DATING AMBER (2020)

Set in Ireland during the mid-'90s, two teenagers, Eddie and Amber, fake a relationship in order to stop everyone from speculating about their sexuality. 

With so many LGBT+ films being released in recent times it's easy to switch off, to end up focusing on the similarities rather than focusing on the differences, and losing interest in an entire genre of brilliant films, simply because of an oversaturation of the market. The reality is that the historical repression of LGBT+ has had some devastating consequences on the mental health of the LGBT+ community over the decades, and this deluge of films for that specific demographic is pivotal in changing that trend.

That all being said, films can't just base themselves around LGBT characters or LGBT issues and consider themselves successes. It's an issue with Hollywood simply adding LGBT characters or genderbending for the sake of capitalizing on the "woke" culture and greater acceptance of the community to try and make more money through adding token characters whose personality only consists of "I am not straight", with no connection or relevance to the narrative.

None of this is a concern when it comes to Dating Amber. Semi-autobiographical for director David Freyne, the flick is based around two non-straight protagonists, deeply in the closet, but still bullied and picked on. Fitting into both the coming-of-age and coming-out genres, the entire film revolves around Eddie and Amber as they deal with the concept of exploring their sexuality through the oppressive framing of societal pressures.

Set in mid-'90s Ireland, it's an important distinction to note that this is set immediately after divorce and homosexuality have been legalized. No longer considered a crime, but still widely chastised with generations of bigotry and learned behaviours that society has engrained. A world where words like "lezzer" and "fagg*t" are thrown around with the intent of causing hurt and isolation, and anything short of a happy marriage between a man and a woman is treated like a disease.

Freyne navigates this world with a sense of sensitivity towards both homosexual and heterosexual sides. With a surprisingly unbiased perspective. Displaying differing behaviours and differing responses without a sense of judgement to any of them, leaving the audience to make their own minds up as to what is acceptable or unacceptable behaviour. Main protagonists make poor decisions, and minor supporting characters can make wholesome decisions. It's not the black-and-white that Freyne is interested in portraying. It is the various shades of grey; exploring the options that were open for dealing with a hostile work, home, and school environment. An analysis into the potential effects of each option; a learning module of sorts for those in a similar situation, coming from someone who has survived it themselves.

Dating Amber is split quite decidedly into three different acts. The first act is the fun, quirky portion that endears you to the protagonists and creates those initial emotional bonds between Eddie and the audience. The naivety and innocence in his appearance and mannerisms create a need to protect him and quickly generate empathy and sympathy towards the character. The musical compositions and cinematography come together to create an almost slapstick comedy that is guaranteed to bring in laughs and put smiles on your face. The humour is blue enough and portrayed with such nonchalance that it effectively stands out.

It is this well-executed character development in the first act that makes the rest of the film work as the whimsical nature of the first act makes way for the darker acts that follow. As events change, the Dating Amber loses most of its comedy preface for a more dramatic act with impactful gravitas, until it reaches a breaking point and the final act deals with the consequences of accepting or denying oneself. Conformity versus individuality. Defiance versus submission. 

Dating Amber is a soul-searching plight for freedom and acceptance that effectively gets you hooked on a light-hearted introduction and holds you through the turbulent aftermath. There are certainly secondary plots that don't complete their arc, many characters are one-dimensional, and Amber's arc is marginalized when compared to that of Eddie, but Dating Amber gets more right than it does wrong.

Dating Amber is in cinemas from July 8, 2021

Originally posted to: https://djin.nz/Kr8886

ASIA (JIFF 2021)

Becoming a mother at a very early age has shaped Asia’s relationship with her teenage daughter Vika. Despite living together, Asia and Vika barely interact with one another. Their routine is shaken when Vika’s health deteriorates rapidly. Asia must step in and become the mother Vika so desperately needs. 

One of the biggest realizations, when I started reviewing films, was the reality that, despite my own thoughts, action and adventure were not necessarily my favourite genre of film. There came a point in time where Hollywood's need to explode everything and have every single person be the absolute peak of physical fitness at all times...well it grew tiresome. I began to recognize it as what it was; not a thought-provoking story, but a loud distraction. It took the statistical approach of ranking the trends of my reviews according to the genre to realize that a well-made drama would consistently rank much higher than the best action and adventure had to offer.

