SGT. HAANE (2026)

Haane Manahi DCM of B Company, 28th Maori Battalion, whose remarkable bravery was crucial in the 1943 battle for Takrouna's fortified summit in Tunisia.

Tearepa Kahi’s Sgt. Haane arrives as a rare and deeply significant addition to Aotearoa’s cinematic landscape. It is a World War II story told not from the distant vantage point of empire, but from the lived experience of Māori soldiers whose courage has echoed through generations. 

At its centre is Lance Sergeant Haane Manahi of Te Arawa and Ngāti Raukawa, a man whose actions at Takrouna in 1943 were so extraordinary that multiple Allied generals recommended him for the Victoria Cross. That recommendation was later reduced without explanation, a historical injustice that has long lingered in the memories of his descendants. Kahi’s film, however, is not a retelling of grievance. It is a reclamation of legacy, a celebration of whakapapa, and an attempt to bring a story long held within whānau into the public consciousness.

The film takes an unconventional approach to its subject matter, weaving together dramatic re-enactments, archival research, and interviews with descendants of the 28th Māori Battalion. This structure reflects a distinctly Māori way of storytelling, where the past is not sealed away but remains in constant dialogue with the present. Voices of mokopuna sit alongside depictions of their tīpuna, creating a sense of continuity that honours the intergenerational nature of remembrance. It is a thoughtful and culturally grounded choice that reinforces the idea that history is not static but lived and carried.

At the same time, this approach shapes the film’s rhythm. The narrative frequently shifts between eras, moving from the heat of battle to reflective commentary and back again. While this reinforces the film’s kaupapa, it occasionally softens the dramatic tension of the wartime sequences. The ascent of Takrouna, an almost vertical limestone cliff defended by hundreds of enemy soldiers, is one of the most astonishing feats of the North African campaign. Yet the film often describes the scale of the challenge more than it visually immerses the audience in it. The re-enactments are compelling, but they are brief, and the constant return to present-day reflection sometimes interrupts the emotional momentum that the battle scenes begin to build.

This is not a failure of intent but a limitation of scope. Sgt. Haane is not a Hollywood war epic with vast budgets and sweeping battlefield choreography. Instead, it is a film that prioritises connection over spectacle. The soldiers who climbed Takrouna were cousins, all descendants of Ngāti Whakaue from Ōhinemutu. Their bond is central to the story, and Kahi foregrounds this relational aspect throughout. The performances from Alex Tarrant, Niwa Whatuira, and Vinnie Bennett are grounded and sincere, capturing the quiet determination of men who understood both the danger ahead and the responsibility they carried for one another.

Still, there are moments where the film feels as though it is holding back. The audience is told of the overwhelming enemy presence, the heavy artillery, and the near impossibility of the mission, but these elements are only lightly depicted on screen. As a result, viewers unfamiliar with the historical context may not fully grasp the magnitude of what Manahi and his men achieved. The story is extraordinary, almost unbelievable in its bravery, and there are times when the film’s restraint risks making it feel less immediate than it truly was.

Yet the emotional power of the story remains undeniable. One of the film’s most affecting threads is the discovery of Nizar Chhoubi, the last remaining resident of Takrouna, whose family was protected by Manahi during the battle. This connection across cultures and continents reinforces the film’s central theme: that this is not simply a story of war, but of humanity. Manahi was not only a soldier. He was a protector, a leader, and a man whose decisions saved lives beyond the battlefield.

The interviews with descendants add further depth. Their voices carry pride, sorrow, humour, and a sense of duty to keep these stories alive. For those who grew up hearing about Takrouna, the film is a long-awaited acknowledgement. For newcomers, it is an introduction to a chapter of history that deserves far wider recognition. The blend of perspectives creates a tapestry of memory that feels authentic and heartfelt.

Where the film excels most is in its intention. Kahi is not interested in revisiting the controversy of the downgraded Victoria Cross. Instead, he seeks to restore the mana of Haane Manahi by focusing on what truly matters: the courage he showed, the lives he saved, and the legacy he left behind. The film positions him not as a figure defined by bureaucratic injustice, but as a hero whose actions speak louder than any medal.

