I watched this because the animation looked lovely, and it turned out to be (it even uses different styles, and none of them the ugly Disney Pixar plastic). Good thing I didn’t watch it for the plot, because it was hard to be found. Maybe it’s a mosaic of different kinds of love? But there’s also the view from a bee?
It just shows that animation isn’t just for children. Here there’s mentions of poverty, abuse, the violence in Kashmir and the escape to a better financial life in Dubai, but also the risks that come with.
I clearly don’t know enough about Bollywood to not have expected this – I thought it was only romances and obvious heroes doing heroic things. I’m done with Indian animation for now (at least I finished this one, opposed to Punyakoti).
Documentaire over Amerikaanse pleegouders en de organisatie die daar (letterlijk en figuurlijk) achter zit.
Van adoptie is veel bekend, maar ik heb het idee dat men vaak vergeet wat pleegouders en -familie allemaal doen. Nu zal het in Nederland vast wel (iets) anders zijn, maar voor iemand die wel eens in contact komt met uithuisplaatsing, ruzie met pleeggezinnen en dergelijke vond ik het interessant genoeg om over de landsgrenzen te kijken.
Mooi van deze documentaire vond ik dat de toon heel neutraal blijft (geen “alles is kut” noch “dit is werk van engelen”), en dat alle betrokkenen aan het woord komen. Organisatie, pleegouders, pleegkinderen maar ook de rechtsorganen die er mee gemoeid zijn. Het draagt allemaal bij aan het plaatje van hoeveel (mensen)werk het is.
Verschillende casussen worden gevolgd en zo kom je zonder een spectaculair hoog tempo aan bijna twee uur film.
En het klopt: het is verre van perfect, maar zeker noodzakelijk en een verbetering van de status quo. Gegoten in een interessante vorm, (ook) voor hen die er misschien nooit mee te maken zullen hebben.
Netflix doesn’t have the greatest track record when it comes to original films, and I’m old enough to be disgruntled by plenty of YA tropes.
So, I chose to watch a Netflix original based on a YA novel. I’m a logical thinker.
Of course, yes, there could have been easy adjustments made to improve this story about a female teen recognising the stupid rules and habits of a patriarchal system. For starters, shifting the point of view to the black girl.
But I was surprised by how few adjustments I could come up with. Plot? Not always as subtle as it could be, but perfect for the audience. Scrip and lines? Surprisingly without any attempt to be “down with the youths”. Characterisation and love interest? Nice, cute and wholesome. Honestly, I think I’m still surprised.
Therefore, I’m going to keep it at that. No deeper digging, not reading the original material.
Short documentary – existing almost completely out of talking heads – about an art scam I’ve never heard of before. Yeah, I’ll take it.
Made You Look shows that you don’t need much or a long running time to keep someone’s attention. I wasn’t invested in this story nor its characters and yet (maybe because of that?) I was suddenly down ninety minutes.
Of course, maybe it’s a commentary about inflated worth in the art-world and how some people will believe everything for clout, but I mostly just had fun because of greedy people and stupid decisions.
Wat heb ik toch een rothekel aan de term ‘dark comedy’. Het kan twee kanten opgaan: je lacht uit ongemak want oei kunnen we daar wel grappen over maken of er is geen enkele lach; alleen wat absurde elementen die het hele verhaal sneuer maken. Dat is hier het geval.
Kumiko is een 29-jarige kantoorsufferd die graag schatten zoekt. Naar aanleiding van een video van Fargois ze er van overtuigd dat ze in Minnesota een grote geldschat kan vinden en doet haar best om daar te komen. Soit, we liegen onszelf allemaal wel eens voor om dagelijkse frustraties te ontkennen en ontwijken, maar nergens wordt hier duidelijk wat de onderliggende motivaties zijn. Is Kumiko simpel? Begraaft ze haar eigen schatten om die te vinden? Is haar hele queeste een fantasie (dat zou een geldige reden kunnen zijn voor alleen maar de hulpvaardige mensen die ze tegenkomt)?
Mijn frustratie hier is dat het net iets meer had kunnen zijn: een drama over iemand die klem zit tussen maatschappelijke eisen en dagdromen, of een comedy over iemand die actief, bewust weigert juist mee te doen. In plaats daar van zijn er alleen maar vragen en wat zorgen voor dat meisje, ook al is het in leeftijd een volwassene.
There could be more to this: why are the majority of the characters male, why is it the female protagonist that has to Learn Things while those around her show little growth and really – a villain because of a love lost?
