Saturday 6 December 2014

Top 10 Alternative Love Stories

Awwww.....sweeeeeet!

So many love stories available in film. Over the decades, tales of amour have invested in nearly every genre, forever ruling as the queen of story backbones. You must agree though that it is quite difficult , within such an overwhelming presence, to find romantic tales that sit alone; unique in this suffocating genre that crosses over to nearly every theme available.

Well, that's what I'm here for! However, the work was done for me already last year with Spike Jonze's surprisingly warming Her. Through one of the most unusual romances set to film, we were reminded of the core fundamentals for initially falling for someone, of how frequently others may never understand and of the pending sword of Damocles that threatens the sanctuary you've built for one another.

It received some mixed responses; unfairly so when considering the brave approach it was taking. So this got me thinking...what other alternative love stories deserve more recognition? Which tales of brewing romance need their gallantry and spirit upholding? Time for another Top Ten, this time on alternative love stories...

The criteria:
  • For a true alternative love story within a film, then the movie's core genre cannot be a "Romance". 
  • Better if love is not even the main thread of the story (a couple of exceptions have been made here, yet the films' core genre is so extreme it's forgiveable). This is why I haven't allowed Jonze's Her onto this list.
  • The ranking within this top ten is based on the growing strength of the romance, not necessarily the quality of the film. The lengths that the lovers go to within the tale is what drives them up and down this chart.
So, let see who are the king and queens of the courtship...


WARNING! Spoilers and heartbreak await!




10. Upstream Colour (2013)


Shane Carruth's second outing ripped up the rule book once more on most genres, yet most interestingly regarding love. The pair's symbiotic links to their pigs opened a sweet if twisted approach to unrequited love, both compelled to forgo their normal lives just to be together.

Score de l'amour: 4/10 
Like pigs in muck!





If scoring on quality, this would have rated higher. Fearing Cha Young-Goon will die of starvation, Park Il-Sun believes his 'special ability' could prevent her untimely death, falling for her in the process. Using your own psychosis to fix  that of another? Now that's love!

Score de l'amour: 5/10
Crazy about each other




8. Bonnie and Clyde (1967)


There's nothing like spills and thrills in a relationship. This canny pair take their relationship to the next level by starting a mutual hobby in bank robberies, sparking parodies and homages for decades, most notably Natural Born Killers.

Score de l'amour: 6/10 
Take that love to the bank!




7. Heathers (1988)


Dark humour and romance are a perfect match, just like Veronica and J.D. who take to covering their murders of fellow school students as cult suicide pacts. Yet, love is blind and tragedy will follow, as Veronica's last stab allows J.D. to go out in a blaze of glory.

Score de l'amour: 7/10
Too cool for school



6. Scott Pilgrim vs. the World (2010)


Competing with the ex is one thing...but seven?! And evil ones, at that! Luckily, Scott just happens to be totally badass at the game, taking on each opponent in a true war of romance, even dying and coming back to life to win the heart of Ramona Flowers.

Score de l'amour:  7/10
Ex-ceptional!



5. True Romance (1993)


Christian Slater appears for a second time on our list as Clarence, who will  do anything for his instant sweetheart Alabama. At the advise of the king of rock n roll himself, he'll take out anyone to protect his darling through their mission of love, in one cinema's greatest black romantic-comedies.

Score de l'amour: 7/10
Little less conversation...plenty of action




4. Angel-A (2005)


There are two love stories here. One beautiful message is to love yourself. Yet, beyond that, once André can except this, Angela makes a huge sacrifice - her angel wings burn to a cinder to allow her to stay with him, if preventing her return to Heaven. That's a mighty big gesture!

Score de l'amour: 8/10
A heavenly romance



3. Fight Club (1999)


No sleep, fights every weekend, credit hits zero, nearly kill yourself, explosions everywhere and build the biggest anarchistic empire ever. Just like a real relationship (well...except maybe the last part!). Unbeknownst until the end, our beloved narrator, in a roundabout way, does all of this for and because of the intriguing Marla Singer.

