Ken Loach's 'I, Daniel Blake' wins hearts of jury and Cannes Palme d'Or

Ken Loach's "I, Daniel Blake" at Cannes 
Courtesy of Festival de Cannes, used with permission

Ken Loach's 'I, Daniel Blake' wins hearts of jury and Cannes Palme d'Or



I , Daniel Blake
by Moira Jean Sullivan, accredited film critic for Festival de Cannes

Ken Loach’s “I, Daniel Blake” won the highest honor at Cannes May 22– the Palme d’Or for the "69th Festival de Cannes". The decision was announced by the President of the Jury George Miller assisted by actor Mel Gibson. Gibson starred in Miller's original 'Mad Max' from 1979. This is the British octogenarian’s second Palme d’Or since "The Wind That Shakes the Barley" (2006) and his tenth nomination since "Looks and Smiles" (1981).

The choice of “I, Daniel Blake” was well deserved for the film deals with the treatment of working class people in an ensemble of non actors and actors. The story is about a middle aged carpenter (Dave Johns) who has suffered a heart attack and given doctors orders not to return to work. Despite that, the unemployment office requires him to look for work and denies him benefits when he is even declared “fit for work”. Daniel tries to adapt to an inhumane system of computer forms rather than humans to sort out a huge bureaucratic misunderstanding. Daniel is, however, penalized for the computer skills he doesn’t have and looking for work he can’t accept because of his medical condition.

That doesn’t stop him from reaching out to help others, such as the single mother Kattie (Hayley Squires) with two children. She has been forced to relocate from London because of her low income status yet can't pay to turn on the electricity in the new social housing. Daniel helps her and her children adjust to Newcastle and takes them to the local food bank. According to Loach, the people in the food bank in the "neorealist" film tradition had worked in that office in real life and he tried to create the same sense of reality throughout the film.


Ken Loach said at the press conference for the film earlier in the week that there is “so much unemployment in England and people are made to feel 'it’s your own fault'". “The most vulnerable bear the brunt - people who are disabled, the mentally ill", he explained. Script writer Paul Laverty added that these are people who get “six times more of the cuts than every one else” and who are “easy targets”. But the film was not about just showing human suffering. The director stated that the writing and the acting should be a combination of reality and human compassion so that the audiences can adequately relate to the film. "I, Daniel Blake" is shot in the order of sequence and the script is precisely written but with a sense of improvisation.


Beyond the politics of the film, Loach advocated that “the real left in Europe should reject the European Union or deals with America that prioritize business". The effects of globalization is adversely affecting many European countries today and there is widespread fear and finger pointing at the working class for allegedly taxing the system. Loach provides statistics that welfare recipients account for only 0.5% of expenditures.


A journalist from Kurdistan moved by the approach to depicting social problems in Loach's cinema asked if he and Laverty had any plans to make a film about his country. Laverty replied that “Iraq had indeed “pulverized the refugees” in Kurdistan Such a film should be “a good story written by those who understand the history, language and poetry of the area with poignant moments that help to relate the situation.


Loach said that European countries should use cinema to share good stories, which will help the film industries. It was not easy to acquire film financing but according to producer Rebecca O'Brian there was European and British support for his film.


The veteran director said he chose to set the film in Newcastle –" a great city with a history and tradition of working class struggles such as in the shipyards". He said that the British neoliberal project of deregulation and privatization is brutal and that work and the environment are constantly under attack. In two weeks Britain will vote whether to leave the European Union; Loach cautioned against this for "if we leave, individual countries will undermine our efforts to fight neoliberalism". "What 's more", he cautioned, "the far right governments will succeed if we leave". The question is whether to fight from within or without or make alliances with other European left movements. If not, "this is how the far right rises". Loach has been around long enough to see this happen in his lifetime and warns that it could and can happen again.


Regarding the story telling of "I Daniel Blake", Loach quoted the dramatist Bertolt Brecht –"I always thought the simplest of words should suffice if I say which things break my heart". And, adds Loach, "makes you angry". This clearly is what happened with spectators who treasure this brilliant and socially engaging film at this year's Cannes Film Festival. The film broke and won the hearts of critics and jury alike.