In the end, Sgt. Haane is a film of immense cultural value. It may not deliver the scale or intensity of a large budget war epic, but it offers something far more meaningful. It provides a Māori-centred retelling of one of the most remarkable acts of bravery in New Zealand’s military history. It honours the men of B Company, acknowledges the whānau who have carried this story for decades, and invites the wider public to understand the depth of their sacrifice and connection.

Most importantly, it ensures that Haane Manahi’s story, once held quietly within families, now has a place on the silver screen, where it can be seen, remembered, and passed on.

Sgt. Haane will have commemorative screenings from 20-30th April, including ANZAC Day, and will be released nationwide on April 30th. Find your nearest screening here
 

ELEANOR THE GREAT (2025)

Eleanor the Great follows 94-year-old Eleanor Morgenstein, played by June Squibb, who, after moving to New York to reconnect with her family, accidentally fabricates a story that spirals beyond her control. Scarlett Johansson’s directorial debut explores themes of aging, loss, family, and truth in a poignant tale of friendship and identity.

Scarlett Johansson’s directorial debut, Eleanor, the Great, is a film that walks a tightrope. It teeters between heartfelt sentiment and moral unease, between laugh-out-loud charm and moments that make you squirm. It’s a story that dares to ask whether good intentions can excuse bad behavior, and whether grief can justify deception. The answer, as the film suggests, is complicated.

At the heart of this tangled tale is Eleanor Morgenstein, played with fiery precision by June Squibb. Eleanor is 94, sharp-tongued, and unapologetically difficult. She’s spent the last several decades living in Florida with her best friend Bessie, a Holocaust survivor whose trauma has been shared only with Eleanor. Their bond is deep, forged through years of companionship and mutual loss. But when Bessie passes away, Eleanor’s world begins to unravel.

Forced to move back to New York and live with her daughter Lisa (Jessica Hecht) and grandson Max (Will Price), Eleanor finds herself adrift. Her family is well-meaning but distant, and Eleanor, ever the contrarian, resists their efforts to help. A misstep at the local Jewish community center lands her in a support group for Holocaust survivors. Embarrassed but encouraged to stay, Eleanor begins to share Bessie’s story as her own.

What starts as a moment of confusion quickly becomes a full-blown impersonation. Eleanor, suddenly embraced by the group and no longer invisible, finds herself basking in the attention. Her tale catches the eye of Nina (Erin Kellyman), a young journalism student grieving the recent loss of her mother. Nina sees Eleanor as a source of inspiration and connection, and the two form a bond that is both touching and troubling.

The film’s strength lies in its performances. Squibb is magnetic, delivering Eleanor’s barbed wit with impeccable timing while revealing the vulnerability that lies beneath. She makes Eleanor’s deception feel less like a malicious act and more like a desperate grasp for meaning. Kellyman, as Nina, brings a quiet intensity to her role. Her grief is palpable, and her need for connection makes her an easy target for Eleanor’s charm.

Chiwetel Ejiofor plays Roger, Nina’s father and a respected news anchor. His presence adds another layer to the story, as Eleanor’s lies begin to attract wider attention. The stakes rise, and the emotional fallout becomes harder to ignore.

Tory Kamen’s screenplay is ambitious, tackling themes of aging, identity, and the ethics of storytelling. It doesn’t shy away from the discomfort of Eleanor’s actions, but it also doesn’t fully condemn her. Instead, it invites the audience to sit with the ambiguity, to wrestle with the idea that sometimes people lie not to deceive but to be seen.

That said, the film is not without its flaws. The narrative occasionally leans too heavily into sentimentality, and the resolution feels overly neat given the gravity of Eleanor’s deception. There are moments when the tone shifts abruptly, moving from light-hearted banter to emotionally charged confrontation without warning. These tonal inconsistencies can be jarring, but they also reflect the complexity of the story being told.

Johansson’s direction is confident, if occasionally uneven. She gives her actors room to breathe, allowing the relationships to develop organically. The friendship between Eleanor and Nina is particularly well-crafted, offering moments of genuine warmth and heartbreak. It’s a dynamic that anchors the film, even as the plot veers into morally murky territory.

