Hi everyone! Apologies for the rather erratic posting lately, but ,the good news, is that recent travel has produced for us a new and interesting festival review! The Telluride Film Festival (held in the wooded box canyon of Telluride, Colorado) is a very special event indeed. The massive views that stretch all around the small town have, for 46th year in a row now, accompanied and welcomed many a filmmaker to network, experience great cinema, and showcase their own films with pride. The venues aren’t huge, the badge prices shoot sky high (though I bought individual tickets), and there isn’t a whole lot to do between films, besides slowing down to have sit with a coffee, or going to the only bookshop around to give look see (it's all wonderful, don't get me wrong). Great creatives continue to come and celebrate the craft of cinema in, what I can only describe as, an event and place of serenity, contemplation, and exposure to the best of cinema, as well as in nature, you could say.

Attending for this festival for a second time now, I’m very grateful to be able to watch these films with fellow artists, as well as the sweet locals who never seem to turn down an opportunity to chat. Referring to festival experiences this year, I can define SXSW as ‘super fun and educationa’; Tribeca Film Festival as ‘diverse and industry oriented’; and Telluride, I can describe as ‘peaceful, showcasing first-rate work’. Anyway without further introduction, here is my review of the 46th Telluride Film Festival:

The Films I Caught:

1. The Aeronauts

Directed by Tom Harper

Being my first film of the festival, it was very exciting to experience, and was a pretty decent intro for me, as we’ll discuss more of that here.

We travel back to the day of September 5, 1862 in London, England, where bright meteorologist James Glashier (Eddie Redmayne) looks endlessly to the skies in wonder and longing, as we happen to catch him on the big day where he will travel above the clouds, in the attempt to collect readings and research, yes, but more importantly, to break the record of altitude reached by hot air balloon. And on this momentous endeavor joins him, entertainer and explorer, Amelia Wren (Felicity Jones), who will provide the the second half of expertise and company needed on the trip. So, with a big farewell crowd to send them off, they go up; slowly over the cheering masses; then above the city of London, higher and higher, until they reach the clouds, soft and full with moisture. Things are more beautiful than up there than either of them could’ve imagined! But what began as a wonderful experience, rare few had ever partaken in, develops into a unexpectedly lengthy, and perilous quest, fraught with storms, wind, snow, and freezing temperatures slowly increasing with each foot ascended. Together they are discovering absolutely groundbreaking finds as history’s first. But at what cost?

Learning of the unspoken bravery devoted in the name of science and innovation, (and experiencing that here) in the face overwhelming danger, was a fascinating blast! In Q&A, the cast and crew stressed the the initiative they took to mind when portraying this event; showing everything through the eyes of our characters. And with this new feat inciting all wonder and uncertainty, I feel, conveyed alongside these things, was the insignificance of humanity, realized though the torrent of weather and atmosphere, contrasted with those who are willing to risk treading into those climates and for the betterment and further knowledge of mankind.

The performances and stunts from Jones and Redmayne were no less than amazing and commendable, executing these epic scenes with such subtly en pointe skills, that I fear I may take for granted what I see in front of me. I feel they could’ve utilized Himesh Patel’s character more, being Glashier’s best friend and colleague, and the only other scientist who supported him in his studies. And at the launch of the movie, Jones’ character is one of great theatrical and whimsical presence and humor. But as, both, story and treachery progress, her fun face begins to fade, rather giving way to her sides of daring and survivalist. A load of applaudable acts shown, but I’m not certain how I feel about it all (I mean, what other way would, or could, she have acted in that situation. Ohhhh, the gruel of nitpicking). In retrospect, the action was top notch in the stress factor, while the story was pretty basic, but effective enough. This film also serves as a resounding reminder of the fact that, throughout history, there have always been naysayers in plentiful amount to beat down and ridicule people and innovators presenting their newest ideas and concepts; some of which, seem to challenge the fabric of reality itself. But with each progressing generation, more and more of those social, scientific, musical, and artistic revolutionaries have continued to step forward and above those many voices, to accomplish the feats and bring to fruition the works of which great research and belief is instilled into. (Got a little carried away there, but) To finish, this film left us nicely resolved in this story, but open ended to the visibly astounding advancement of the science and technology we have reached today, over 150 years later; it gives us the same sense of wonder and curiosity (experienced by humans for centuries) for what has, and may continue to, transpire with such brave and persistent souls willing to tread into the unknown for what they believe in.