Score de l'amour: 9/10
Sleepless nights


2. Wall-E (2008)


After years of lonely garbage work, Wall-E meets and is transfixed by Eve. While in stasis, little "Trash-timus Prime" looks after her through thick-and-thin, even following her into space. Listening to his tin-man heart he reunites with her and returning the entirety of the rest of humankind to Earth in the process. Now that's a romantic gesture!

Score de l'amour: 9/10
To infatuation and beyond!





And the winner is...







1. Braindead (1992)


Okay, maybe Lionel didn't bring The Man to his knees through an underground network of political soldiers, or rescue the remnants of humanity from a psychotic space robot but the difference with this guy is his effort was totally intentional.

A real "mummy's boy", Lionel was a treated as butler, gardener, cook and cleaner by his mother, Vera, who's blind to his good heart and kind nature. This all gets shaken up when he meets pretty shop worker, Paquita, who's fortune is read, shrouded in mystery. She commits her intentions to Lionel, believing her prediction to mean that they will be romantically entangled, leading her to woo him.

It is kind of unfortunate that a zombie apocalypse awaits them. A date for the pair to the zoo leads to an accident, where the recently caught "rat monkey bites Lionel's mother in the ankle and the mysterious Sangaya virus spreads. As Vera becomes progressively ill, Lionel's efforts lean back towards caring for his mum, creating a rift between him and Paquita, which is understandable after Vera ate her dog! 

Lionel can't keep the virus at bay. Slowly, the townsfolk become zombified, leading to an almighty war with the walkers at his home. Such scenes have grounded Braindead as the goriest film of all time, yet it is within the last moments that this movie wins the top slot in this list. 

Following the brewing romance already at play, Lionel attempts to take out as many zombies as he can to rescue his true love with the only he knows how...with his impressive skills with a lawnmower. I can only assume Peter Jackson (yes...pre-middle earth, this film maker made some insane movies!) had always dreamed of taking out the undead with a Fly-mo.

However, the last moment is the sweetest and most breathtakingly romantic gesture of them all. Lionel gives up on caring for his vindictive mother and, after she ingests him through her stomach (she has seriously mutated at this point, I might add) destroys her internally, wiping her from his life and securing his place at Paquita's side. 

No matter how evil you mum is Lionel, that's some pretty serious efforts to win over the lady. The top slot is yours you sadistic mowing nut job, you!


Score de l'amour: 10/10

Undead into each other!


Just missed out:

Delicatessen
Submarine
Shaun Of The Dead
Stranger Than Fiction
Monsters
Blue Velvet



If you disagree, and have other suggestions, please post comments at the bottom of the post. Or, email me directly on topten@filmbore.co.uk.

And don't forget, you can tweet me @filmbore or post on my Facebook page here.


Monday 27 October 2014

filmbore picks Angel-A

Angel-A

Director: Luc Besson
Screenplay: Luc Besson
Starring: Jamel Debbouze, Rie Rasmussen, Gilbert Melki
Year: 2005
Language: French
UK rental release: January 2007


IMDb
Rotten Tomatoes 


Luc Besson has returned to his roots recently, with the intense, gritty action-thriller, Lucy, centred around a strong female lead. In honour of his faith in nostalgia and mainstay, I want to talk about one of his more touching, personal films: the alternative love story that is Angel-A. 

André Moussah (Jamel Debbouze, Days Of Glory, Amelie) is an American citizen and a scam artist. Hard on his luck, he has until the end of the night to get hold of €40,000 or face the wrath of some of his debtors. This is but one dilemma for André, however, as he is in trouble all over the place!

Someone else who's after his wallet is Monsieur Franck (Gilbert Melki, Monsieur Ibrahim, Three) who puts the pressure on him to deliver the goods but dangling him from the top of the Eiffel Tower! Feeling desperate, André turns to the American Embassy for help, claiming that his papers and cards have  been stolen. Yet, with a colourful past, there's little the Embassy can do for him. Even struggling to get locked up in a prison cell for the night, with no other route out of his terrible strife, he toys with the idea of jumping from a bridge. Maybe ending it all is the easiest option?