One of the film’s most compelling aspects is its exploration of how society treats older people. Eleanor’s impersonation is rooted not just in grief but in a deep sense of invisibility. She is a woman who has lived a full life, yet finds herself overlooked and underestimated. Her lies are a way of reclaiming agency, of asserting her presence in a world that has moved on without her.

The film also touches on the power of storytelling, and the fine line between honoring someone’s memory and appropriating their experience. Eleanor’s use of Bessie’s story is deeply problematic, but it’s also a reflection of her love and admiration. She wants the world to know Bessie, to feel the weight of her survival. In doing so, she crosses a line that cannot be uncrossed.

Despite its uneven tone and ethical quandaries, Eleanor, the Great is a film that lingers. It presents a portrait of a woman who is flawed, funny, and heartbreakingly human. Squibb’s performance is the glue that holds it all together, infusing Eleanor with a vitality that makes her impossible to ignore.

You may leave the cinema unsure of how to feel. You may laugh, you may cringe, you may even cry. But you will remember Eleanor. And perhaps that’s the point.

Eleanor the Great is in NZ Cinemas from October 9, 2025
Find your nearest screening here

Review written by Alex Moulton

A MIXTAPE FOR MALADIES [TE AHUREI TOI O TĀMAKI AUCKLAND ARTS FESTIVAL 2025]

Seventeen tracks on an old mixtape reveal bittersweet memories of a family’s resilience behind every song.

In the world of theatre, few experiences manage to blend the evocative power of music with the unyielding strength of human resilience. A Mixtape for Maladies is one such production that leaves its audience with a lasting impression. Running for 1 hour and 50 minutes without an interval, this show is a tightly woven narrative that captivates from start to finish. With its accessible yet culturally rich presentation, the performance offers an emotionally charged and educational exploration of family, identity, and the enduring effects of conflict.

At its heart, A Mixtape for Maladies tells the story of Sangeetha—a woman whose life was defined by the music that surrounded her in a small coastal village in Sri Lanka. In that close-knit community, music was more than mere entertainment; it was the very bond that held her family together. The narrative is cleverly anchored around an old mixtape containing seventeen tracks, each song evoking memories both bitter and sweet. These tracks serve as time capsules, transporting the audience across decades and continents. From the nostalgic echoes of Dusty Springfield and La Bamba to the tunes of a hit Tamil romantic film, every note is carefully chosen to deepen the storytelling and evoke emotions that resonate universally.

The production unfolds in three distinct yet interconnected segments. The modern-day portion utilises a podcast-style narration, drawing the audience into a contemporary retelling of the past. This is seamlessly interwoven with a historical reenactment that takes us back to 1950s Sri Lanka—a period marked by both cultural vibrancy and the harrowing onset of civil strife. Finally, the live musical performance brings the old mixtape to life. A dynamic two-piece band accompanies the cast, whose live vocal renditions enhance the emotional gravity of each scene. The integration of these elements is done with remarkable finesse, making the narrative accessible and engaging for audiences regardless of their cultural background.

What stands out most in this production is the profound way in which music is used as a narrative device. The old mixtape is not just a collection of songs; it is a repository of memory, encapsulating the joys, sorrows, and trials of a family caught in the throes of a larger historical drama. As Deepan, Sangeetha’s son, plays the tracks one by one, the audience is invited to witness the unfolding of a family saga that spans generations. The songs carry with them the echoes of a lost era, yet they also speak to the resilience and enduring spirit of the characters. This thoughtful melding of music and narrative not only elevates the storytelling but also serves as an educational journey into the impact of war and displacement.

Central to the success of A Mixtape for Maladies is its exceptional cast. The portrayal of Sangeetha, both in her present and past incarnations, is layered and compelling. In the present day, she is depicted as a strong yet tender figure—a mother who is fiercely protective of her son while also carrying the weight of her history. Her character’s journey is a delicate balance of vulnerability and strength, which is portrayed with great sensitivity. Deepan, on the other hand, embodies youthful curiosity and a straightforward approach to life. His interactions with his mother and the unfolding past provide a striking contrast that highlights the generational differences and shared human experiences of love and loss.