Streaming Now on Prime Video

2. Uncut Gems

Directed by Josh and Benny Safdie

Upon my entrance into this movie, I heard a familiar, soft-spoken voice, to my left, dubbed by the heart of Brooklyn, and one that I had laughed so hard over for many years, and many movies; Adam Sandler was his cool self, greeting everyone outside A nice little treat, huh?. And, as far as I was concerned, I was just thrilled to see him, with remaining excitement for this film I had no clue about. But to my inexplicable surprise, over the course of those two hours spent sitting and wriggling, this would turn out to be my favorite film, by far. So prime those eyes to focus up on this great movie we have.

We walk around in a strange deja vu (of sorts), though not too distant, as we go back to a New York City of 2012, where Howard Ratner (Adam Sandler) is a noisy, prominent jewelry store owner in the crowded hub of Times Square. He is a successful businessman, dealing to all manner of celebrities and customers that come for a serious look at only the rarest and most exotic of accessories. But at home, we see him as less of a hero. He goes to all of the Bar Mitzvahs and to Rosh Hashanah, sure, but his dysfunctional family is falling apart under his watch, and he is in final stages of marriage, leading to divorce with his weary wife (played by Idina Menzel). A workaholic, he leans into the highs of his work life as an attempt to escape and ignore the sense of grief for his, basically, lost and indifferent family. But home isn’t the only place where problems have begun to run rampant, as Ratner's style of business, involves the dark exchange of some lies, and even more money; overdue loans for which collectors have started to violently crawl around for. And as tensions drastically rise with each decision, threat, and dollar bill, our sly, loud-mouth character is forced to go on a gritty, and heart-bursting journey to get the money, make the deals, mend ties to his family, and just be a good person from now on. But all of that’s not going to just happen, now is it?

This unconventionally thrilling drama tells a lot of stories and lessons, from the consequences of greed, to family, fear, and deceit stretching all the way to gambling and fatherhood. We lie witness to atrocious and unspeakable acts from virtually every party in this story. Our main character even remains one that we don’t necessarily admire, but are rooting for to bring this nightmare to a close. But, alas, it is the foolishness of man that leads many a tale to tragedy and ruin.

Adam Sandler’s performance was truly gripping! And, luckily, he wasn’t all that far from where he needed be in order to play the screaming, sneaky, though somehow still likable, middle-aged businessman from Brooklyn (with all due respect); seeing as how most of his lighter, slow-witted movie personas burst into untamable anger, at some point or another, and, in this case, also giving us a individual, inside view of what it means to Jewish in a jewish family. He did not let his funnyman out, knew the perfect timing of everything that needed to happen, and just didn’t let up. Same exact thing with the storyline. It certainly is one that leaves the viewer jumping around with bottled adrenaline afterwards, though only through the relentless laying of stress through endless screaming, brutality, and a gripping narrative. Sounds a little excessive, I know (and I mean these as pure compliments), but, I swear to you, that there is not one dull or lagging moment. There’s a feel of never ending. Everything plays like a well oiled machine that, whether in the air of immense pressure, or just moderate pressure, will never lower you level of engagement. I’ve never really experienced energy of this magnitude from a film before.