He's stopped from taking the plunge when confronted with Angela (Rie Rasmussen, Human Zoo, Femme Fatale), who has been having the same idea. She feels no hesitation, and as she leaps, he feels compelled to follow her down to save her.

As he carries her to the side of the river and throws her ashore, it's not until she stands up that he realises how breathtakingly tall she is (which may be down to a convenient curb and a mean set of high heels!). For saving her from imminent death, she vows a life-debt to him, devoting her eternal kindness and promising to do anything that he wishes.

This gives André an idea. With her help, there could be a way to bypass his debts. Angela has her own intentions through helping him though, and when André hears of her mission, he struggles to come to terms with the gravity of it!


Entirely shot in black and white, Angel-A reflects a romantic side of Paris that you haven't previously seen, exposing the beauty in the gruffness, complementing the conventional attractiveness of an already over-familiar city. It captures Paris uniquely. I use this phrase confidently, as this is a city that has been shot by so many film makers over the years, with a relative line of similarity uniting most of them. 

Besson and his regular collaborator, Director of Photography Thierry Arbogast, take a braver approach, with contemporary filming combined with classic capture. Both methods are glued together with numerous techniques (extreme long shots, over-the-shoulder shots with canted angles, and more!), all while using natural light to infuse its grey-scaled visage. 

This technical mixture blends smoothly, with the colour tone marrying each approach used, gifting us a palatable treat for the eyes. It's delicious on the lips too, allowing you to a raise a smile even in some of its more melancholic moments. In fact, there are some good comical undertones at play, and not in an obvious way either. 

The whole picture is cheeky, knowing exactly what perspective to play at: jovial while retaining its thoughtful edge. Such emphasis on balancing this flavours is partly achieved thanks to the performances from our two leads. There's great natural chemistry between them, with both actors bouncing off each other effortlessly with fun dialogue and unusual japes to garnish the portrayal of two intriguing characters.

Rie Rasmussen is stunning as the ethereal Angela. With minimal effort, she exudes charisma through her demure, aloof, while still a little other-worldly, demeanour. Her execution of the part is the keystone to the entire piece, elevating the picture to a more poetic stance, while providing the special ingredient that makes this odd couple so entertaining. Besson knows how to pick a leading lady!

With such a striking female lead character, Besson needed someone to play the everyman. André is a mere ruffle in the overpowering tapestry of Angela yet needs to hold his own in her presence. For this, Besson chose the only man with the right balance in Jamel Debbouze (who stood out in his wonderful performance of Saïd Otmari in Days Of Glory, reviewed here).

Debbouze is enigmatic as André, taking us on a ride through a seedier side of the French capital in his attempts to negotiate around everyone he confronts. A rich role to be given, not wasted on this talented performer, as he relishes in every line that he gets to play with; savouring each phrase and delivering them with panache.  

With such diverse differences between their characters, including the difference in their backgrounds, they are destined never to be together (a little Montague-Capulet, if you will), making their growing connection that much more tragic.

This makes the film a little cute, while retaining an attentive approach on a number of life's intricacies: lack of self confidence, losing faith and hope, little perspective on the bigger picture. Thematically, how these are handled could have come across a little limp and stereotypical. Instead, its scruples are portrayed gently, all evolving in their importance through the reflection of André through Angela.

This is realised at its best during the mirror scene, which is my favourite part of the whole film. It is both revealing and familiar. As André is introduced to the sweeter, truer side of himself, you are drawn directly into the picture's emotional heart, grounding you at its pinnacle just before the final act.

I forbid you to not connect with this scene somehow. It is a brilliant unique moment in cinema, one that should promote Angel-A in its ratings one some more familiar sites. It's a prime example of when Jamel Debbouze delivers some effortless acting, illustrating why he is perfect to play such human characters. It's a perfectly poised moment in a perfectly paced film.


Scandalously looked over in Besson's canon, Angel-A is both sweet and sour, gently carrying its delicate mix of flavours with a hint of audacity. Break down these soft complexities and you'll reveal something a little more touching - at its heart it's a love story that's also about natural friendship.



Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on picks@filmbore.co.uk

Monday 20 October 2014

Top 10 Ice Cream Vans in movies

Oh no! Summer is over...Booooo!

Yet fear not, as the medium of film can breathe the feeling of sun, sand and sea into your evening by whisking you away from the icy clutches of winter, taking you back to your warmer memories. And what better way to hark back to sunnier times than by a trademark of British summer...the ice cream van!

Or ice cream truck, depending on what part of the world you are from. Whatever the title, nothing unearths summers of our youth better than the ever-nearing jungle of a rainbow coloured vehicle; a chariot of creamy treats and fruity flavours that turns every playing kid into a Tazmanian devil! Yes, there's nothing more craze-inducing for a child then the moment the ice cream man turns up!

So, as we slowly lose grip on the brighter period of 2014, let's embark on a trip through cinema with a list of the top ice cream vans in movies...filmbore style!

The criteria:

  • The ice cream van needs to be involved in at least a decent scene in the movie. It doesn't necessarily need to be the basis of the entire movie yet should be integral to a particular moment at the very least.
  • Preferably, I expect to see an alternative approach to running an ice cream van, may it be in method, manner or reason for owning one.
  • The ranking within this top ten is based on the strength of the owner's business model, not necessarily the quality of the film. If they can impress me with their ingenuity of enterprise, I'll move them up the chart

Everybody.....ICE CREAM MAN IS COMIIIIINNGGG!


WARNING! Spoilers and brain freeze up ahead!




10. Despicable Me 2 (2013)

Kudos goes to an unusual way to capture the minions, as they're suckered into the ice cream trucks lure even more so than the kids in Gru's neighbourhood's. Lack of enterprise keeps it low though I'm afraid.

Busin-ice Model: 3/10
Scoop a minion...stop him waffling!



9. After Hours (1985)

This early black comedy by Martin Scorsese is a building farce of dilemmas for one unlucky word processing clerk. Things get worse, however, as he's hunted down by a crowd, led by a Mister Softee ice cream van.

Busin-ice model: 4/10
Thriller in vanilla



8. Assault On Precinct 13 (1976)

Kids should think twice for rushing to an ice cream truck in this neighbourhood. As the owner of the van looks out vigilantly, an innocent young girl begs for an ice cream, only to shot by the local Street Thunder gang.

Busin-ice model: 5/10
Heavy on the raspberry sauce



7. Trees Lounge (1996)

Steve Buscemi's Tommy Basillo inherits an ice cream business from his uncle, with his alcoholic ways preventing a thriving enterprise. His efforts are wasted, as his actions lead to the truck being smashed by a begrudged associate.

Busin-ice model: 6/10
Desserted by friends and family



6. Phantasm (1979)

Reggie's ice cream business can do more than provide creamy treats. It exposes the weakness of the film's antagonist the Tall Man, who is affected by the cold. Not bad for an local ice cream vendor!

Busin-ice model: 7/10
Ice Screeaaammm! (Sorry...I couldn't help it!)



5. Ghost Dog: The Way Of The Samurai (1999)

Ghost Dog's best-friend can only speak French but he runs a mean ice cream stand. Somehow, he still has a business after giving away free ice cream to little girls and allowing people to be killed right in front of his parlour. Impressive!

Busin-ice model: 8/10
Tasty Chopolate (these puns are getting worse!)



4. Nice Dreams (1981)

Cheech and Chong's "Happy Herb Nice Dreams" is an ice cream truck as a front for pedalling their marijuana (surprise, surprise!). If they weren't high off their own supply, they may have had a more fruitful business.

Busin-ice mode: 8/10
Cheech and Chong go all Ben and Jerry



3. Do The Right Thing (1989)

The Icee Man is here! Forget the boy nearly run over chasing the ice cream truck - check the man preceding it! Strutting about Brooklyn, scraping ice off a block, adding fruity flavours, he's both lo-fi and enterprising. Cooler than the ice itself!

Busin-ice model: 9/10
Old sCool!



2. Friday (1995)

Big Perm..I mean...Big Worm plays this just right. Like Cheech and Chong, his ice cream truck is a front for his drugs business. Yet, he still actually sells ice cream. Convincing and profitable...and you know this maaan!