Nicolas Winding Refn shocks Cannes with 'The Neon Demon'

Elle Fanning, Courtesy of Festival de Cannes, used with permission

The Neon Demon 

by Moira Jean Sullivan, accredited film critic for Festival de Cannes
Danish director Nicolas Winding Refn's 'The Neon Demon' premiered May 20 in the Cannes official selection, a slick stylish techno-thriller that guarantees a visceral viewing experience despite its subject matter. 'NWR' as the director likes to sign himself ( as in the credits) tackles the subject of beauty in a disturbing yet commanding way. At the press conference he said he has a wife and daughters and how beauty affects women is of interest. There are however many historical tropes running through this film: sexualized violence, blood rituals, female sacrifice and anorexia, and vampirism and that is surely not the beauty sacred to a father and husband.

Jesse (Elle Fanning ("Super 8") is the central protagonist who is staying at a cheap motel in LA run by a sleazy proprietor (Keanu Reeves) - in and on the set sparsely. Most of the young women who stay with him are either working as models or model wannabees. With a slim portfolio of photos taken by the congenial young photographer Dean (Karl Glusman) who she met online (he shoots here as a corpse with her throat slit), Jesse finds instant success and has the kind of body size and face that women envy and try to copy or emulate. She is only 16 but signs with a modeling firm that promotes her as 19. Jesse poses a threat to other models immediately, in particular Gigi (Bella Heathcote) whose body has been worked over and Sarah (Abbey Lee - "Mad Max:Fury Road") with an attitude that keeps her on the sidelines. Both would do anything to have Jesse's beauty and her modest but bold confidence.

Jesse's first contact in modeling is Ruby, a makeup artist (Jena Malone "Sucker Punch") who moonlights at a mortuary making dead women look as beautiful as they once were in life. From there Jesse meets the photographers and fashion designers of LA who see something in her that is special and rare albeit their own fantasies - a forever young vulnerable automaton. Their roles are important and despite their creepy unfashionable demeanor they are insatiable in their appetite to create artificial reality through images and design. Jesse seems unaware of her pristine beauty at first, but who would believe it. The use of animal motifs early on in "Neon Demon" crudely signifies the predatory nature of the characters from the lion in Jesse's motel room to the stuffed wildlife at Ruby's housesitting gig.

The soundtrack is written mostly by Cliff Martinez ("The Knick") with some licensed songs including "Demon Dance" by Julian Winding, NWR's nephew. Without the impeccable art direction and music , which is garish, brutal and invasive this would not be such an arresting story, for both elements help embroider the story immensely and make it a cinematic extravaganza.

"The Neon Demon" is destined for "Amazon Studios" next summer and opens in theatres June 24. It was one of the best films at Cannes and top on the list of remarkable movies. It's a film that has made the 69th Cannes Film Festival edgy and vital despite this year's rather mediocre selection.

Stunning Iranian 'Baher' premieres in Cannes Film Festival 'Short Film Corner'

   



Mahtab Keramati in Hassan Akhondpour's Baher at Cannes Film Festival 'Short Film Corner'
 Courtesy of Hassan Akhondpour, reprinted with permission

Baher
by Moira Jean Sullivan, accredited film critic at Festival de Cannes

The world premiere of Hassan Akhondpour’s film “Baher” (Her Mind, Iran 2015) was screened on May 21 at the Cannes Film Festival “Short Film Corner”, a promising property of 24 min which the director plans to make into a feature. The "Short Film Corner" this year features over 2,000 films from over 105 countries.

"Baher" is one of the most exceptional films coming from Iran today and it is with anticipation we await its further development. Hassan Akhondpour works with dream states and the “conscious” unconscious mind in a carefully choreographed agenda populated with references to animals, the supernatural, chance occurrences, fate and alternative universes.The subject of the film is a young woman who suspects her husband is meeting another woman but it can also be interpreted that she herself is meeting this woman and all the taboos both scenarios involve. The use of animals in a stable suggests that she is one of the prizes belonging to her husband or is a kept animal, a pet. But it is the rival woman who holds the key for her and holds her captive in her dream. She pursues her, sees her everywhere and tries to run over her with a car but this mysterious woman never loses her smile and warmth towards her or changes her positive regard for her. Perhaps the woman is a version of herself as she learns to master her sense of being in the world. 