The production’s set design deserves special mention for its simplicity and ingenuity. The use of curtains and dividers to shift between different scenes is both practical and artistically effective. This adaptable design not only creates distinct spaces on stage but also symbolises the fluid nature of memory and time. The visual elements, though understated, are rich in detail and help to anchor the audience in the multiple layers of the narrative. The overall atmosphere is one of warmth and intimacy, inviting the audience to share in a collective journey of remembrance and cultural pride.

While the themes explored in the show are heavy—dealing with war, trauma, and the loss of a way of life—the production handles these subjects with care and nuance. The darker aspects of the story are portrayed off-stage, allowing the focus to remain on the enduring spirit of the family and the hope that can be found even in the midst of despair. This approach ensures that while the show is emotionally resonant, it never becomes overwhelmingly bleak. Instead, it strikes a delicate balance between sorrow and the beauty of human connection.

An important aspect of the production is its accessibility. Despite the inclusion of songs in Tamil and Hindi, the universal themes of love, belonging, and cultural identity resonate with a diverse audience. A Mixtape for Maladies transcends language barriers, offering a performance that is both culturally specific and universally relatable. This is a testament to the creative vision of playwright Ahilan Karunaharan, who draws upon his personal experiences and the stories of his community to craft a narrative that is as educational as it is emotionally engaging. The play not only honours a rich cultural heritage but also provides insights into how personal histories can be intertwined with larger historical events.

The show also serves as a poignant reminder of the subtle ways in which small governmental actions can escalate into significant societal changes. By focusing on the effects of war on a single family, the production sheds light on the broader consequences of conflict and discrimination. This reflection is both timely and relevant, offering an educational perspective that encourages audiences to consider the impact of historical events on individual lives. It is a narrative that speaks to anyone who has experienced loss, displacement, or the pain of cultural dislocation.

A Mixtape for Maladies is a remarkable theatrical experience that succeeds on multiple levels. It is a celebration of music, a tribute to cultural heritage, and an exploration of the enduring resilience of the human spirit. With its engaging narrative structure, outstanding performances, and resourceful set design, the show offers a moving and memorable journey through memory and time. It is an accessible cultural event that not only entertains but also educates, leaving its audience with a profound sense of empathy and reflection. For anyone seeking a performance that is both emotionally stirring and rich in cultural context, A Mixtape for Maladies is an absolute must-see.

The Season of A Mixtape for Maladies runs from 4 Mar - 23 Mar 2025 at the ASB Waterfront Theatre. You can purchase tickets here

NAPOLEON (2023)

A look at the military commander's origins and his swift, ruthless climb to emperor, viewed through the prism of his addictive and often volatile relationship with his wife and one true love, Josephine. 

In Ridley Scott's newest film, Napoleon, the acclaimed director takes us on a sweeping journey through ambition, power, and love amid historical chaos. Joaquin Phoenix stars as the iconic Emperor, and Vanessa Kirby portrays his mysterious love interest, Josephine. The movie unfolds as an epic tale of Napoleon Bonaparte's rise and fall, blending intense scenes with moments of lighthearted humour.

Remaining true to Ridley Scott's distinctive style, Napoleon embraces a grand scale with careful craftsmanship and lavish set designs. The film's ambitious vision is evident in its captivating battle sequences, showcasing Scott's skill in creating visually stunning depictions of historical conflicts, from the Battle of Austerlitz to the clash at Toulon.

Joaquin Phoenix's performance as Napoleon is nuanced, drawing comparisons to his previous roles in Joker and Gladiator. He skillfully navigates the complexities of Napoleon's character, portraying a man who is both confident and deeply insecure. The film allows Phoenix to paint a multifaceted portrait of Napoleon, exploring his interactions with peers, rivals, and the tumultuous relationship with Josephine.

Napoleon takes a unique narrative approach by telling the entire nation's story through the lens of marriage. The film delves into the mental and sexual dynamics between Napoleon and Josephine, revealing a tumultuous romance marked by manipulation, humiliation, and infidelity. Vanessa Kirby's portrayal of Josephine adds depth, depicting her as a woman engaged in a prolonged battle of wills with Napoleon.

A noteworthy aspect of Napoleon is its ability to balance tones, seamlessly shifting between gruesome war scenes and moments of playful humour. This dynamic adds layers to the narrative, preventing it from becoming a typical historical epic and humanizing the iconic figure of Napoleon Bonaparte.