Asia is a surprising offering, being the feature film debut of director, Ruthy Pribar. This dramatic affair is simple in its premise, and at first, seems almost haphazardly put together from a series of disconnected events, but pulls together exceptional performances from Shira Haas and Alena Yiv to create a lasting impression. The simple premise explores a mother-daughter relationship during a tragic period of time; the rapid decline in the health of the daughter, who suffers from a degenerative motor disease (it's never specifically identified, but symptoms appear similar to that of cerebral palsy).

Asia makes the most of its two protagonists forming personalities that parallel in many ways but ultimately contrast, creating a rich source of conflict. The 17-year-old wants to be a normal teenager, to try smoking, drinking, and sex, versus the mother who wants to protect her child from the world's vices, whilst wanting to partake in the vices herself as her own pregnancy prevented her from appreciating them earlier. Conflict around practicing what you preach, and the merits of worrying about the legalities and health issues around vices when you have an impending death in the not-too-distant future. The young age at which the mother had her child also means at the start the girls are more like fighting sisters than mother and daughter. All elements slowly forge a strong emotional bond.

Pribar's direction, along with Shira Haas' acting performance are what make this film unique. Brilliantly using the "show, don't tell" mentality, the audience experiences a wealth of emotions that are earned. There are no emotions being described in dialogue that are swiftly forgotten. The audience can see the pain, frustration, anger, disbelief, resignation, lust, and disgust, all in Haas' eyes. Her gaze (and the directing that utilizes it) carries the film. 

What makes this such a surprising film, is the authenticity of emotion. The film has a minimal cast (two major characters, two minor characters, and a bunch of extras here are there) yet at no time does it feel like the world is not real. Nothing is overly lit, or oversaturated. There is no unnecessary dialogue explaining what is going on. There are no plot points that feel unnecessary or inorganic. The environments and sets feel lived in and loved. The clothing is worn and within budget. Asia nearly comes across as a documentary with superior audio and cinematography.

The realism is what draws you in and keeps you hooked. The story in itself is not overly complicated, and something that we have seen in other films, but the authenticity and gravitas, the emotional weight of Asia will make you feel.

Asia is part of the NZ Jewish International Film Festival from the 22nd of July to the 15th of August

MOONBOUND (2021)

Based on one of Germany's most popular children's books MOONBOUND tells the story of little Pete who embarks on an enchanting journey together with June bug Mr. Zoomzeman and the Sandman to rescue his little sister from the evil Moon Man.

If one were to over-simplify Moonbound (separate from its source material), they would perhaps call it a reimagining of the classic Wizard of Oz. Being transported into an unknown world with strange creatures, and a handful of magical creatures, and an all-powerful magical person that the protagonists must reach to get home and save the day. All that is missing is a pair of shoes and a dog.

That would, however, still be an oversimplification of the story. In fact, there are so many superfluous characters and motives and underutilized personality attributes that the story could have easily been turned into an epic adventure tale if the writers and animators were bold enough. Perhaps, I am getting a little distracted and off-task. 

Moonbound is a well-animated family film. With character designs not dissimilar to Dreamworks or Illumination Studio designs (think exaggerated and disproportionate details), Moonbound brings that decidedly European animation style; bringing focus to textures, renders, and warm, soft colour palettes. Character movements are exaggerated at times, and there is a heavy emphasis on physical humour, which all comes together to create a film that will catch the eyes of children, and keep them quiet for a good 90 minutes. 

Where the film isn't so good, is in the coherence of the story. Perhaps some elements are lost in translation, but for a film that is so devoid of injuries to appeal to younger audiences, it seems peculiar to frequently use words and phrases such as" narcolepsy" and "occupational hazards" repeatedly. It's not like they would be difficult words to substitute, but it makes you wonder whether the silence in the film theatre was from kids engrossed in the film, or kids who had no idea what was going on.

Adults were in the minds of the animators and screenwriters, with plenty of classic pop culture jokes that would go over the heads of the little ones, and garner a chuckle or two from the older audience members, and clearly, some of the writers and animators were of the older generation, with an important character being portrayed as a "ditsy millennial". The remainder of the cast is diverse in appearance, even if they are one-dimensional caricatures.

Despite the lack of proper character development and an absolute cacophony of unrelated characters and events, Moonbound is still an entertaining feature. The quality of the animation is pleasing to the eyes and comforting, and the world-building is imaginative and filled with wonder. It has strong female characters, with our main protagonist's little sister having the strongest will and emotional maturity far beyond her years. It puts a new spin on old ideas and works slightly outside of the usual Hollywood formula, which keeps the feature feeling fresh. definitely worth checking out.