Now, to briefly cover a few of the other things in and about this film, other cast members that performed very nicely were: Lakeith Stanfield, former NBA Champion Kevin Garnett, and Eric Bogosian. Sandler, though having taken on dramas before, treally upped his game, and show of talent, with this movie. Comedians, I think, are some (out of many) of the most interesting people to watch explore other fields. Being a very sharp, very observant group, they, along with their stage presence and talent, can bring some brilliant insights to the table of anything they’re a part of (some great examples including, Bill Murray, Jim Carrey, Steve Carrell, among others). Anyway, A24 (production company) never ceases to astound me with their constant bullseye for acquisition (and films with such great music too), and, I'm usually very apprehensive about giving out such stellar ratings and predictions, but, I think I'm confident in saying that, both, the film and acting are of Oscar material; or at least Oscar notice. Forgive any crazy/repetitive glee exhibited int his review, but it is a real gem (an Uncut Gem? Probably). Make sure to go watch it!

In Theaters December 16

3. Judy

Directed by Rupert Goold

In this new biopic of legendary American entertainer, Judy Garland, we are reintroduced to the woman in the larger than life personality she held on and off the big stage, her iconic role in history, and the immense toils she dealt with throughout her life. The film begins by portraying a weary middle-aged Garland, past her golden years, as she spends her time traveling around with her kids performing, and scraping to get any work she can at no-name venues. Finally, tired of not being able to properly provide for her children, she decides to leave her family for a time, to take a new opportunity in London, where her reputations still lives strong. With the money made there she will be able to make a more than a decent living, and spend time with her children, once and for all, leaving the unsettling presence of her snide ex-husband out of the picture. In the UK she again becomes familiar with the long and hard hours of show business, but also with an old drug and alcohol problem. And with this addiction rearing its ugly head, we have only to idly sit by while the unfolding of her concluding legacy holds its delights and memories, along with its demons and traumas.

This story, being an interpretation of real life events, I found it to be very surprising in its melancholic aspects. I had no idea of the pain and suffering Garland endured over her many years in the cruel business, dealing with horrible people. I really felt for her.

This film also, partially, served as a dig to the past buildup, contributing to the post #MeToo era, where terrible men got away with terrible things so easily (virtually all major males in this movie turn out to be jerks and bullies), and where Garland’s early years with MGM were dictated by a super unsettling and creepy studio executive. And though all of these circumstances affected her greatly, in the way in which she dealt with the world around her, she always seemed to find a way to help others in ways she couldn't help herself. And this is one of the redemptive qualities of the movie.

Moving to happier things, Renee Zellweger’s role as Garland was really fascinating to watch. Her eyes squinted in very similar manner; her hair, the clothing, and the delightful midwestern/southern accent of drama were really outstanding, and painted a great portrait for younger generations (like myself) who aren’t all that familiar with name of 'Judy Garland, past The Wizard of Oz. Her singing voice, although not amazing, did resemble the strength and depth of Garland's in a few points of splendor. And Zellweger’s ability to bring a torture to the songs she performed, and tell a story in and out of the lyrics, was very impressive and paid great respect to Judy in her talents and persistence.

With this film, I felt the Garland I previously knew, had been stripped of her glamour and was shown as a real human being (almost like seeing two different people now, or rather two different seasons of one person’s life). The set design throughout is outstanding; fantastic in the way that you are really there with the time and characters. And aside from some abrupt editing and bothersome puckering of lips from Zellweger, I believe a due viewing might be greatly enlightening to fans of pop culture (past and present), and ____

In Theaters October 4

4. Family Romance, LLC

Directed by Werner Herzog

From accomplished filmmaker Werner Herzog (Fitzcarraldo, Grizzly Man, Lo and Behold) comes this a fascinating documentation of a Family Romance, a corporation in Japan that rents out people to others for all manner of purposes. If you need a wife for sometime; if you need a new coworker to take the blame for you at work; a father to walk you down the aisle; what about a crazed paparazzi to follow you down the street; you got it! The universality of this business concept is one that really makes the audience think, about culture, emotion, love, and sense of belonging.

In this dramatized version of reality, we follow the founder/CEO of the bizarre rental company, Yuichi Ishii, as he goes about his daily meetings, playing the roles requested by so many. And though he facilitates giving customers fake surprise parties, and many events of the like, his main role portrayed in the film is that of the long lost father to 12 year old daughter, Mahiro. He is hired by her mother to ‘walk back’ into their lives, and take on that role that should never have been rendered absent. It is a heartwarming dynamic that gives real context and meaning to the rest of the movie.