At the movie's core is the tumultuous relationship between Napoleon and Josephine, exploring a love that defies convention and power dynamics in post-revolution France. Josephine's open engagement in extramarital affairs creates a complex dynamic that alternately nurtures and humiliates Napoleon. The film dedicates its 158-minute runtime to unravelling how Napoleon's unchecked insecurity shapes both his personal life and the course of history.

While Napoleon excels in large-scale battle sequences, it grapples with narrative cohesion during dialogue-driven scenes. The film occasionally teeters between serious drama and campy satire, leaving the audience uncertain of its intended tone. Despite these challenges, the exploration of Napoleon's character, from a toxic dictator to a vulnerable lover, introduces intriguing ideas that contribute to the film's overall complexity.

Joaquin Phoenix's performance captures Napoleon's contradictions – a leader with vaulting ambition and unchecked power, yet plagued by insecurities. The film delves into Napoleon's mind, portraying his vulnerability and the guardedness surrounding it. Phoenix adeptly contrasts Napoleon's public-facing confidence with the private struggles that define his character.

Amid grand battles and political intrigues, the heart of Napoleon lies in the relationship between Napoleon and Josephine. Vanessa Kirby's portrayal of Josephine, a woman who simultaneously respects, fears, and manipulates Napoleon, adds depth to the narrative. The film's occasional choppiness finds solace in scenes focused on the central relationship, providing a respite from the otherwise brisk pace.

Beyond depicting Napoleon's military achievements and political manoeuvres, Napoleon serves as a character study, inviting viewers to reflect on the broader frailties of humankind. The film explores Napoleon's rise from a Corsican outsider to an exalted emperor and, ultimately, a defeated exile. Ingeniously using domestic life to expand the viewer's understanding of him as a man, the movie emphasizes universal themes of love, ambition, and the consequences of unchecked power.

Napoleon stands out as a cinematic triumph, boldly exploring the complexities of its titular character. The film's grand scale, impressive battle sequences, and the compelling performances of Joaquin Phoenix and Vanessa Kirby elevate it to a noteworthy historical epic. Despite grappling with narrative cohesion and tonal shifts, Napoleon successfully delivers a multifaceted portrait of Napoleon Bonaparte, shedding light on the personal struggles that shaped the destiny of both a man and a nation.

Napoleon will be in cinemas from November 23, 2023

WAITING FOR ANYA (2020)

 

During the harrows of WWII, Jo, a young shepherd along with the help of the widow Horcada, helps to smuggle Jewish children across the border from southern France into Spain.

Waiting for Anya is a drama genre war film, based on a real story. The actual content of the film, in which the entire runtime is devoted, is bookended on both sides with another subplot. The sophomore feature film from director, Ben Cookson, has some structure choices that prevent the film from having a full impact, due to the placement of certain elements in the screenplay (co-written with Toby Torlesse). This subplot shares a character with the main story and is a part of the theme of the main plot, but the set-up is poorly constructed in the first act. We are treated to an emotional sequence with no context, and then the plot thread is left dangling. This dangling thread is frequently referred to throughout the film's runtime but to the detriment of the main story, as the payoff occurs after the conclusion of the main arc.

It's an odd choice, to continually refer to something that isn't directly part of the main story arc, as it prevents the audience from fully engaging with the characters in the main story. Viewers are constantly being reminded that the titular character is still yet to arrive and relegates all other occurrences to set-up and development to a pay-off that doesn't meet expectations.

If you strip the book of its dust jacket, however, Waiting for Anya is a wonderfully balanced dramatic story. Never before have my eyes been privy to a war film that involves Nazi Germany but takes a human approach. These German soldiers are not all the irredeemable killers out to slaughter every person that isn't blonde and blue-eyed. They may be on the other side of the war, but they are still people with their own children, family, and friends, following the orders of their government. Thomas Kretschmann is an incredibly empathetic and charismatic choice as the Colonel opposite the cold and menacing Lieutenant Weissman (portrayed by Tómas Lemarquis).