Moonbound is in cinemas from July 8, 2021

Originally posted to: https://djin.nz/Kr8875

THEY CALL ME DR MIAMI (JIFF 2021)

Dr. Michael Salzhauer – also known as Dr. Miami – is one of the most famous plastic surgeons in the U.S., and the first doctor to Livestream graphic procedures such as tummy tucks and breast augmentations on Snapchat.

As someone brought up to respect and value science, when the term "documentary" is used, the expectation is that the viewing will be educational to an extent. They Call me Dr Miami is something else entirely; an eye-opening, flamboyant display that is more shock-inducing than informative, the meandering narrative manages to appeal to primal urges and sexual exploitation to keep the viewers engaged.

Of all the things to make a documentary about, it's a YouTubing, Snapchatting plastic surgeon. The magnitude of his overzealous and fake niceties, obsession with generating attention and shock, and constant accompaniment of young women that he powers over, is a disturbing snapshot into the costs of success in the new "American Dream". There is no question that Miami's reputation and following has come from the exploitation of vanity and engineered beauty expectations, his own patients admit that they understand they are paying thousands of dollars to permanently alter their bodies to meet the beauty standards of the year.

Using footage of Dr Miami's pre, during, and post-op Snapchat's, They Call Me Dr Miami is a showcase of beautiful women, nudity, and the destruction of unique characteristics. To think freckles used to be concealed with make-up, and now they are being drawn on to add beauty. Meeting these expectations is impossible when the bar keeps changing, but Dr Miami is there to help young impressionable women on their way to meeting the expectations of the season. Forget the breast cup increase, Brazilian butt lifts are the current craze. 

Once the shock of the rampant nudity and the spectacle passes of this qualified plastic surgeon videoing and sharing footage of his unconscious patients online for notoriety, the reality hits that the most intriguing part of the documentary is not the frivolous nature of the capitalist American beauty system, but the two faces of dr Miami. What is seen on Snapchat and in other media is the face of Dr Miami, the man who raps and breaks into dance during medical procedures, with the looks and fake personality equivalent to that of Steve Carell's Michael Scott from the US version of The Office, who dresses up and performs skits for likes and follows, and will bend any rule that he can find if it will turn heads and bring him more attention (likely the reason for agreeing to this documentary). On the other side, is Dr Salzhauer, the Orthodox Jew, a branch of Judaism that advocates a strict observance and obeyance of the Sabbath, dietary, purity, ethical, and other laws of halakha (Jewish law).

It is the conflict of these two personalities that drives this "documentary". There is no other narrative reason for the feature. There is no point being made. There is no inciting event that we are exploring or working our way towards explaining. It is simply another means for Dr Miami to get his name in people's mouths. The audience is treated to the contrast of Miami and Salzhauer and it initially reaps the reward of believing that behind the farce on social media, is a man that genuinely wants to help people to love themselves. As the documentary progresses, it becomes clear which of his faces he prefers, which face is his priority, and how far he is willing to go to further his obsession and maintain that face. 

An oddly structured but in-the-end fascinating look at the lengths Dr Salzhauer was willing to go to provide for his family, how the notoriety has, over time, tested and corrupted his own beliefs, and how the conflicting personalities drive a wedge into his own family unit and push him deeper into the rabbit hole as his need for attention intensifies.

They Call Me Dr Miami is part of the NZ Jewish International Film Festival from the 22nd of July to the 15th of August

KNOT (2021) - A Darkfield Radio Experience

KNOT is a trilogy, a three-part 360-degree audio experience unfolding in three different locations. Three intersecting, interwoven episodes revolve around a traumatic event and question how inevitable anything is. You are joined on a park bench by a person who is lost in the city. You are in a car heading both towards and away from the park. In a meeting room a cyclical story, tied up like a knot with no ends, is conjured into existence by a collective effort. 

You will need to experience all three for the story to be complete. All you will need to access the experience is your phone, the Darkfield Radio app, your tickets, and your headphones.

When Darkfield first came to New Zealand shores, there was a certain excitement and anticipation set by the unknown. An audio-based adventure, that works by tricking your mind into questioning the body's environment when the eyes are closed. It created a new type of experience, one that was difficult to describe but left a lasting impression. As time has gone by, future episodes have attempted to replicate that initial zeal and wonder, with increasingly complicated narrative structures, playing off on the premise that the other person in the room may not be receiving the same audio that you do.

