 films a comparison is made between people and artists condescending attitude towards pop music, and, at the same time, the way this genre also has its purpose (and in recent years musicians like Lady Gaga or Sia elevated it significantly with impactful lyrics on catchy beats). They explain the meaning of pop music for fans; like when Celeste - who first used music as a mean to heal from traumatic events - states that she wants to make music that will make people happy or feel joy. This message although subliminal comes to perspective in the 3rd act of VOX LUX…

• We can clearly hear from the first song (which is probably the best song of the movie) and can foresee some awards in this regard as the whole score by Scott Walker was captivating and Sia songs were up to “Sia standard”! (As mentioned earlier it will definitely have to compete hard against Gaga for best song...) But VOX LUX should not be left out of the race in other categories including acting, make-up/hair, screenplay and direction.

• Another aspect of the movie that should be mentioned is the realness of the concert scene. Again not to bring it up to A STAR IS BORN, but there's something to be said about the filming of the concert scenes as it projected as one of those concerts one would be seeing in cinema. Every detail counted from the costume to the makeup and specially the nails & hair! Natalie Portman hairstyles were perfect and the disguise for the scars was very clever. In addition, even scenes where they shot the actual music video played candidly well (as they did in another “music movie” Gina Prince-Bythewood BEYOND THE LIGHTS).

• The ending: The finale or end of it, is where William Dafoe narration does the heavy-lifting against Portman performance “in the background” raising the film to its final level; a surreal or “a meta-physical dimension” of sorts where the devil is hidden in plain sight… Eventually, maybe, something to do with subliminal evil messages in songs tied to all the imagery of fire & wickedness? And a child, the loss of innocence in eyes and the start of another circle? Considering the backdrop and call to mind with 9/11, one might wonder if there is a connection to times when there was some form of “blacklist”, or ban on songs or bands as they were thought to be immoral, incite violence or be satanic… And again it's something VOX LUX also touched, to some extent, in a scene where young Celeste meets a metal/rock-star and talks about how her attacker listened to this kind of music. The conversation was very interesting as the musician (the father of Albertine?) believed that it might, on the contrary be this music that could have maybe help him channel his anger/pain/misunderstood feelings or that it could've been worse if he didn't have the music… A dangerous but valid parallel between whatever music or Art you make; as long as it provides this special “thing” and helps someone, it matters. And so, that is why, at the end, adult Celeste must go on and remind herself that as long as she has the supports of her fans it doesn’t matter if the media is trying to destroy her (when she is in “auto-destruction” mode!)

• Similarly the clever use of a narrator is bringing something very unique and philosophical to VOX LUX as it appears as if he is here to guide viewers through the reasoning for the questions to ask and, in its turn, to question the film and the story. This storytelling device is commonly used these days but in this instance it was a nice, refreshing touch and a very bold & commendable move.

• As a whole VOX LUX will result in the same kind reactions (and procure the same kind of uneasy feelings) a film like CHILDHOOD OF A LEADER did, but this is a more peculiar movie with varying tones and interweaving elements of modern and classic cinemas. It is a blend of various genres from satire, to musical, to bits of horror, to a contemplative melodrama with fun & humorous sparks and with the aforementioned noble touch of “classic Hollywood” . The later, might strangely remind viewer of FIRST REFORMED because of the aesthetics as well as the message in the moral and the intention of the directors to make viewers think or reflects (while feeling a bit disturb!)… Or maybe they did not even know what they wanted us to think as we are all looking for answers to the same questions, thus, leaving it up to the imagination...

*Seen at VIFF 2018