BORN IN FLAMES (1983)/ Dir. Lizzie Borden (US)
PREVENGE (2016)/ Dir. Alice Lowe (UK)

Alice Lowe – how I do covet a friendship with thee. What mind must a person have who writes, directs and stars in a luridly violent revenge horror/commentary on antenatal depression, with such merciless black humour and glee? The mind of a suspected genius people – Ladies and gents, please welcome Alice Lowe.

In a film unashamedly Marmite in its appeal, this SIGHTSEERS-influenced black comedy follows single and heavily pregnant Ruth, who suffering from some paranoid delusion is convinced her unborn child is telling her to kill people. Ruth complies and complies again, each murder more bizarre than the one before.

While I felt the relentless grimness with the deadpanned delivery of humour worked well as an indictment of the romanticized notions of pregnancy; the patronising lack of distinction between mother and child – in particular the ways some women speak at a pregnant woman as if she’s just a barrier to the baby itself and not an autonomous adult who’s worth acknowledgement; the emotional toll (taken to extreme here) oft forgotten amongst the obvious physical changes a women goes through – I can understand others who may be confused or even opposed to the film’s tone. It’s a bizarre take that just happens to align with some senses of humour (including my own)  but may prove too idiosyncratic for others. This film also contains heavily hinted feminist leanings, heralding the mysterious power of womanhood. Some fragile masculinities may find that daunting.

WHITE COLOUR BLACK (2016)/Dir. Joseph A. Adesunloye (UK/Senegal)
WOMEN WHO KILL (2016)/Dir. Ingrid Jungermann (USA)
NOCTURNAL ANIMALS (2016)/ Dir. Tom Ford (USA)
’76 (2016) / Dir. Izu Ojukwu (Nigeria)
CHI-RAQ (2015)/ Dir. Spike Lee (USA)

Writing reviews usually occur long after watching a film (this year appears to be an eternal age). It’s not always due to time pressures of writing in free time but often because my views can change quite drastically in between the experience of watching and sitting down to write my thoughts. CHI-RAQ was one of these experiences. Intrigued in spite of a preference for Spike Lee’s documentarie, trailers suggested a renewed interest in Lee for the narrative art form and I was basically interested in seeing how well a perfectly suitable stage musical (it may very well become so) would translate on the big screen despite my reticence for the genre.  A Greek comedy play adapted for a very modern (and serious) story and with a talented and female centric-cast of the likes of Teyonah Parris and Angela Basset with a much appreciated welcome back to Wesley Snipes, camping it up gloriously as Sean “Cyclops” Andrews, I was very intrigued and quietly excited.

I’ll be honest and state that my initial response to CHI-RAQ was ambivalent at best. The film seemed so disjointed and those are issues that I contend with today. Scenes don’t appear to fit and the tones shift so widely, I wasn’t always convinced the people on screen always knew what was going on or what story they were trying to tell . The film is essentially a collection of set ups and clever mise en scene, odes to classical musicals of old but lacking a certain charm and conviction to pull it off. There are, however, stand out scenes and set-ups that harkens back to the energetic flare of Lee’s DO THE RIGHT THING but the film also demonstrably runs out of steam with a contrived and unsatisfying ending that still grates.

Despite all of this the film works in places because of the irresistible charm and gameness of its cast (SIDE NOTE: there are exceptions to this. Nick Cannon for one –  I will never be entirely convinced by him, especially as a gang leader. He seems to be aiming to be Will Smith in his prime but without the Fresh Prince persona to prop him up. Also John Cusack, stop channeling that inner Nic Cage. The relentless scream-shouting was just weird). CHI-RAQ is also one of the few films where rhyming verse is actually made to work. While it takes time to get used to it, there become moments when even a level of potency in its poetic-ness that may not have been as obtainable in ‘straight speak’. The script is possibly what elevates my initial ambivalence to affection.

The understanding and appreciation of rap and R’n’B make for an ideal pairing to the world of CHI-RAQ. The most memorable track is the opening Pray 4 My City (performed serviceably, I’ll concede, by Nick Cannon, sounding strangely like Kanye West) an abrasive, tense anthem that sets the tone of the very real and violent world the audience is about to enter. As it is based on a comedy play, the laughs are evident but the underlying tragic consequences of the violence that dominates is never far away. At times that switch is not seamless and some of the more emotional scenes are almost grotesque in their mawkishness, but are a necessary evil to show Lee’s commitment to illuminating audiences to the level of misery and violence that permeates an aspect of American culture that is too often glorified.