It has now evolved further, into an all-encompassing 3-part adventure. One event was retrospectively revisited by a number of people in three different locations. An intriguing idea in theory, but one that is difficult to effectively put into practice. With three different audio events (~20 mins, ~25 mins, and ~30 minutes) occurring at one-hour intervals, you will be spending 2.5 hours sitting alone in silence, or waiting half an hour for the next session to begin, as this iteration of Darkfield Radio is a decidedly solo act. The solo act makes it easier for those without partners to participate but means there is nobody to discuss the story with afterwards (and while multiple people can do the same adventure at the same time, all individually sitting in the front passenger seat of a car, or alone on a park bench, creates its own challenges).

Chapter 1 puts forth a repeated situation. Going over an event with someone who is struggling to remember. The repetition adds a variety of different details with each run, with certain background conditions (audio cues) being the only real clue as to the progress of the script. As this is an audio-based adventure, it is best completed with a sleeping mask on (to block out all light) and good (noise-cancelling, if available) headphones. Perhaps my headphones weren't the best, but the depth of sound in some of the elements felt off (e.g. the voice of a person talking next to you feels far too close to the ear), yet other elements were spot on (e.g. the cyclist scraping close by through the gravel) and would cause the body to involuntarily flinch as it passes.

Each chapter comes with its own set of brilliant and less effective elements, which creates a variable mood during the experience, as you switch between questioning your safety on a park bench as the sun starts to set, and the knowledge that you are alone but safe and simply listening to audio.    

There is a level of convolution to Knot which surpasses all previous episodes. It places you in a situation and repeats in varying ways, in a manner that you can tell is connected, but is not explained until the final chapter. The final chapter, however, is still vague, trying to walk the line between mysterious, and unbelievable. As it all comes together, there is an intriguing idea being put forward, but the execution still leaves too many unexplained elements. There is no satisfying resolution. The synopsis speaks of trauma but never faces it.

I love the idea of tricking your brain with well-calibrated sounds, and would still recommend people to give Darkfield Radio a try, but one would hope that in future episodes, a narratively compelling story is the first priority.

KNOT will run from 5pm every Friday, Saturday and Sunday from June 25 to September 30, 2021. 

Tickets are available at darkfield.nz/radio

Originally posted to: https://djin.nz/Kr8869

CABARET (1972) [A VINTAGE CABARET CINEMA]

A Vintage Cabaret Cinema celebrates the nostalgia of Auckland’s beautiful atmospheric theatre, screening classic cabaret and musical film titles including the 1972 hit, Cabaret. 

Be transported to the final days of Weimar Germany's cabaret scene in 1930’s Berlin.  Inside the Kit Kat Club, starry-eyed singer Sally Bowles and an impish emcee sound the clarion call to decadent fun, while outside, a certain political party grows into a brutal force. Starring Liza Minnelli and Michael York. Sit beneath the stars and wander back in time with films that share a place in history, and our hearts, and soak in the gilded splendour of the sumptuous Civic.

It's a cool Tuesday evening, winter has been putting a damper on many festivities, but the turnout at The Civic on the first night of the Vintage Cabaret Cinema is reasonable. Not so much of a high-energy affair, but a gentle buzz emanates from The Civic as everyone waits for the film to begin. Stark's Cafe and Bar is full and, despite the chill in the air, the patrons are happily purchasing Kapiti ice creams from the concessions stand. 

With 10 minutes to go until the start of the film, there are a myriad of hushes and energetic conversations in the suitably decorated Civic building; golden towers, statues of humans, animals, and gods alike, there is a prestige and colourful exuberance to the whole affair that seems fitting for a cabaret festival. Starting off the limited cinema screenings is a viewing of the first film to receive an X film rating due to its overtly sexual tones, semi-controversial political messages, and profanity; 1972's film adaptation of Cabaret.

A clean venue with ample staffing and comfortable seating makes for a cozy viewing experience. If you are used to modern cinemas it may take a little while to adjust to the reduced volume and lack of surround sound that The Civic employs, but it does not take long before you get swept up in the film.

The fact that Cabaret is a 1972 film is astounding when you look at the direction of film today. Modern cinema is only starting to truly represent the LGBT+ community and their perspectives in its mainstream media, yet here we have a film that raises discussion around anti-semitism, corruption, religious and sexual intolerance, radicalization and fascism, abortion and sexual exploration, and hedonism, all under the narrative guise of the cabaret. The interwoven nature of topics never lets any themes feel forced, it simply feels like a part of the setting.