 In addition to this short, Akhondpour has released some extremely interesting behind the scenes videos for the making of "Baher", which are enjoyable as well as instructive. They detail live action, special effects, stunts, make up and creative editing. This intriguing mystery involves a car  chase where the young woman pursues the mysterious woman in a yellow cab that takes a few wrong turns in a high speed chase. Its fun for every young filmmaker to set up such shots and we watch the crew bring it about behind the scenes. There are several recurring personalities in "Baher" with eventual meaning to the mystery and its resolution who transform into dancers, and grotesques. It is possible to imagine with this film that behind every reality and its surroundings are hidden existences that have as yet to be called upon. It is perhaps too easy to reduce the mystery into something understandable and believable. But for now, Akhondpour brings his short film to rest with his talented cast and crew.

According to the director, the Iranian woman of today has to wrestle with her peace of mind because of the complexities of her culture, economy, politics, and tradition. Because of these demands she finds herself like Ulysses in a strange land. Settling the marital score is not the easy solution this film calls for since it actually seems to question how resolving tumultuous situations to just return to safety does not bring sanity or peace. The ordeal above all has enriched the younger woman’s journey for self discovery.

Baher has a true sense of art direction and with a bigger budget, the musical score will provide a richer perspective for this young emerging director’s ambitions.

Animated epic "Bilal A New Breed of Hero" premieres at Cannes Market

Animated epic "Bilal A New Breed of Hero" premieres at Cannes Market

Bilal learns that bravery is in the mind not the weapon. Courtesy of Barajoun Entertainment, used with permission 

Bilal - A New Breed of Hero 

by Moira Jean Sullivan, accredited journalist at Festival de Cannes

The world premiere of “Bilal”, an animated historical epic premiered at the Cannes Film Festival Market May 14, the first of its kind made with computer generated animated graphics. Sharing the task of directing are Hurram H. Alavi and Ayman Jamal from the United Arab Emirates. Jamal is also the producer of the film and was present at the premiere at the Cannes Film Festival that runs from May 11-22.

The English language animation is a 1400-year story about Bilal, a young African boy who dreams of becoming a great warrior, is abducted with his sister, separated from her and taken to a distant land rampant with greed and corruption. Bilal’s choice to become a warrior is a childhood dream that is later necessitated by the violent way in which his village is destroyed and his family broken up. Joseph Campbell’s “The Hero with a Thousand Faces” comes to mind in this saga of a young man who leaves his home, goes out in the world to accomplish extraordinary deeds and later returns to receive the boons of his society. That legacy lives on in the recollection of this historical hero.

According to director Hurram Halavi, the use of animation was important for telling this story in “abstract and unique ways”. Situating this African hero within a dramatic context involves the creation of supernatural forces, animal characters and 300 foot soldiers with battle scenes that took months of painstaking effort by a team of 360 in this $30M project produced by the Dubai-based Barajoun Entertainment. This is no ordinary action film for it is embellished with an intricate design and a humanization of animated characters that become as real as a live action feature. The details of the human figure in the film are extraordinary especially hair and facial expressions as well as authentic costume and makeup. What is also particularly amazing is the fur of animals, particularly Bilal’s white horse that is stunningly radiant in tactile texture.

"Bilal" is scored by the Icelandic composer Atli Örvarsson and produced at Abbey Road Studies. The music is inspired by Middle Eastern as well as Norse and European sources. Örvarsson is know for films such as the “Pirates of the Caribbean” series, “Babylon A.D” and “Season of the Witch”.

Noteworthy of this first historical epic is the evolution of Bilal throughout his lifetime in image and sound. The voice of the young Bilal is Jacob Latimore and Adewale Akinnuoye-Agbajelends his masterly voice to the mature man. China Anna McClain does the vocals for Bilal’s young sister Ghufaira.

Bilal ibn Rabah is a famous historical figure who will be new to young audiences. The values of the film are important for Bilal’s odyssey is to learn to forgive without retaliation. The oversaturation of today's computer graphics involving mercenary battles is completely absent from the film. Bilal is surrounded by negative values that he resists and is a model to young people of his time. In one scene he helps a young hungry boy resist the attempt to steal and is constantly put in situations where he must choose the higher ground and resist temptation. The lessons from this film do not escape unnoticed and although they hark from a distant time, they are universal and instill a refreshing approach to bravery. Bilal is a solid reflection on the forging of the human condition through the strength of integrity that is central to each of us reminding us that there are real and immediate opportunities for mindful choice and ways of life. "Bilal", as the title of this riveting animated epic claims, is indeed "A New Breed of Hero".