One of things depicted with authenticity is the beautiful and unique culture of Japan. In Tokyo (the setting of our story) is where it's completely normal for ancient temples to meet a hotel run by a robot waitstaff; here we see that strange, yet graceful connection. And with all these things (not that they help anyway), loneliness is a real problem in that country. In the Japanese culture, there is a common practice of hiding your true feelings and passion, known as honne. This superficiality is what can, and does (expectedly) lead to some real problems in making true relationships; a problem that is also proven in statistics (don’t have time to go through, read more here).

In the Q&A afterwards with Herzog (and one of his bright students, Roc Morin), the German director spoke of his instant infatuation with the project, how he swiftly bought the rights before anyone (including an inspired Ryan Gosling), and gave a little enlightenment to the film's narrative, without over-intellectualizing. One of the things he was set on conveying, through the great (nearly without borders) act from this one man, was the fabrication reflected in our own lives, and when, where, and how we put that metaphorical mask on our faces in daily life. (Reminds me a bit of Leos Carax’s 2012 film, Holy Motors). What a true jackpot of a story concept to work on, captured by a mind who sees on multiple levels between reality and fiction; we, the audience, are given something that has never really been seen before, and within strange grasp.

Coming Soon

5. Waves

Directed by Trey Edwards Shults

Walking into this film, I completely wasn’t sure what to expect (as is with about half of the films I go into), but it was a sure surprise in many ways, and I'll now attempt to convey these uncovered treasures.

We follow a Floridian family, oberseving their model of a ‘perfect’ life, and the hustle required to keep that lifestyle up. Ronald (Sterling K. Brown) is a hard working father who tries to bring up his kids in an easier, and wiser lifestyle than he knew growing up. Daughter, Emily (Taylor Russell) cruises by in school and in life, a sweet girl, with that healthy tinge of little sister snarkiness. But older boy, Tyler (Kelvin Harrelson Jr.), on the other hand, popular in school, a good student, and a healthy, ambitious young man, has a little more pressure on his side, with his Dad teaching and living, rather strictly, through the success he does, and hopefully continues to, have. Everything is complete for Tyler; he has a good relationship with his family, he loves his sport of wrestling, and he has a beautiful girlfriend, Alexis (played by Alexa Demie). But when a checkup at the doctor reveals a rather debilitating diagnosis, Tyler slowly begins to descend into darkness, and the flaws of everyone he knows and loves are illuminated, and seem to culminate into a massive spiraling down of his entire family.

This film touched on some pretty difficult topics, reintroducing them in a vibrant, and intimate setting of suburban Florida. The movie launched itself with a great momentum and comprehension, and as we slowly fall with the group of people in this story, we really start feeling every tear, and every ounce of pain, both physical, mental, and emotional; everything is really immersive in that way. Throughout, we receive glimpses of racism, peer pressure, depression, anger, and fear, among the many moral pockets this tale holds. And, though, the way in which Ronald bestows life advice and teaching to his son isn’t always proper (often carrying a sprinkle of toxic masculinity), one of the profound things he said was that, as an African-American man, ‘I'm tough on you cause I love you. We have to work ten times harder than others just get the same place. It's not fair, but it's the way it is’. Sad, and interesting to think about for a bit.

As for the performances that guide along our narrative, Kelvin Harrelson Jr. was a great choice. I last saw him in Julius Onah’s Luce at Tribeca Film Festival this year, and the thing about him that sticks out to me is his ability to give decent delight, and then bring a massive unsettle to the audience with his erratic and mysterious personality. Sterling K. Brown is bold and affective as usual, and gives some great scenes, portraying a man who does have great intentions for his family, but is unable to properly show them until made vulnerable.

Taylor Russell, though, was the real scene stealer, as her kind character takes over the reigns of the story in a most interesting manner. I don't think I've ever seen a conjoining of narratives quite like in this film before. I’ll stop there (no spoilers).