It is this dichotomy within the ranks of the German soldiers that finally humanizes them. To see soldiers and officers that still have a clear understanding of morality ethics but are simply following orders to protect their own lives. Similarly, the hatred and anger that are often portrayed, come from both sides of the conflict putting forward a diverse mix of personality types; there is no black and white or good and bad, in war. 

From a visual sense, the film is adequate. There are several moments where it is incredibly obvious that the actors are standing in front of a computer-generated background (usually during the dialogue scenes in the mountains. It does stand out and can take you out of what is otherwise a very engaging and authentic film. The performance from the Noah Schnapp (who plays Jo) is well-executed as a young actor. Smart, resourceful, and curious enough with the need for precociousness and overexcitement. 

Simply put, the choice in title creates somewhat of a red herring and misdirection as to the narrative direction of the film. One expects Anya to have a greater significance is Waiting for Anya, but this is Jo's story of balancing friendships, evaluating trust, and being able to see the good in people, no matter the uniform that they wear. 

Waiting for Anya is in cinemas from July 22, 2021

Originally posted to: https://djin.nz/Kr8892

SIX MINUTES TO MIDNIGHT (2020)

Summer 1939. Influential families in Nazi Germany have sent their daughters to a finishing school in an English seaside town to learn the language and be ambassadors for a future looking National Socialist. A teacher there sees what is coming and is trying to raise the alarm. But the authorities believe he is the problem.

It is incredibly difficult to screw up a film with the Nazis involved. At least up until recently, there has never been a more polarizing separation of good and evil, as there has been between the Nazis and whoever happens to oppose them. Human sterilization, experimentation, forced breeding, death camps, and the slaughter of minorities, are all aspects that the world used to unanimously agree were bad things. 

Simply from the sight of a Nazi swastika, the audience knows who the villains are. And yet, here we are, muddying the waters by combining Nazi high command's daughters with an Anglo-German British spy in pre-world War Two times. All of a sudden, the audience is in a position where the characters need to be developed to fully recognize who is good or bad. If only Six Minutes to Midnight had made that effort.

This is one of those stories that is based on something true. Influenced by it. This is a fictional story that uses an unusual set of circumstances and attempts to use that polarizing view to build a successful, dramatic thriller. The story revolves around a finishing school in East Sussex, England, that taught young German girls how to speak English and lady-like etiquette; one of those girls being the daughter of one of Hitler's high command. A potentially scandalous situation in hindsight, but one that clearly never bore fruit, which is why Six Minutes to Midnight is noticeably fictionalized. 

This project is only the third theatrical feature film to come from Andy Goddard, who has been better known for his directorship of television material, and Six Minutes to Midnight carries that television vibe. Despite the presence of cinematographer Chris Seager, who was involved with Watchmen, and The Alienist, this project comes across as decidedly bland, with desaturated colours and uniform lighting.

There are a plethora of pleasing landscape shots, but they have little connection to the story and thus fail to build any emotional investment in the film. Despite his work directing some praise-worthy Marvel television series (Daredevil, The Punisher, Luke Cage), Goddard's directing style fails to create a convincing emotional narrative.

More likely, it is the lack of charisma from Eddie Izzard. His first attempt at scriptwriting, Izzard's Six Minutes to Midnight is noticeably ham-fisted and clunky, with underdeveloped characters chase scenes that employ more physical humour than tension, a cavalcade of movie tropes, and a narrative structure that doesn't flow. Those who have been rewatching Hannibal on Netflix will recognize the face of Abel Gideon, who Izzard portrayed, and be disappointed at the poor character development and lack of authenticity that Izzard has brought to this new role. 

Six Minutes to Midnight makes no attempt to develop any of its central characters. With a large group of girls at this school, only three of them are even given names, let alone arcs, personalities, and opinions. It's this complete disregard for character-building that prevents the film from gaining any momentum. Without any setup around the girls, there is no sense of conflict, nothing for the audience to empathize with, and certainly no stakes worth being concerned about. 

Goddard and Izzard simply assumed having Nazis and World War Two would mean no character development would be needed, and yet they specifically choose characters that walk along both sides of the Anglo-German boundary. Allegiances need to be established. Loves, lusts, and hate need to be on display, but all of these characters are empty; empty of emotion, and empty of individuality.

