Review: Petite Maman

Petite Maman (2022)
Writer & Director: Céline Sciamma

Petite Maman, Céline Sciamma’s fifth feature-length film, following 2019’s critically acclaimed Portrait of a Lady on Fire, is a time travel story that reminded me of one of my favorite movies from childhood: Back to the Future. Aesthetically, the two have very little in common—one is an art house movie with unknown child actors, the other a somewhat goofy studio feature starring Michael J. Fox—but at the narrative core of both films is a deep psychological wish that many children harbor: to know their parents when they were younger. In Back to the Future, a teenage Marty McFly accidentally travels back in time to meet his parents at the beginning of their high school romance. In Petite Maman, eight-year-old Nelly stumbles into a kind of woodland passageway through which she can visit her mother’s childhood and play with her mother as an eight-year-old girl. In this alternate reality, Nelly also interacts with her maternal grandmother who, in Nelly’s present-day timeline, has recently passed away. 

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Review: The Pink Cloud

The Pink Cloud (2022)
Written & Directed by Iuli Gerbase

A title card at the beginning of Iuli Gerbase’s debut feature, The Pink Cloud, informs viewers that its screenplay was written in 2017, and that it was filmed in 2019. What follows is a movie so in tune with the events and moods of 2020 that you would be forgiven for finding this level of prescience impossible to believe. The premise is simple: a toxic pink cloud formation suddenly appears in the sky. Its vapors are deadly, killing people after ten seconds. With only a few minutes of warning, an unnamed Brazilian city is locked down. People are ordered to go indoors immediately; if they are not at home, they are to go into the nearest building, whether it’s a bakery, a grocery store, or the apartment complex they happened to be passing by. Giovana and Yago, the couple at the center of the movie, are on the balcony of Giovana’s apartment when they hear the news, recovering after a late night of partying. We quickly learn that they don’t know each other well; they are waking up from a one-night stand that has been extended indefinitely.

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Review: The Novice

The Novice (2021)
Writer & Director: Lauren Hadaway

Great athletes have to be obsessive to push themselves past their physical limits but they also must stay grounded and mindful of injury. Finding the balance between these two states is the tension that many athletes struggle with, especially early in their careers. Like Black Swan or Whiplash, The Novice is a portrait of a type-A striver whose competitive nature gets the better of her. As an emotional thriller, The Novice didn’t really work for me, but as a sports movie, it’s distinctive for the way it takes the shine off of winning. In her debut feature, Lauren Hadaway explores the dark side of athletic training, and the way it can easily tip over into self-laceration.

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Documentary Review: The Rescue

The Rescue (2021)
Directors: E. Chai Vasarhelyi and Jimmy Chin

Three years ago, the world was captivated by the story of a Thai boys’ soccer team trapped deep in a cave. Their bizarre entrapment occurred when twelve boys and their coach went exploring the Tham Luang Nang Non cave system, a local spot they knew well. They planned to stay underground for an hour or so, but when the cave was unexpectedly flooded, they found themselves with no choice but to burrow farther. Eventually they found respite on a small stone ledge 2.5 miles into cavern. It took twelve days to even find their location, and another week-and-a-half to figure out how to get them out, with the clock ticking as oxygen levels in the cave began to deplete. Their rescue was a risky enterprise, involving thousands of people, hundreds of government agencies, and cave divers from all over the world. People around the globe cheered when the children were eventually saved, and even though viewers will know the happy ending going in, The Rescue is still a riveting story of cross-cultural collaboration and human ingenuity. I was surprised by how fascinated I was, considering how much of the story I already knew.

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Documentary Review: In the Same Breath

In the Same Breath (2021)
Director: Nanfu Wang

As Omicron descends, this is the documentary to watch–or avoid–depending on your temperament. Director Nanfu Wang takes viewers back to the earliest days of the pandemic, opening with eerie footage of New Year’s Eve celebrations in Wuhan, where thousands of revelers, some of them likely already infected with Covid-19, mingled in close quarters, sang, cheered, danced, and generally did everything we’ve been avoiding for the past two years. Wang herself was there, celebrating with her family. On New Year’s Day, a stray news item caught Wang’s attention: eight people were punished for “spreading rumors” about a new form of pneumonia that had emerged in local hospitals. The punishment was the headline, not the pneumonia, and it wasn’t a big story. No one gave it much thought, even Wang, who was preoccupied with her return to the U.S. where she is a naturalized citizen. It was only in retrospect that she realized she had witnessed the Chinese government’s early response to the threat of Covid-19. Her documentary takes a close look at the Chinese government’s failure to communicate the dangers of Covid-19 to its citizens and to the world, and compares it with America’s response, three months later, which was dispiritingly similar, with political leaders downplaying the virus until the very last minute.