Ingrid Bergman's 'home movies' in new Swedish documentary

Ingrid Bergman in her own words

Ingrid Bergman on holiday with her children. Courtesy of Manteray Film

Swedish filmmaker Stig Björkman’s new documentary - "Ingrid Bergman - In Her Own Words" (Jag är Ingrid, Sweden 2015) opens in San Francisco at the Landmark Theatres on Feb 12. The film highlights the work of a woman that dedicated her life to film. Stig Björkman co-wrote the documentary with Dominika Daubenbüchel, which is produced by Stina Gardell. Swedish vocalist Eva Dahlgren, who also sings the final ballad of the film, coordinated the Super 8 footage. Ingrid's letters to her friends and to her diary are read by actress Alicia Vikander. There are interviews with all of Bergman's children, and actresses Liv Ullmann, Isabella Rossellini and Sigourney Weaver.

Ingrid Bergman - In Her Own Words debuted at the Cannes Film Festival in May and won special mention for a new award- The Golden Eye (L’Oeil d’Or award).

The film came about through Björkman's friendship to Ingrid's daughter Isabella Rossellini who suggested that he make a film about her mother. Most of the film is found footage from newsreels but also footage of the home movies that Ingrid and her family made during her years in Hollywood, Italy, Sweden and London. There are memorable, well-constructed shots of her children and their many holidays together. The editing of this footage is brilliant. Above all it shows that the ultra professional Ingrid Bergman gave the greatest emphasis to her children who were apart from her during her busy acting schedule.

Ingrid Bergman left Hollywood in the 1950's and married filmmaker Roberto Rossellini. She wrote to him and asked if he needed an actress who spoke English and a little French. That letter of invitation resulted in several years of marriage and the birth of three children, all of which are part of Björkman's film. Also present is Pia Lindström, Bergman's daughter by her first marriage to Petter Lindström.

Ingrid defied the conventions of Hollywood and never regretted the things that she did, she said, but "what she hadn’t done". By her side throughout her career were several strong women including Irene Selznick, the wife of David O. Selznick, but her letters to them were always about her children. This extraordinary documentary makes you not only esteem Ingrid Bergman but also her children who have her incredible charm and intelligence.

In many ways Ingrid never lost her Swedish roots and when working in the garden, raking leaves and pushing a wheelbarrow, the tall Ingrid Bergman remained down to earth. She worked with great directors, but although she could not control what was said about her abroad and in Sweden, in her own life she made her own images.

'Sicario's' innovative style in female action thriller

"Sicario" is a female action thriller starring Emily Blunt 
Courtesy of Festival de Cannes, reprinted with permission 

"Sicario" features a brilliant role for Emily Blunt as an FBI agent who volunteers to catch the leaders of a drug cartel together with undercover agents. The "Alliance of Women Film Journalists" nominated her as "Best Female Action Star" of 2015.

Directed by Dennis Villeneuve, "Sicario", which means hitman in Spanish, premiered at the Cannes Film Festival in May and was nominated for a Palme d' Or.

The theme of the film - the pursuit of drug dealers by the means necessary to cut off 'the head of the dragon' is illustrated visually. As one head goes, violence erupts like firecrackers in Juarez, Mexico where Emily Blunt as agent Kate Macer is recruited for work. She is there to make the op legit in the unorthodox manner undercover agents go about trying to topple pushers and their regime. Two agents buddy up with her on the job: Alejandro , a rogue agent played by Benicio Del Toro who has lost his family to dealers and FBI agent Matt Graver played by Josh Brolin willing to bend the rules and look the other way. Both Alejandro and Graver work their agenda on Macer.

Icelandic composer Jóhann Jóhannsson has created a brilliant musical score in this game of violent high stake pursuit. Behind the camera is Roger Deakins ("Skyfall") who creates some amazing night vision scenes and digital mapping of the terrain where drug runs are made.

Kate Macer (Blunt) does not seem suited for the job; she is often afraid and unsure of herself but eventually she learns why she is attractive to the FBI. "Sicario" is not a pretty picture of legitimate law enforcement cracking down on dope pushers; it shows the viciousness and ruthlessness of the life style, of innocent victims and the families who become involved in this destructive way of life.

Director Dennis Villeneuve creates this narrative in a smooth way with plenty of contemplative spaces. It is not an action film as much as an authentic study of the drug business and the tragedies of lives touched by drug trafficking on both sides of law enforcement and dealing.