Shoplifters

121 min.

One of those films you miss the theater-run of, slightly forget about until they pop up somewhere and trigger the “Didn’t I want to see this?”-thought. Maybe I should start a To Be Watched list.

The shoplifters don’t just shoplift goods. This is a mild spoiler that won’t make sense until the end of the film. In the beginning of it, it’s just a poor family adopting a neglected toddler. Like in 10 Minutes it is shown that you can create your own family – this one is just built on much less sturdy foundations.

The funny thing is that for a long time little seems wrong with those foundations. Yes, some dodgy things happen and what are the exact relationships between everyone but by golly: at least they try t stay upright in a society that doesn’t even notice that it keeps kicking them down.

I’m also impressed by the acting and the thin balance between sharing and silence – it never gets annoying that we don’t know everything (yet). Except for that one story line; I must have missed the clues here. Or it was simply shoplifted from the story: everything and -one can clearly be.

Plum Rains

Angelica was hurrying toward the crowded crosswalk, determined to get back to her elderly client Sayoko-san before the deliveryman arrived, when the view of buildings and business suits in front of her dissolved.

Plum Rains, Andromeda Romano-Lax, Soho Press 2018

Probably already this year’s winner for coolest author name, no matter if it’s her own or a pen name.

I judged this book by its cover, its title and its author name and it — didn’t necessary end badly. I don’t know if I’d recommend this, though.

At first, the story seems original. The blurb says it’s about a Philippine caretaker in Japan in the nearby future, she worries about being replaced by robots and we’re promised different moves through time across the globe.

But the women suffer. Not just regularly day to day suffering, but – without wanting to spoil – in the way women do. There’s a tiny bit of room for creating a world in which we’ll all be replaced by AI, but the rest of it is about suffering.

And I know that those stories need to be shared as well, especially with the Western audience, but I would have loved a science fiction story in which the (Asian) women aren’t just victim, caretaker, responsible and tired.

So, if you want to read it (because Japanese history, insight in life on the Philippines), you might still enjoy it if you focus on that. If you’re looking for science fiction, expect a dystopian one.

Bombay Rose

137 min.

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).

I did really like the soundtrack, though.

Interior Chinatown

INT. GOLDEN PALACE

Ever since you were a boy, you’ve dreamt of being Kung Fu Guy.

Interior Chinatown, Charles Yu, Vintage Books 2020

I don’t really know how to review it and this time that’s a good thing. It’s original and awkward and confrontational. With racism and hate directed at Asians (in the diaspora) it’s also very, very relevant.

And in between: fun. Throwing you off balance, not being what you expected. It’s not something I experience often, and for that alone I’d recommend this novel.

Well, that’s pretty depressing

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.

Pfew, I’m going back to The Bold Type now.

Recently on Kanopy

A summary.

Free Fall (Freier fall) “The German Brokeback Mountain“. Sweet, sometimes sexy, but sadly also straight from the Gay Drama Clich├ęs Play Book – including biphobia.

Kedi a Turkish documentary about the special connection the city Istanbul (and its inhabitants) has with (street) cats. Prepare yourself for burly men softened up by kittens, beautiful shots and a whole other view on Turkey.

What will people say (Hva vil folk si) shows a Norwegian teen getting the short stick in the culture clash between I- and we-cultures. It’s sad and frustrating and completely carried by the main actor.

The Far Field

I am thirty years old and that is nothing.

This library haul had a 75 percent success rate, with The Far Field being the concluding chapter (heh) of that rate.

And – as it sometimes is with good stories – with this one it’s hard to put into words what exactly is good about it. It’s not like the naive, spoiled protagonist is easy to love, nor are the other characters particularly likeable. The plot could well be called Eat Pray Love with poverty tourism, so honestly, Madhuri Vijay had the stacks against her.

But there’s so much humanity in these characters and their stories. The randomness of things, people and situations brought together and bringing the worst or the best out in each other. You could say that the protagonist leaves a trail of destruction behind, but does she even have that kind of power? What is there to destruct in a war zone?

This book is coming of age, a rapport of ordinary life in contested country, a confrontation with bias. It’s written in such an appealing way that sometimes the plot arrives second because you’re just enjoying the words.

It’s good.

The Far Field, Madhuri Vijay, Grove Press 2019

Giri/Haji

8 x 60 min.

So many detectives, so many ways to be disappointed by them because they’re all the same. Moody unlikely hero, bitter and/or cheerful sidekick and a case that Might Be Connected to their past. You know them.

giri hajiWell, everyone is pretty moody in Giri/Haji, that’s something that’s hard to ignore. And except for the lack of che- wait, let me start again.

Giri/Haji is a Japanese/English production which mixes yakuza with London gangs, international police teams, family connections and men unable to share their emotions. Some of them are cops, some of them are criminals. There’s victims of bad personal decisions all across the board.

And all of it just so_damn_cool. Of course, it’s impressive story lines and colourful characters, but just the COOLNESS of it all. No murky colours or badly lit scenes, not the same buildings in London always shown, but above and beyond, gutter and higher.

A show that leaves you behind satisfied, even though you may not agree with the proceedings.

Giri/Haji, Netflix 2019

 

On Earth We’re Briefly Gorgeous

Let me begin again.

Golly gosh, how to explain this? It’s a memoir, it’s a fever dream, it’s an obituary – maybe? And did I like all of it, any of it, only the parts that I read at night? It was, in a way, beautiful, though. A kind of experience hard to put into words.

On Earth We’re Briefly Gorgeous is one of those titles that seem to be singing around in ‘Serious Reader’ circles for a while. It’s not loud enough to feel like it’s been hyped, nor is a celebrity book club attached, but there is the vibe of “Haven’t you read it yet?” around it. To me, anyway.

Ocean Vuong wrote poetry before, and it shows in his descriptions, his look on life, how it feels like he weighed every word before putting it down. It’s in juxtaposition with the subjects he writes down: the suffering of his grandmother and mother, the lack of family, being an immigrant child, being the only different one while growing up. All of it feels absolutely anchor-less.

Can you have an opinion about something that runs through your mind like sand through your hands? I’m sure you can, but I’m just going to stick with ‘an experience’ and a weird feeling of honour that Vuong allowed you in.

On Earth We’re Briefly Gorgeous, Ocean Vuong, Penguin Random House 2019

Parasite

132 min.

As is known by now; I’m not that impressed by lyrical reviews. If the words ‘needs an Oscar!’ pass by, I roll with my eyes. There’s two reasons I still went to go see Parasite in theaters: I was curious, and I had a free ticket.

parasite posterNow I’ve watched it and don’t know how to review it without giving the story away. But honestly, wow. Parasite moves through different genres and scores with every one of them. It doesn’t have to be a commentary about rich versus poor, about housing and loans; the images are there and clear enough.

So yes, it’s a story about a poor family that worms its way into the heart of a very rich family. Yes, you’re very probably going to have to read subtitles as well (unless you know Korean). But holy heck, what did I just watch?

It’s beautiful and sharp and cheeky, until it isn’t. It’s daunting, until it turns into something worse. It’s over two hours and only very few times that I felt like checking the time remaining, because you have to pay attention. Or rather, you want to. And in some way I feel like watching it again already – let me go back to the family.

Parasite, Neon 2019