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Review: El Planeta

El Planeta (2021)
Written & Directed by Amalia Ulman

In Amalia Ulman’s debut feature, El Planeta, which she wrote and directed, Ulman and her real-life mother (Ale Ulman) play a mother and a daughter awaiting eviction. Ulman’s character, Leo (short for Leonor), has returned home after the death of her father, whose sporadic alimony payments barely supported her mother when he was alive. Leo is jobless and so is her mother, María. The two women spend most of the film in their narrow galley kitchen where the sunlight is abundant, and they aren’t tempted to waste money on electric lighting. Their refrigerator is empty, save for the tiny slips of paper María places in the freezer, each one bearing the handwritten name of an enemy. Atop the refrigerator are multiple glasses of water, which have something to do with María’s witchcraft—a practice that seems more like a distracting hobby than a coherent belief system. Leo sews bizarre yet fashionable clothing by hand, having sold her sewing machine for cash. They drink coffee, cook pasta, and, when they are really hungry, dress up in designer clothing and run up large bills in restaurants and stores, promising to pay later or claiming that Leo’s boyfriend is a local politician who will pick up the tab. They live in Gijón, a small city on Spain’s northern coast, a place hit hard by the global recession, with shuttered shops and empty tourist districts. It’s no wonder these two women are more at home in their delusions of grandeur. 

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Review: Freeland

Freeland (2021)
Written & Directed by Mario Furloni and Kate McLean

The late-blooming actress Krisha Fairchild anchors Freeland, a wispy slice-of-life movie that never really gets going, despite its timely subject matter and Fairchild’s compelling lead performance. Set in Humboldt County, California, Freeland focuses on a marijuana farmer, Devi, whose business has been adversely affected by the legalization of pot in California. Her under-the-radar business is suddenly getting a lot of competition, and she hasn’t obtained a permit to sell her product legally, because of fees and bureaucratic red tape. At the beginning of the film, Devi has some hope that she’ll be able to keep afloat with out-of-state sales, but when one of her biggest clients bails, she realizes she’s going to be stuck with a lot of unsold product. She asks her small staff of three to work unpaid during the harvest period, promising a bigger payout later. They reluctantly agree and the tension between Devi and her increasingly disgruntled workers is what drives the story.

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Catching Up With Cruella

Cruella (2021)
Director: Craig Gillespie
Writers: Dana Fox and Tony McNamara

Well, I finally caught up with the unholy mess that is Cruella. Honestly, it was pretty enjoyable despite spanning about five different genres. It was kind of like The Queen’s Gambit meets The Devil Wears Prada meets Project Runway meets The Empire Strikes Back with a splash of Dickens and a little bit of heist thrown in for good measure. Is that how it was pitched? Or did Disney just realize they had this really cool-looking villain and wanted to make a movie around her? That’s a great idea, except that Cruella, in this movie, isn’t really a villain. If I understood it correctly, she never even killed any puppies. That’s the whole point of Cruella! I remember being terrified of her as a child, but also, enthralled. She was always one of my favorite villains–that slinky dress, that cigarette holder. Now that I think about it, Emma Stone’s Cruella doesn’t even smoke. What the hell?

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Review: Bergman Island

Bergman Island (2021)
Writer & Director: Mia Hansen-Løve

Bergman Island is a movie for Bergman fans, and so I’ll lay my cards on the table: Fanny and Alexander is one of my all-time favorite movies, something I like to put on every year around the holidays. I also love Scenes from a Marriage, and recently watched the new gender-swapped HBO adaptation, starring Oscar Isaac and Jessica Chastain. HBO’s version, directed by Hagai Levi, is a Very Serious Homage, an attempt to make something as wrenching and honest at the original. Mostly, it feels like a showcase for the two leads, and while I appreciated it, I didn’t necessarily look forward to watching it. Bergman Island is a much more enjoyable tribute, one that questions Bergman’s legacy and even pokes fun, but doesn’t denigrate it. Directed by Mia Hansen-Løve, it zooms in on a filmmaking couple, Chris and Tony, (Vicky Krieps and Tim Roth) who attend an artist’s retreat on Fårö, an island off the coast of Gotland, Sweden, where Bergman lived and which he often used as a filming location. It’s a movie about filmmaking, marriage, and the relationship that female artists have with the Great Men who have inspired them. I loved it for its playfulness, for its honest grappling with Bergman’s filmography, and for Vicky Krieps’s restless, mischievous portrayal of a female artist trying to break free of her male influences.

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