Dedicating huge praise to the director, Trey Edwards Shults (It Comes at Night, Krisha), Waves is a colorful, and very difficult story to take in that breaks your heart into harsh shards, before mending it to better ends, with hope. The sense of resolution is not given without its hard consequences, and the masterfully selected music works wonders in augmenting the moods of each scene. Prepare yourself for an audio-visual ride of the year, for, and by, the very soul of man (in a good way).

In Theaters November 1

6. Marriage Story

Directed by Noah Baumbach

Written by a delightful director, Noah Baumbach (The Squid and the Whale, Greenberg, The Meyorwitz Stories (New and Selected)), I was very excited when I heard this new film of his would be showing. Unfortunately, the Q&A screening reached its audience limit long before shining on me, but I still got to see it with a festival audience, so not all that bad.

Anyway, in this wonderful ‘dramedy' before us, we observe the witty and lovable relationship creative husband and wife, Charlie (Adam Driver) and Nicole (Scarlett Johansson) have; the former, a prominent, decisive stage director, and the latter, a less successful, but no less talented actress, ready to score. The two share an imaginative young boy, Henry (Azhy Robertson), who produces enough innocent quips and odd facts to keep the two happy and on their toes with every minute of free time. Life for the New York City family is perfect, full of little quirks and mannerisms and rules of habitation; life is just good. But rather suddenly, in one momentous season of life, a dysfunction starts to develop between Charlie and Nicole (existent and building, seemingly, for years beforehand), as their dreams and aspirations, as well as character flaws, begin acting as substantial obstacles between the two; so much so that divorce is finally dealt on the table, with each soon prompted to hire lawyers of their choice. Nora Fanshaw (played by Laura Dern) is quickly recruited for being a sharp fighter, and a friend, on the side of the wife, while family lawyer, Bert Spitz (Alan Alda) comes out of a semi-retirement to help Charlie settle things as cleanly and respectably as possible. But through the negotiation, and splitting of possessions collected over their many years of intimacy, the cardinal aspect of it all, what really makes the separation messy, is the handling and ruling of precious custody over little Henry. And this journey, though at many times being incredibly sad and shocking, is a surprisingly humorous and light hearted venture, where the definition of ‘divorce’ is kept at a level (mostly) of respect, true to the heart, and doesn’t automatically define the premise of a horror/thriller, of sorts (paraphrasing of someone else’s line, right there).

I loved this film! It carried just the right balance, of being a slow moving romantic comedy, while also touching on some painful places our characters experience. Baumbach knows how to consistently give a comforting and neutral atmosphere to his stories, reminding me of rather closer-to-earth visions of what Wes Anderson’s films convey in mood and moral (very true, also because of the fact that they are good friends and frequent collaborators in real life). I’m pretty hesitant to use the word ‘quirky' or 'awkward’ to describe the sensation of Baumbach’s subtle dialogue, but they are what I'm stuck with for now. Great in any respect! This cast of top notch all-stars was a great ensemble to share the screen, with Driver especially giving a likable and interesting performance (the ‘whimsical' dynamic between Johansson and Driver is one of the subtler highlights of the film, for me). Some other familiar faces were brought to the scene, including a scatterbrained performance Merritt Weaver (in character, of course), Ray Liotta as his intense self, as well as a babbling cameo from good old Wallace Shawn.

This story, again, gives some lovely contrasts, traveling across to the, near, extremes of each spectrum, with each event; countering positive, or negative, and how abstract am I gonna get??. The writing of scenes and immersion in characters’ personalties and beliefs was so so fun to watch and listen to, and, on a closing note, definitely make sure to see this with someone. Why you ask? A good story of love and heartbreak like this should be shared with your closest someones in life. Just gives meaning to the whole experience. Thoroughly, enjoy (P.S., Eating distracts the movie watching experience, I’ve learned. FYI)!