The final act does start to improve in terms of pacing, but it is too little, too late, and Six Minutes to Midnight ends right when the film starts to get interesting. The dramatic elements lack any of the ingredients to generate tension, the action sequences are sporadic, never gaining momentum, and the final moments of the film come across as forced. It doesn't feel genuine, every action is specific to move the story forward, with little regard for whether it comes across as organic. No time is given for any moments to build character or allow impactful scenes to have an impact. 

A potentially interesting story is wasted on poorly developed characters, with either exaggerated performances or a complete lack of emotion. Six Minutes to Midnight has been years in the making. Perhaps they would have benefited from working on the script for a few more years.

Six Minutes to Midnight is in cinemas from April 22, 2021

Originally posted to: https://djin.nz/Kr8815

A CALL TO SPY (2019)

 

At the dawn of World War II, a desperate Winston Churchill orders his new spy agency to train women for covert operations. Together, these female agents help undermine the Nazi regime in France, leaving an unmistakable legacy in their wake.

A Call To Spy strongly vibes with one of its biggest influences, 2016's Hidden Figures; taking a well-known part of history, and revealing another side of the story that was just as significant, but is a perspective that is yet to reach the mainstream. This isn't so much an increase in stories about the supporting positions to a larger story, but stories about women that have been previously pushed under the rug to make room for the men's stories. 

There is no hostility for past mistreatments, in fact, it is the constant ability of men to underestimate and misjudge women that have allowed this true story to occur. Women were able to actively sabotage Nazi Germany. 

This is a story about spies, but the representation is very well-grounded. These aren't women in glitzy gowns and men in tuxedos, drinking spirits, gambling with a villain at the poker table, avoiding lasers, and getting into car chases. This is about the beginning of espionage in an occupied and war-torn Europe. 

Not happy to look at the program when it had worked out the kinks, A Call To Spy covers the period of time when 1 in 3 spies were killed within six months, and they do not shy away from the human cost. Granted it could have been prudent to follow more than a couple of agents, to more accurately portray that human cost, but for a feature-length film, following two agents was more than enough content.

In fact, it was a little too much content. Following the stories of two agents, and their superior back in Britain, A Call To Spy is already bursting at the seams, trying to do justice to three stories. To a large extent, Sarah Megan Thomas does a great job on the script, compacting the three stories into a 124-minute runtime. 

Backstories and motives are succinctly provided, and any subplots and tangents are swiftly closed off to keep the film on target. Unfortunately, three stories still mean that the audience is being pulled from one scenario to the next, in a manner that prevents them from being able to become fully immersed in any of the stories.

It is unfortunate because these are highly dramatic stories. Virginia Hall, an American amputee with a wooden leg, worked for British Intelligence by forming resistance cells in occupied France. Noor Inayat Khan, a Muslim pacifist wireless operator turned field agent. Vera Atkins, a jew, unofficially coordinated the Special Operations Executive in Britain without rank or citizenship. 

The repetitive jumping between stories reduces their story to a highlight reel of successes or failures that don't allow the time for pressures or urgency to be organically developed; the audience simply skips on to the next plot point, ignoring the life-threatening situation that our heroines are currently in. 

With the script being written by Sarah Megan Thomas, and Virginia Hall being portrayed by the same Sarah Megan Thomas, it is no surprise to find that her character gets the bulk of the screentime, with Noor gaining little more than a token mention from time to time as the film progresses. 

Considering the importance of her role in the success of the resistance's operations, it is regretful to note that her character wasn't provided more than a cursory role in the film, especially when you consider the dangers that a woman of colour in Nazi-occupied-France would be in. 

Nevertheless, A Call To Spy does bring these women and their stories to light. With more content available online to learn about each of these women, A Call To Spy may not have a lot of actual spying in it, and the constant jumping between individual stories may slow the pacing down in the second act, but it will pique the interest enough to warrant further research into the matter.

A Call To Spy is in cinemas from December 26, 2020

Originally posted to: https://djin.nz/Kr878

INTO THE DARKNESS (2020)

Karlskov is a self-made, successful owner of a large electronics factory, has a wife and five children. They live the good, privileged upper-class life on Strandvejen north of Copenhagen when the Nazis occupy Denmark in April 1940. Karl struggles to continue production at the factory, but to protect his family and employees he reluctantly begins to produce for the German market. It brings him into a controversial collaboration with the occupying power and causes painful breaks in the family.