But: it’s an Asian family without ever turning it into a thing, for once the animation isn’t incredibly ugly (there’s even some that look traditionally drawn), there’s no soundtrack that demands emotions from you (you’ll probably cry anyway) and it’s very colourful, slightly creative and mostly silly fun for different ages.
Anyway, Fei Fei wants to prove to her widowed father that there’s really a woman in the moon to prevent him from marrying someone else. Along the way she Learns Things.
Twelve minute short animated story about a suicidal sheep that is saved by a strange red-haired man. Oh, and it promises a -possibly explanatory – sequel but the people behind this project decided against producing it, so you just have to deal with that.
It’s so fun, though. Weird and beautifully made. Which cosmos laundry machine are we in right now, and am I a suicidal sheep in another one?
To end with an absolute cliché and therefore the opposition of what this film is: what a breath of fresh air in the ocean of ugly, uninspired, too long animation films.
Sometimes it seems like your unconscious makes the decision for you. Or my Netflix-list just needs some sparkle. Either way, some recently watched films that aren’t particularly.. happy.
First of all, an Asian award-gatherer: the Taiwanese A Sun. In a family the younger son is a screw-up, the older son tries to pick up behind him, the father pulls away from every family member while the mother – pretty passively – despairs. How utter sadness can look beautiful in a solemn way.
Next there’s Jonas, or another edition to the Bury Your Gays trope. This French film could have been an adorable coming-of-age, slice of life story of a homosexual (or bisexual?) teen discovering his identity, but instead we get violence.
Okay, maybe something non-fiction? With The Edge of Democracy you soon wish it was fiction. How absolute power can destroy democracy while people dance in the streets because media and moguls told them that this is the right way. Brazil, I’m so sorry.
Well, at least this post is international: my last offer is Nigerian Prince. The set-up sounds a bit like a comedy: American teen is sent to Nigeria to become familiar with his origins while one of his cousins is a scam-artist that takes him under his wing. But no. The lack of communication between the teen and his parents hurts; the reality of having to scam Americans and Europeans because there is no other way to make money if you’re not part of the corruption is depressing; the open ending might make you anger without anywhere to put it.
This is Vanessa Kirby’s film. Not only because Shia le B. doesn’t deserve any mention (the creep), but because – except for the actress playing her mother (Ellen Burstyn) – nothing and no-one comes close to her.
In Pieces of a Woman Kirby plays a woman that has a traumatic birth experience with lethal result. That isn’t who Martha is of course, but it’s the only role she’s allowed after. She doesn’t mourn correctly, doesn’t support her partner and family correctly, doesn’t scream for vengeance and fury correctly. Behind her eyes is both chaos and complete emptiness.
I guess this is one of those ‘actor-films’; it’s definitely a lower priority how the plot will play out than how Kirby will work her way through it. Another gold star for how it never gets sentimental: mourning also exists out of rage and Pieces of a Woman shows plenty of that.
This might be my first film recommendation of the year.
What’s ‘NYE’ about any of these films? Probably nothing, except that I watched all three of them on December 31 and January first. Maybe the start of a tradition.
Anyway, what they do have in common is a black male lead. With two out of three films the male lead is turned into something else, but baby steps. Right, Hollywood?
I would have liked it better if Soul would have been done with a female lead, but what do I know about soul music. For a film about one, it was definitely lacking one: just a lot of minutes going through the Kiddie-story-with-A-Life-Lesson storybook. And will Pixar ever move away from that hideous way of drawing people?
Spies in Disguise, then. This time the main character is turned into a pigeon to learn that there’s no ‘I’ in team. There’s also long action scenes, fat jokes, and pigeons-are-stupid/eat-everything repetitions that might make you slightly nauseous. Besides that, some genuine humour can be found, but that’s mostly on Will Smith’s charm.
Maybe I’ve outgrown Disney Pixar/Disney Fox-animations. When you can’t find any relief from picking things apart, it might be time.
For something completely different, I finished this holiday with Get Out. You might still remember the reviews and discourse which partly seemed to be led by “OMG, racism is the real horror??”.
I went in with plenty of knowledge (I’m a scaredy cat), but was still enjoyable uncomfortable, definitely in the first half. I always enjoy the humans-are-the-worst-monsters trope, and it delivers. The second part is more traditional horror, but doesn’t go overboard enough to lose balance. This way, you’re stuck to your seat the entire time and only want to look away out of discomfort or disgust, not boredom.
All in all, the satisfying cinematic experience I felt I deserved after two days of disappointment.