Streaming on Netflix December 6

7. The Report

Directed by Scott Z. Burns

The Wednesday of the week before last marked 18 long years since the disastrous attacks of 9/11 took place, when jihadists from Al-Quada hijacked 4 airliners, and claimed nearly 3,000 lives on American soil, one fateful morning. It still feels odd to even mention this disaster, still fresh in our minds, as we near a 20 year stretch of time. Truly crazy, but in this film, we are granted a bitter reminder of what happened that day, how it affected our country forever, and the (good and bad leaders) wandering blind and in shock after receiving such a blow. In these circumstances is where our story is conceived.

Our story follows government employee, Daniel Jones (Adam Driver), as he busily works, more specifically, as a staff member for the Senate Intelligence Committee. We are now nearly a decade past 9/11, where our country has recovered in a variety of ways (many good, many bad). And under a new presidential administration [Obama], and with life seeming to move in motion again, looking towards the future, Jones, through a variety of limited sources, slowly begins to uncover truths behind a government program set in place by the CIA to integrate the use of systematic torture in extracting information from detainees seized in the wake of the War on Terror. The methods, dubbed “Enhanced Interrogation Techniques”, included anything from waterboarding, to sleep deprivation, stress positions, and confinement to small spaces, amongst other atrocities of the like, conducted on black sites. The “psychologists" that developed the project claimed they knew the universal underbelly of the human mind, and that, with that knowledge, they could produce viable answers from prisoners, despite the fact that violent torment and probing had been proven unsuccessful by the CIA multiple times in past years. And so, with the eternal initiative to keep all branches and levels of authority accountable in the US, Jones, backed by California Senator Dianne Fiennstein (Annette Bening), against the increasingly paranoid CIA, poised, sets out to study years worth of classified records (millions upon millions), and go back into the past to uncover the secrets of, and bring to justice, those who abused their status with much ignorance and clumsiness, to the fruit of none.

Movies on political corruption have always been interesting to me (The Post, The Ideas of March, etc.), partly because it's always been an ongoing thing. It seems that corruption always stems from, and is present in, any position or realm containing wealth and power. Not that that is what necessarily went on here; just an unfortunate observation. This film also makes you wonder about all of the things we don't know about in our system (exactly like with government whistleblower, Edward Snowden), what else is still sitting around us, and what new secrets are being planted now in the tumultuous Trump Era. Well, I do know one thing; I certainly am thankful for the people who have risked their livelihoods, reputations, and careers to responsibly alert the public (and in some cases, even the president) to realities that, otherwise, might never have been revealed if action was not taken. Very fascinating, all of it is. Moreover, to portray some of the other heroes and villains in this story were talents including Jon Hamm, Michael C. Hall, Ted Levine, Jennifer Morrison, and Ben Rhys. I really liked the push and pull, 'Nolan-esque’ way in which they show the present time of 2014, to the uncertain times of the 2000s. Flashbacks are ever so helpful.

A very commendable story, made in a decent and engaging way, that takes you on a stop-and-go drive of tensity, mystery, and deceit that’s sure to enlighten you to only one more thing we don’t know.

In Theaters November 15

8. Lyrebird

Directed by Dan Friedkin

I heard many mixed opinions about this film before deciding to give it a watch, and found some to be true, and others, false. We’ll see what, exactly, here in this review.

We begin this true story just after WWII, as we tread through a weary and recovering Germany. As a result of the recent abolition of the Nazi regime, many seek to bring to justice (put to death) soldiers, officers, and conspirators of the infamous party that brought about so much death and destruction to the Western world. Our main character, British officer Joseph Piller (Claes Bang), scouts the city (maybe Berlin) for these elusive suspects, and along the way, uncovers a series of classic paintings; valuable masterpieces sold to the Nazis during their thirsty reign for wealth and power. Finally, tracking down the painter who dealt in the transactions with the group, an eccentric Dutch artist by the name Han Van Meegeren (Guy Pearce), Piller holds him under house arrest for further questioning. But as time goes on, and relations grow, evidence begins to point away from initial beliefs of conspiracy, and, in fact, start to reveal a story more fascinating than could ever be imagined.