Busin-ice model: 9/10
Friday betters the sundae 







And the winner is... 







1. Comfort And Joy (1984)

The ultimate ice cream van movie. Okay...a lot of you may not have heard of this small, Scottish film. Made by Bill Forsyth (Local Hero, Gregory's Girl) it's a prime example of grounded British cinema of the eighties.

Bill Paterson plays Allan Bird aka "Dicky", a Glaswegian celebrity due to his status as a radio disc jockey. Out on his travels one day, he catches the eye of a girl (Clare Grogan) in the back of an ice-cream van. Enamoured by the lady, he pursues the vehicle, leading him to witness an unexpected attack on the van by two masked men with baseball bats.


The owner and the girl scare the men away by covering them with raspberry sauce and scoops of ice cream. Dicky goes over to check on them; his first step to involving himself in a turf war between two competing ice cream business. But can he help bring the battle to an end?

 
This is a typical British comedy of this era, making it an easy and enjoyable watch. But this isn't top of the list due to its movie stature. As mentioned in the criteria, the ranking is based on the business strength, where here we have two ice cream vendors taking their vocation so seriously they begin warring with each other.

No film delves further into the seedy world of ice cream van trucks than Comfort And Joy. A dry comedy drama that takes the softy out of the Mr Soft and injects it with its Italian roots...a Gelato of the Gangster realm, as it were.


Busin-ice model: 10/10
Walls fair in love and war!



Just missed out:

Once Bitten
Maximum Overdrive
Ice Cream Man 
When The Bough Breaks
Killer Klowns From Outer Space



If you disagree, and have other suggestions, please post comments at the bottom of the post. Or, email me directly on topten@filmbore.co.uk.

And don't forget, you can tweet me @filmbore or post on my Facebook page here.



Tuesday 14 October 2014

filmbore's coming back!

The UK's biggest film geek returns! filmbore is stepping up and speaking out!


It's been a mighty long hiatus but filmbore has emerged from the smoke and is ready to take on the world of cinematic critique once more!

And there's plenty of content on its way to you, plus some new material to feed your filmic famine.

As usual, I'll be reviewing the best of unique movies, covering independents, small British and World Cinema. Some of you who have followed me for some time will remember these reviews arriving on a weekly basis. Well, times have to change. Re-branded filmbore picks,  these articles will appear more sporadically. This is good, however, as I can focus on bringing more quality content for the other elements of the site.

So, more News articles and more topics for the Whingebox! These areas have been neglected in the past. I'll be remedying this with juicy gossip and themes for debate more regularly in future.

And fear not...I haven't forgotten my followers' favourite, Top 10s with a difference. I'll still be compiled the most bizarre and weird lists seen on the net (Top 10 Scary Rabbits still seems to be a hit...top of Google search today!). In fact, some are on their way very soon, so feast your eyes on the looming results and keep posting your comments on the choices made.

Most excitingly though, keep your peepers on one of the new tabs, Special Features. Soon, this will receive a fresh collection of articles for filmbore, including poems, interviews, tributes and mini-review festivals. Two key pieces to come soon will be an interview with a Nottingham-based writer and a festival-in-parts on classic World Cinema.

Anyway, enough from me. Less talking, more typing! Well...less typing here and more typing elsewhere. New content coming soon peeps.

And thank you to all of you who have stuck with me so far. You keep me fuelled in this journalism game and your support means so much to me.

Okay. Back to the site. New content coming soon filmborians...


Wednesday 9 July 2014

filmbore picks Short Term 12

Short Term 12

Director: Destin Daniel Cretton
Screenplay: Destin Daniel Cretton
Starring: Brie Larson, John Gallagher Jr., Keith Stanfield, Kaitlyn Dever, Rami Malek
Year: 2013
Language: English
UK rental release: March 2014


IMDb
Rotten Tomatoes


Let's take a trip to the United States this time around. Recently released, Short Term 12 is a fantastic indie film, with a relatively well known star, who deserves higher accolade for her performance in this low budget drama from Destin Daniel Cretton.