Special mention goes to a convincing Parris as the beguiling Lysistrata, positioned as the desirable figurehead that convinces all the women of Chicago’s inner city neighborhoods to ‘down’ genitals with the slamming slogan “NO PEACE, NO PUSSY”. Most well known as such as Dawn Chambers in Mad Men, Parris repeatedly demonstrated an ability use her black girl magic to grab the spotlight and be part of some of the most interesting storylines as the show progressed. In CHI-RAQ, she’s able to take centre stage and shine, which she does ably. Until the plot goes a little wayward but that’s no fault of hers.

Wesley Snipes as the rival gang leader to Cannon’s Demetrius is also a highlight, reminding us of his comedic chops from back in the day and that he’s quite a versatile actor. Angela Bassett grandly shoulders the film in a level of gravitas as a rather stereotypical stoic black woman; a grieving mother and older resident who remembers when Chicago was a community, relegated to assisting and teaching Lysistrata in her movement. Bassett brings grace to a tired role and a touch of humour as Miss Helen:

Y’all make my tired ass tired.”

Preach sista! That’s a quote for the ages.
CHI-RAQ is a message film dressed up in a good-looking musical extravaganza. While it doesn’t entirely work, there’s enough that does to make it an appealing and also necessary watch. How many modern black musicals exist? That itself should create intrigue. It’s also nice to see Spike Lee go back to his more experimental roots, where I feel he finds the room to produce some of his best work. And to focus on black women and the intersectional oppressions that impact their very existence is really quite remarkable. It may not have the answers to these issues but its appreciated for approaching them in the first place.
For other films that also embody Lysistrata, check out the enlightening doc Pray the Devil Back to Hell

THEIR FINEST (2016)/ Dir. Lone Scherfig (UK)
LAYLA M. (2016)/ Dir. Mijke de Jong (Netherlands)

https://youtu.be/lB0gDLnuI9c

There is something almost formulaic about Mijke de Jong’s latest drama about the fiery young Layla, whom having been radicalized by militant Islam in the Netherlands, travels with her jihadist husband to begin a new life in the Middle East. There is a familiar trope within the modern 2nd generation immigrant story – an outcast in the country they’re born and grown up in, looking for a sense of belonging, they instead find, inevitably, even more isolation and heartbreak in their new land of promise. For Layla this is no different, and while there’s not much tension within the first two thirds of the film knowing where exactly Layla’s heading, it still makes for fascinating cinema in watching a fully realised female character on screen. De Jong’s teasing of a remarkable performance from Nora El Koussour make the most predictable moments of the film more layered.

LAYLA also boasts an impressive climax; once Layla sees through her naivety, it is quite thrilling to wonder how or if she can indeed make her escape and what awaits her after? After burning every bridge she had back home in Europe – especially with her frustrated father in wonderfully strained scenes – the film contemplates what the future holds for Layla in a bittersweet and open-ended final scene. The contemplative air of the film in general also makes it a strong drama – convincingly offering ideas as to why seemingly intelligent independent young minds can be swayed by radicalisation -whilst undermining the oft reactionary and dangerous responses to this real life problem.
LAYLA may not be the most original of stories but it’s offers a thoughtful perspective to the very real challenges affecting our modern world.

MASCOTS (2016)/ Dir. Christopher Guest (USA)
BADEN BADEN (2016)/ Dir. Rachel Lang (Belgium/France)
FURTHER BEYOND (2016)/ Dir. Joe Lawlor, Christine Molloy (Ireland)
KATE PLAYS CHRISTINE [DOC] (2016)/ Dir. Robert Greene (USA)
*SIERIANEVADA (2016)/ Dir. Crisit Puiu (Romania)

If you can withstand a runtime of nearly three hours what mostly static scenes of people talking (sometimes yelling) often for long stretches about various subjects including 9/11 conspiracy theories and scenes that feel like Cristi Puiu took a break from his own film and left the camera running, I can guarantee – nay promise you – you will be truly rewarded with one of the best and funniest, saddest and a-bit-to-close-to-the-bone-in-how-relatable-it-is dysfunctional family dramas of the year. SERIANEVADA plays like a stage adaptation done right.