While the movie itself could’ve carried a little more “oomph” and conciseness, I found the story to be pretty fascinating, giving proof to the old saying: “truth is stranger than fiction'“. This seems a bountiful era to delve into creatively and cinematically, with more than a few post-WWII films at this festival, horror films like Overlord releasing last year in theaters, and many dramas, able to integrate that time of tumult beautifully into the story (or sometimes not). The mid-40s set design was great, and authentically subtle.As for the characters, I had my ups and downs with them. The main protagonist, Bang’s character, in short, kind of got on my nerves. He didn’t interest me as a person, and brought along with him a boring tangent of sloppy romantic interest. As for Pierce’s performance, it wasn’t groundbreaking, but he was certainly much more engaging as a character. His charismatic nature and seeming, entertaining, intellect reminded me exactly of Johnny Depp in his finest European play. Good or bad? I don't know; just fun.

And surrounding the decent casting (also including talents, Vicky Krieps and August Diehl), the story was one that took the rule of ‘show, don't tell’ a wee bit out of proportion. Your level of attention will need to heighten to comprehend the narrative in retrospect a little better (or, at least mine needed to). (Ending on a bit of a higher note) This is a nice watch, with a bunch of thrilling factors comprising a pretty bizarre tale, but it is definitely a lower selection on the docket of films I have here.

Coming Soon

9. Portrait of a Lady on Fire

Directed by Celine Sciamma

Set at the close of the 18th-century, our story begins with a subtle introduction to Marianne (Noémie Merlant), an artist who teaches (girls mainly) the drawing and painting of the female figure. One day though, she departs from her studio, as she has received a new commission to paint, and travels (with no ease) to the quiet isles of Brittany to meet her new customer. La Comtesse (Valeria Golino), a distinguished countess of sorts, has brought the artist all this way to paint a portrait of her adult daughter, Heloise (Adèle Haenel); a marriage portrait to send to an unfamiliar, but wealthy Milanese bachelor. But, with the stubborn girl, infamously, defacing all other painter’s work of her image, Marianne is instructed with the difficult task of secretly committing Heloise’s entire being to memory. Heloise, who has been “locked up” for years with reasons of caution), since her sister’s unfortunate death at the cliffs by the near sea, is finally allowed to venture and run around once again; provided that the new ‘woman’ [Marianne] accompany her. So each with their own interests at heart (one to soar free; the other to complete a hired work), they set out on daily trips, across the field, to the shore (Marianne then quietly retreating after each outing to create an image of beauty, digging deep into her mere impression for inspirational guidance), where they slowly begin to converse with one another, and open up, until a nice relation has been established. But as time goes, and visual study of Heloise becomes more necessary, and more desired from Marianne, the two women develop a mutual interest in one another; an infatuation that soon crosses the bounds, solely, of friendship, birthed into a new, and beautiful connection that takes us on a stunning, and sensual journey.

This film was, itself, a fine piece of art, as we scroll through countless shots of scenery, and such, that jump out to the eyes, or wield their impact in more unannounced ways; we deal with all of these visuals right alongside the artist’s sense and struggle of getting it right the first time, and doing it in a way of empathy and respect to the subject involved. The set design showcased throughout this festival has been wonderful, immersive, and authentic, ranging from the 1780s to the 1940s, late 60s, and early 2000s; reviving our view of these eras, however distant, and reminding us and teaching of these times in parallel to our own, as well as, all of humanity’s existence.

The performances given by the two women were great, and took a firm leadership throughout the film. While Merlant was soft, but bold in her states of absorption and discernment, Haenel held a truly piercing gaze, and and was stoic in her observation of the open world around her, not easily showing her underlying emotional slate. The romance between the subject and the artist was an interesting contrast to see play out, as both rose to the same level of understanding and awareness of one another to convey their love simply, but beautifully. Another interesting remark silently stated in the film is one involving no men. Any male involved in the storyline of the movie, is a role either absent, or offensive in promoting the patriarchy that was set for hundreds of years. With this form of sexism, alongside the hard set, traditional model of marriage, this is, somewhat, a tale of joy inside tragedy (some parts fleeting, others lasting), where characters Marianne and Heloise, represent the fore front of those who do identify, and have, as being gay, or feminist throughout history.