49 years later the musical pieces still mesmerize, the jokes still land, and the controversial topics still feel controversial. The narrative direction is more of a meander than a set three-act storyline, but there is so much character development and content to emotionally engage with, that you will still be thinking about it long after you've left the theatre. The content consistently increases in dark, bleak themes as the film progresses, but the musical pieces keep the mood light.

Cabaret was an exceptional choice in film that clearly resonates with the audience, in a setting that feels far more comfortable and relaxing than the usual cinema.

Cabaret is part of 'A Vintage Cabaret Cinema' running from June 22-27

Check out the schedule for A Vintage Cabaret Cinema here

Check out the full schedule for the Auckland Live Cabaret Season here

PERCY V GOLIATH (2020)

 

A Canadian farmer takes on a giant corporation after their GMO’s interfere with his crops.

'Tis the season for underdog man vs corporation films. A wave that started with the success of Erin Brokovich, and more recently Dark Waters and Minamata. Now Percy v Goliath joins the ranks of Hollywood films eager to take advantage of the commercial, religious, and racial conflicts that have led to protest after protest, rally after rally. Another feature film stoking the fires of indignation and turning the focus away from political institutions, instead, towards corporations.

Percy v Goliath is based on a true story and brings a simple farmer at odds with America's leading producer of chemical, agricultural, and biochemical products, Monsanto. Largely revolving around an intellectual property dispute. Monsanto creates a product that accidentally gets mixed in with a farmer's product. Now Monsanto wants a cut of everything that the farmer creates, threatening to bankrupt him if he doesn't. It's an oversimplification of a complicated technological and agricultural debate, but it creates a strong sense of right and wrong for the audience (even if the reality is much more blurred).

There is always a need for balance when casting for such underdog films. To fill seats, the film either needs a strong, well-known lead or it has to have a really good marketing budget. Minamata and Dark Waters went for well-known leads, and Percy v Goliath has again followed suit, with the expectation that Christopher Walken will bring in a larger audience than what the premise could bring in on its own. I mention balance because the downside of using a well-known character is the issue of creating that separation; preventing the audience from fully investing in a story because of the very obviously placed "actor". That forever will be an issue for an actor as well known as Walken and, to be fully honest, he doesn't quite have the strength to pull off the role.

There is always power and impact with the lower class when it comes to the idea of a corporation exploiting people for their own benefit. Less so when it comes to the middle class, who tend to spring to the aid of corporations, in the blind hope that if they are seen to be on the "right" side they will have an opportunity to reap a share of the benefits and profits. It's a curious premise that works at many levels, and while there is a clear selfish vs. selfless debate to be taken into consideration on a person-by-person basis, the reality is that it comes down to Christopher Walken in the lead role to push the discussion in a certain direction.

While the film works hard to implicate the Japanese corporations as the big baddies, it doesn't take too much critical thinking to notice how one-sided the film's perspective is. An issue that reduces your investment and the impact of anything that follows. When one realizes they are only seeing one side of the coin, they re-evaluate the value of the money.

With the script provided, Walken does an amicable job. He presents himself well as a stoic, salt-of-the-earth, generational seed farmer. A man who has worked his way up from nothing, with only the goal of picking the best seeds from his crop each year, to ensure the farm's continual success. The idea that someone else's seed could contaminate his fields and force him to start again from scratch (if he even gets to keep his farm) is an infuriating thought. Much like the dawning realization today that trickle-down economics doesn't work, Percy v Goliath adds another nail to the proverbial coffin of capitalism, with the unequivocal proof that working hard not only doesn't mean you will have a good comfortable life but that you will be targeted by corporations fuelled by greed and that want to control and commandeer any potential profits that you may make.

Percy v Goliath had the potential to be a thrilling dramatic biopic, but the pacing and narrative structure of the film prevented it from reaching its full ability. The lackadaisical manner in which the narrative structure is based prevents tension and suspense from building, as the film's three court cases, start off large, and get skipped over more and more with each progressive case. When the court cases are the crux of the entire film, that is where the focus should sit, but the story is largely distracted by side stories and characters. 

There is something authentic about Walken's performance; his despisal towards being a representative; his hatred of asking for help and being a charity case; and his stubbornness in the face of an unwinnable case. It's formulaic, but still an interesting viewing.

Percy v Goliath is in cinemas from June 10

Originally posted to: https://djin.nz/Kr8864