Grace (Brie Larson, Don Jon, Scott Pilgrim Vs. The World) works at Short Term 12, a care home for troubled teenagers. As the main support for the young residents and the backbone to the whole operation, she has to remain strong and resolute at all times. Not just for the kids, mind you, but for the rest of the staff as well.



Fellow worker Mason (John Gallagher Jr., Whatever WorksMargaret) is the light hearted spirit of the home. Always first to share a funny tale, he's very popular within the centre. No matter how secretive he tries to be though, all the teens have picked up that he is Grace's secret boyfriend.
Nate (Rami Malek, The Master) has just started at Short Term 12 and gets a sharp kick of reality as one of the teens, Sammy (Alex Calloway) makes a break for the exit, during the middle of one of Mason's stories. On medication, Sammy sits within his own world, but keeps himself amused with his jolts to freedom. 



Once the three of them catch the young man, while Nate struggles to comprehend what's just occurred, Mason nonchalantly finishes his comical tale...welcome to Short Term 12!

Marcus (newcomer Keith Stanfield) is the oldest of the teenagers. A rapper, with hard but deep lyrics bursting to get out, he is turning 18 soon which means he has to leave the centre. A farewell party is planned for him, but he seems very underwhelmed. There's clearly more on his mind. To mix things up further, a new girl is turning up at Short Term 12. Jayden (Kaitlyn Dever, J. Edgar), has been hopping from home to home for some time now, thanks to her violent outbursts. 


She's stubborn, convinced that she'll be back with her Dad in no time at all. Her initial petulance makes it very difficult for Grace to connect with her, as she tries her best to find common ground between them both. Slowly, Grace manages to reach her with gentle kindness and through their mutual enjoyment of sketching.



Yet, as she delves deeper into Jayden's inner pain, paired with the news that she's pregnant, Grace has a journey of her own to follow, as she falls deeper into her own insecurities and hidden past.


Based on the Cretton's short film of the same name (which also starred Keith Stanfield), Short Term 12 was shot in just twenty days on a budget of less than a million. This doesn't deter from the film's obvious quality, however.

As it opens, we're treated to a beautiful over the shoulder tracking shot, leading up to the centre, the crisp high definition perfectly ensnaring the natural lighting of the external shots. There are some stunningly chosen angles in some of the montages too, breaking out between staff members, the teenagers and the surroundings of this magical, if tumultuous, lair. 

With the handheld shots covering the main meat of the shooting, it may sound like a heady mix of techniques at play. Yet, pleasantly, they are handled with subtlety, as not to overpower the other elements and wares that this film possesses.

Even though chaptered by a few locked-off shots of the exterior of the centre, Cretton has pipped for the predictably obvious, slightly-shaky handheld filming approach for his picture, which is so commonly used in hard hitting dramas of this ilk. Nonetheless, I can see no other way of capturing this heart warming, yet heart wrenching tale so eloquently. It's the right choice to pair up with the screenplay.

In fact, both Larson and Gallagher Jr. auditioned by Skype after receiving this fine script...but more on them later! The screenplay is cooked up from a cracking recipe of dialogue, with mixed notes of both sharp writing and ad-libbed moments. One chapter that really stands out is Jayden's octopus story. Written with such suffocated passion, it's a beautifully painful story; an insight into Jayden's anguish. Kaitlyn Dever handles these words with a really touching performance. In fact, all the young cast members are superb, especially Keith Stanfield as Marcus. 

Initially, he paints a stereotypical portrait of a young troubled teen, brimming with attitude and a disregard for his peers. However, this veneer slowly washes away throughout the film, as he continually surprises you with glimpses of depth and melancholy, enriching the complex tapestry of his character with patient and evolving brush strokes. I thoroughly enjoyed the relationship between his character and John Gallagher Jr.'s Mason. In his moments, he elevates himself above the whole cast, including Larson. I hope that he has a bright future with such a bright talent.