Otherwise, our glimpse of this distant age never ceases to fascinate through means of what innovation was present, and how human relationships have, or haven’t, morphed and reconfigured over time to give us what we have today, amidst technology and infinite distraction. This film gives profound and cinematically gripping visions, while also telling a collective story of the people who would continue to endure hardship and ridicule for another 150-200 years, for merely living an “unconventional” life.

In Theaters December 6

10. Beanpole

Directed by Kantemir Balagov

Set in Russia, just after the conclusion of WWII (which seems one of the more unseen countries, stricken with poverty during the war), our story surrounds a shy young woman named Iya (Viktoria Miroshnichenko); once a soldier on the front lines of war, now volunteering as a nurse, and helping others cope and recover from the same injuries and the trauma that got here invalided. Also, a girl of unusually grand stature, she is dubbed with the with the obvious nickname, ”beanpole”. Through her long days of cleaning and bandaging, quietly staring without a word, she becomes a set of watchful eyes amidst a place of hustle and bustle representing a healing country. Working alongside her in the halls of the old hospital (and similarly returned from the field of battle) is longtime friend and roommate, Masha (Vasilisa Perelygina), a cheery, and grinning presence of fun; a real risk taker. Together, the two pals make a nice match, laughing, playing, and sharing jokes, on and off work. But with a recent accident driving their relationship to very strange places and understandings, we start to see each character slowly evolve into something just little less sweeter (for lack of a better explanation), hopefully, to return to an area of forgiveness.

This film, as with most every selection here, showcased great set and wardrobe design that really brought across the sense of what life was like in that time; the food, the amount and type of work, and the general climate of things. The narrative was interesting, and nomadic in a way that aimed to cover everything, but, ultimately, just wandered, simply put. But in the existent moments of clarity and engagement, I was a firm believer in the tale before me. Though, there were a lot of weird things; there was a child that died that seemed to receive no real mourning; a blurred line between friendship and romance between the two that reached very bold, very physical bounds; and, to my recollection, their never appeared to be any reconciliation or general acknowledgment of events between the two. So, I guess I just a have a problem with the portrayal of/and technical parts of their relationship then, because (though holding some other faults with the movie) this is actually a really beautifully shot, wonderfully colored work, that does immerse you the humble days of 1945.

So, other than my grievances stated prior (and with disinterest to tread further), I don’t have a whole lot more to say about this film, past discussing its high highs and its low lows. It gained some great reviews from others, and seemed to astonish fellow festival-goers, but, very unfortunately, it didn’t stick to me in any profound way that made me desire a second taste of any kind. Definitely worth checking out just for the cinematography though!

Coming Soon

Conclusion

So there it is. 10 films that we have delved into (good or bad), emerging more knowledgable in retrospect, and, hopefully, also leaving withsome insights that hold traction, and ring true to most ears. I’m actually amazed at the the degree of excellence of the films shown here, and the different taste and aesthetic comparing to that of other festivals (as was super briefly mentioned earlier). There are certainly some films here on their way to the Oscars, without a doubt, and I hope the filmmakers behind these pieces of art (of whom I neglected to touch on a bit more) will receive such honors for their hard and gorgeous work! Thank you and congratulations to all of the artists recognized and showcased in this festival! Keep it going.

And now, I thank you all; all of you reading, and to those who stuck around this long (I know this is very lengthy piece, but consider it a buffet on me, right? Pick and choose). I do ever so much enjoy thinking about all of these films, drafting and writing, to eventually release these curations and collective perspectives, into the world, and right to you all. I hope you enjoyed this edition of Luminary View, and, also, do be excited for some great and diverse pieces coming up in this last quarter (super thrilling)! Thank you, have great week, and until the next on of these things. Cheers!

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