Perfectly pitched to draw the audience with a set-up is so relatable and therefore uncomfortable, SERIANEVADA starts off unapologetically taking its time forgoing explanation for observation. Making it a demanding viewing experience at first, some audiences might find it too much of an ask as seen by a few walkouts. For those that stay behind there are nuggets galore to be found as we follow over the course of a single day, a family gathering for the recently deceased patriach . Much of film is set in the widow’s cramped apartment with too many people present often crowded in the small kitchen or the perennially never-quite-ready dining room; fruitful locations for inevitable clashes. When not in their mother’s house the film keeps it suffocating style with scenes in or around cars. Paired with Puiu’s excellently insightful script and committed performances from its ensemble cast an epic Romanian drama is born. An engaging and wincingly apt observation of the absurdities, horrors and beauty of family.

CERTAIN WOMEN (2016)/ Dir. Kelly Reichart (USA)

A late addition to my Festival list, CERTAIN WOMEN was more of a post-Festival (day after Closing Night in fact) treat. And a treat it was indeed. A fan of Reichardt’s filmography, particularly her penchant for presenting her films as deceptively slight or meandering while in actuality are hefty in tone with a lingering sense of story that stays with you long after watching the film. This happened for me with OLD JOY, most prominently in WENDY AND LUCY and most recently with MEEK’S CUTOFF (and to some degree NIGHT MOVES). For those looking for a more instantaneously gratifying visceral reaction to a Reichardt film – CERTAIN WOMEN may be the closest.

Like MOONLIGHT, CERTAIN WOMEN focuses exclusively on the oft silent voices of society, this case being women and their individual struggles against oppressive social structures. Subtly intertwining three women’s stories of feminine struggles; Laura Dern as an  exasperated lawyer attempting to face down the insidious misogyny of her industry amongst her peers and clients; Michelle Williams as women dealing with generational misogyny and the sometimes unsatisying self-loathing moments of motherhood and lastly Lily Gladstone – in probably the best and most heartbreaking segment of the film – a lonely rancher who forms a deep attachment with Kristen Stewart’s out-of-town lawyer.

Reichardt already sets the ball rolling with her wonderful casting. Laura Dern as the brilliantly caustic lawyer Laura who has to deal with an inept client who ignores Laura’s repeated attempts to tactfully present the futility of persuing ongoing action against a former employer for a workplace accident (because she’s a woman) becomes hostage negotiator and then hostage in the film’s bitingly funniest scenes.

Michelle Williams then pops up as Gina in possibly the film’s slighest segment. Gina travels with her husband and daughter to visit the cabin of a lone elderly man to see if she can purchase the slate he has in on the grounds of his property to be used to build her ideal rustic house. While maybe the shortest in segment and little more than a slightly drawn out scene, the sheer brilliance of Williams and her symbiotic partnership with Reichardt (their third feature together) makes for one of the more slicing argument against misogyny as Gina gently navigates herself this time around and against – generational misogyny.

While I may have came for Michelle Williams, I left the film having falling in love with Lily Gladstone’s The Rancher. The least ‘political’ segment and the most developed segment. Gladstone is the shy and lonely rancher who’s gatecrashing of an evening adult classes leads her to the suitably distracted and slightly awkward Kristen Stewart, who has found herself teaching these classes four hours from home.
What follows is a beautiful one-sided love story as Gladstone slowly begins to open herself up to Stewart and in one beautifully realised scene that would have worked wonderfully in a romantic comedy actually attempts to woo here. I hope it’s not spoiling anything here in saying that the fruits of Gladstone’s labour doesn’t work quite as planned with an ending that should win some Biggest Heartbreaking Moment award. This crushingly emotive scene works because of Reichardt’s direction and Gladstone’s subtlely expressive face . It’s as if the audience is sitting in on a past heartbreak of Gladstone as she silently realizes that what she thought possible might not be. There’s also good work from Stewart as the unwitting target of affection who’s not quite sure what to do when the picture becomes clear. This storyline had strong parallels of Chiron/Black in MOONLIGHT and I found myself strongly wishing that the Rancher and Black would find each other in some parallel universe to become the best of friends. They’d make great wing-people for each other.

Like MOONLIGHT, CERTAIN WOMEN may contain narratives about specific people or experiences but the message and heart is universal. Also like MOONLIGHT the lingering feel of the film stays with you long after watching the film. As 2016 Official Competition winner CERTAIN WOMEN had some hard competition but after 50 or so films over a magnificent two week period, its not hard to see why it won.

Despite 2016 being really a shit-storm of year, there have been a fair few saving graces, namely in culture. LFF 2016 has been one of the best Festivals I’ve attended in years, cultivating a programme of film that can only help the prospect of what 2017 holds that more manageable. If 2017 is anything like 2016, we have film to save us.