At first glance, Gallagher Jr. clearly has ingrained charisma, possibly nurtured through his years as a live musician. Yet, dig through this background and you'll reveal the brewing talent of a potentially great actor, with his execution of Mason really tying into the delicate intricacies of Grace's journey, which is also thanks to the wonderful chemistry both performers have with each other on set.

Amongst these fresh, grounded performances shines our star, Brie Larson. Her natural poise and genuine persona illuminate the character of Grace to such subliminal effect that she both manages to blend amongst the rest of the cast while still soaring as the lead character. Through her most slight of changes in expression, you're frequently reminded of just how great she is. 

For example, her subtle eye movements are comparable to only a few actors that I've seen in my film watching life so far (most of my actual life, of course!), such as Al Pacino and Christian Bale; a passivity that has true depth in the tiniest of iterations. Demure, broken, vital and delicate, it's a gently stunning performance that doesn't steal opportunities from the other actors, while allowing us all to her talent for what it is... absolute honest brilliance!

And, with Larson pinning it all together, along with all the other incredible performers surrounding her, this picture is a true actors film. And thanks to its organic nature and compact running time (just 95 minutes) it's tight, neat and presented in a perfect little bubble. Indie Gold!


A just winner of three Independent Spirit Awards, Short Term 12 is a story of young adults from traumatic lives, looked after by those with their own. And if you don't cry once, not even the slightest tear...well...I don't even think that's possible!


Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on picks@filmbore.co.uk

Thursday 22 May 2014

filmbore picks The Night Of The Sunflowers

The Night Of The Sunflowers

Director: Jorge Sánchez-Cabezudo
Screenplay: Jorge Sánchez-Cabezudo
Starring: Carmelo Gómez, Judith Diakhate, Vicente Romero, Celso Bugallo, Manuel Morón, Fernando Sánchez-Cabezudo
Year: 2006
Language: Spanish
UK rental release: May 2007

IMDb
Rotten Tomatoes


Well, patience clearly must be a virtue. Not only have you waited over a month to receive a new filmbore review (now re-branded as "filmbore picks") but you're blessed with my aspect on a truly excellent picture. As if I wouldn't pick a decent flick though! Anyway, just a brief note before I start, I want to thank you all for waiting and continuing to support filmbore. Let's get back to it!

So, my return back to critiquing unique films comes in the guise of a beautifully carved piece from Spain, which seems apt as the first ever review on this site was for the raucous prison drama from my Spanish neighbours, Cell 211, nearly two years ago (my reviews were more...compact back then. Click the link and see!). My pick this time around is for the moving mystery drama, The Night Of The Sunflowers...

We open on a sea of sunflowers at dusk. As the camera holds frame, we glimpse a man escaping to his car. Moments later, we pan down into the flowers...and we fade to black. The next day, the reports come out over the radio. A body has been found, raped and murdered, in a field in the Cerrado region; Elena Martos, 22 years old, was left hidden in the ocean of sunflowers.

On this same day, the salesman (Manuel Morón, Cell 211, El Bola), specialising in the vending of industrial vacuum cleaners, is driving through the sunny Spanish countryside, where he spots a young lady walking along the road. Stopping to ask directions, a truck suddenly pulls up in front of him, with the driver angrily calling the girl to get in his car, clearly after a lover's tiff. She gets in, eventually, if reluctantly.

He sees the same gentleman from the truck once more in a nearby taverna, who recommends a site where he should sell his cleaners. He's unsure of the stranger's intentions but decides to give it a view, only to find himself lost. Through his venture, he espies a young woman sketching against a hilly bank. As he watches her from afar, he's compelled to get closer, as a darkness begins to surface from within him. 

Geology expert Esteban (Carmelo Gómez, Tierra, Días Contados) has been called into the nearby village at the special request of a recent discovery. As soon as he arrives, he is introduced to the village mayor, and taken to meet the local townsfolk who are clearly excited.

Said discovery was thanks to the town's makeshift maintenance man, Beni (newcomer Fernando Sánchez-Cabezudo) who, while out on a hike to avoid much needed village repairs, fell across an opening in the rocks upon the hills. An opening to a cave! 