Time and time again, films about war are one of the easiest genres to gain praise in, as they cover one of the most primal urges that a person can feel; the need to survive. Grab a bunch of people who are trying to protect a country from an invading force, and put them in situations that will endanger their lives, and you have an instant hit. Survival is something that everyone can empathise with and understand. 

It works because it is made clear who is good and who is bad. The ethics and morality of the situation are black and white. When you consider World War II and the fight against the expansion of Nazi Germany, from the outside, there is a clear differentiation between good and bad. But what if you were a neutral country that was being occupied by Nazi Germany.

This is the source of the ethical and moral quandaries that form the basis of Into the Darkness, a Danish wartime drama with a 253-minute runtime. This film does not deal with the direct fighting of the war, instead, dealing with the political and economic changes that were brought on by being occupied. 

As a business owner, do you sell to the Germans to keep your employees at work? Would you build weapons for those that have occupied your country, to keep your workers employed? If you were a soldier, and your government bowed down to an invading force, would you fight with the invading force against your own potential liberators? Can you trust your own people to act ethically, when German is pulling the strings in the background? These are the kinds of questions that are being asked of the Skov family; a family that runs a well-off manufacturing business.

The Skov family hold a privileged position, that has benefited them in the eyes of the government in the past, but now find that position in jeopardy. Being occupied, now they can only buy or sell to the Germans, and can only continue to operate with the permission of the German forces. The Skov family include a wide array of characters that hold different perspectives, all of which, Into the Darkness, wishes to display. 

Whether it be a young woman, falling in love with a soldier on the invading side, a Danish soldier, keen to fight against the Russian Bolsheviks (no matter who he is fighting besides), or a businessman who has always had a good relationship with authority and turns a blind eye to its corruption, Into the Darkness, follows this family from the start of the occupation, as they hope for a quick resolution, and continues to watch how their perspectives shift as the German occupation fails to end, and as the German ideals and control start to take precedence over the Danish way.

It raises a lot of intriguing questions but is largely in a format that doesn't work too well in non-European countries that do not remain "neutral" in the face of war. It puts forth an entire country that seems to want to turn a blind eye to the injustice going on around the world, to ensure their own profitability. All of which makes the characters in this film, largely unlikeable and unempathetic. With the number of movies and film reels that have shown the ravages of war, the idea of not only being neutral but effectively assisting the Germans economically is a bridge too far for patriotic countries. 

The structure of the film lacks a narrative direction. There is no big goal or destination; simply, getting by until the occupation ends. Which makes this drama feel more like a soap opera than a dramatic film. Much like Shortland Street, Coronation Street, or Emmerdale, if your first experience of the shows were to binge-watch three episodes, there may not be much appeal. The shows work long-term, with each little piece of drama eventually developing the characters and your understanding of motivations getting stronger with every episode. With only two and a half hours though, there is not enough time to get a proper feel of each character. 

While the cinematography is fine, and the shot composition is well done, it feels a bit like the early seasons of Agents of Shield, the Marvel television show that was in the same continuity as the Marvel Cinematic Universe but could not use any of the characters. Here we have constant references to the war, but we never see it, and as such, it feels very far away. Things start to get more interesting as the pacing changes in the final act of the film when the occupation starts to have a more direct effect, but otherwise, this is not 1917 or Dunkirk, neither is it The Darkest Hour or Allied. This is a melodrama that involves characters that have no effect on the war, and you will feel every single one of the 253 minutes of the film's runtime. 

Perhaps New Zealand's unofficial motto to "be kind" to others is starting to really ingrain itself in our culture because this drama about a country effectively allowing Nazi Germany safe harbour does not sit well. Occupational health and safety teaches us that doing nothing is as bad as actively hurting someone, and Denmark has shown its true colours. While the behaviours started to transition in the final act, it was too little too late and left Into The Darkness feeling incomplete.

Into The Darkness is in cinemas from November 5, 2020

Originally posted to: http://djin.nz/Kr8733