Esteban's girlfriend Gabi (Judith Diakhate, Scorpion In Love) arrives, to his surprise. With little time together, she wants to come along on his spelunking trip if only to spend some moments in his company. Yet, her presence on this visit will trigger a number of events that will bring them all to some difficult decisions. Choices that will embroil local young policeman Tomás (Vicente Romero, The Hours Of The Day, Winning Streak) into to a web of lies. 

But can he pull the wool over the eyes of his chief, Amadeo (Celso Bugallo, The Sea Inside, Mondays In The Sun). As pensive as he appears, his calm, wily demeanour begins to draw out the truth behind the sinister goings-on in his beloved local town.


Nominated for 3 Goya Awards, this standout drama from Canal+ España film was also delivered in conjunction with independent distributor and financier, Backup Films, who've been involved in such films as Le Passé and Amour.

It's a great combination, as the production on this picture feels organic and honest. What will strike you very early on is the approachability factor. With some clearly ominous plot threads underlying the story, it's a startling achievement how the overall feel of this picture is so welcoming. 

It is its generally serene persona that makes it incredibly accessible, partly assisted by its own visible splendour. The locations are just superb. From the quaint village, of which most of our characters reside or visit, to the gorgeous vistas of the local countryside, there's a ravishing blend of visuals for you to enjoy from the sites and surroundings alone.


It's filmed excellently too, with confident slow pans dressing the piece in multiple locations, which broadens the tale and paints a world in mere minutes. This piece seems to have a personality of its own, addressing you in its harmonious greeting and wrapping you up on cosy celluloid.

This is a clever ploy however, as it has plenty of surprises in store. At points, it flips its genteel gaze to launch into a realm of shock and fear. The violence is raw; real. It's brutal in its acts of onslaught and rape. It may offend the more sensitive of viewers, if only at a few brief moments.
The gravitas of these junctures would have no grounding though if it wasn't for the cast. Without employing some of Spain's more prominent acting force (don't let this put you off, as there is some incredible talent here, I can assure you) there are no preconceptions to any of the character's intentions or predilections. Performances are natural and exposed, perfectly portrayed to pave the way for the startling, more shocking moments. 

It's difficult for me to highlight any key actors here, as they all stand tall within this sprawling tale, yet it's hard not to adore Celso Bugallo's Amadeo. He's only truly exhibited in the last chapter of the film, yet is an intriguing detective. Through his twilight days in the law, he seems like he doesn't want to be there, yet his subtle charisma reveals a level of affection for his protege, Tomás, while glimmers of passion swell when this new mystery starts to develop.

At this point, you already know the plot. This is imperative for two reasons. Firstly, it allows director and writer, Jorge Sánchez-Cabezudo, to play with the key theme of the picture: cause and effect. With your slowly granted awareness, you are treated to beautifully, if sometimes disturbingly realised events, and the effects such actions have. The trail of moments in the entire picture reveal so much, allowing you to reflect on points of your own life at times, where decisions and controlled outcomes may have determined where your existence has taken you. It's something many filmmakers play with, rarely to great effect.

And secondly, tying neatly into the first point, is the chapterising of the picture. In the final moments, all the pieces have been neatly laid out, but only after a heady journey through our character's experiences thanks to the smart editing at hand. It's segmented into six chapters, it presents number of scenarios, all interlinked, feeding off the aftermath of the previous night's horrific event in a field of sunflowers. This approach allows the many plot threads to hold their own space, while still leaving room to intertwine with beautiful effect.

The threading of each tale is beautifully executed, as you are gradually and gently greeted by the connections that each individual character has with each other; their relationships and events stunningly interwoven, catching you in its filmic web, ensnaring you in this graceful, moody mystery.


There are many multi-layered films such as this, like Gomorrah and Amores Perros to name a couple of great ones, and The Night Of The Sunflowers deserves to sit amongst them. It's probably a film you've seen perched amongst some greats in world cinema sections of DVD stores. You may have overlooked it, with it sitting next to more commonly known fare. Next time you visit your favourite film store, I dare you to hold thought on it for a moment, and ask yourself if you fancy something a little different, a little left field, maybe even a little dark.



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