THE ASSASSIN by Hou Hsiao-Hsien
HOU HSIAO-HSIEN returns to the big screen after eight years and takes on the martial arts period drama. Rather than adapt to the nature of the genre, he adapts his low key style to it and adds great visual beauty through vivid cinematography, stunning art direction and by paying a careful attention to a soundtrack that drives the pace of the film and regales it with a meditative, musical and infectuously solemn rhythm. The story is set in China at the time of the Ting Dynasty and revolves around a formidable female assassin whose humanity and sensitivity is awakened by her failure to fulfill one of her missions. More intimate, political and thrilling aspects of the story are examined throughout in an intricate storyline, which is only demanding when followed in the traditional sense. THE ASSASSIN seems more like the type of movie that aims to achieve a metaphisical interaction with its viewer, who is invited to become immersed whole heartedly in the film and not only to strictly follow its narrative. This approach evokes influences and comparisons to other types of artforms, from paintings to ballet, and builds a infinitely rewarding sensual experience that is naturally absorbing and unique. Arguably Hou Hsiao-Hsien's most ambitious work to date.
IN JACKSON HEIGHTS by Frederick Wiseman
In these tense times of division, a strikingly realistic, intuitive portrait of a neighbourhood of New York defined by its many influences from numerous cultural, religious and social backgrounds stands as a natural celebration of diversity. FREDERICK WISEMAN's latest film IN JACKSON HEIGHTS is an over three hour portrait of the area's sight and sounds, but also its struggles to maintain their policy of tolerance and exciting identity in their near hopeless fight against the invasion of capitalism and large corporations who are keen to get their hands on the area by erecting big chain stores that will ultimately get rid of their small businesses. WISEMAN's distinctive documentary approach remains unchanged, and his subtle touch which prevents blatant manipulation, especially in its editing, makes it all the more immersive, whether he shows meetings of small shop owners, impromptu LGBT marches, street musician performances or people watching a World Cup match outside an electrical store on a TV in a window display. But far from it being a simple collage of different sequences, the documentary is compact because of its awareness of tone and atmosphere, which makes it compact and complete as well as fluid in pace and rhythm.
THE DAUGHTER by Simon Stone
Excellent directorial debut by SIMON STONE, whose intricate dramatic storyline about families and secrets in rural Australia remains focused, well-balanced and absolutely gripping throughout. THE DAUGHTER chronicles the story between two different families from a logging town, a working class one and the other a wealthier one, which is tied together by the friendship between two men, one of whom returns to the village for the wedding of his father to his much younger former housekeeper. From start to finish, the engaging soap-operatic film recalls the delicate subjects dealt with by DOUGLAS SIRK, while its uncomfortable bluntness and grey cinematography not only defies the conventional masculine representation of the Australian countryside but also seems influenced by the immediacy and quiet sensibilities of Scandinavian cinema. Aside from the excellent screenplay, which on top of keeping a careful steadiness despite its rather complicated structure does not disregard a powerful depth in the portrayal of its many characters, the amazingly talented cast assembled delivers powerful performances. Among them, ODESSA YOUNG as the titular sexually precocious but loving and well-raised daughter stands out, but the film also ultimately successfully thrives on the HOW MANY MILES TO BABYLON? like friendship between PAUL SCHNEIDER and EWEN LESLIE, who in their radically opposed personalities add a magnetic and pivotal tension to the story's progression.
PARABELLUM by Lukas Valenta Rinner
Impending apocalypse is somewhat of a cinematic fixation in both mainstream and art house cinema. Yet, with its minimalistic approach, LUKAS VALENTA RINNER's PARABELLUM puts a welcome spin to the subject and aims to examine the cult of the end of the world as a form of middle class escapism, following a type of holiday camp where members of said middle class are taught how to survive an apocalyptic situation. The film can arguably be described as an extreme deadpan comedy, which enhances sometimes mercilessly the physical humour of these unlikely heroes in the making, while its charming simplicity and its exotic Argentinian setting are gloriously effective creating a stunning portrait of modern satire.
THE ENDLESS RIVER by Oliver Hermanus
Initially booed at its first screening, THE ENDLESS RIVER by OLIVER HERMANUS is actually one of the most different and stand out films that was presented at the 72ND VENICE FILM FESTIVAL. Its story talks about the casual meeting between a Frenchman who recently moved to South Africa with his family, and a woman who is re-united with her husband after his spell in jail due to gang related activities at a cafè. But their destinies will bring them together due to a violent act that takes place in the film's first act. THE ENDLESS RIVER moves at a lyrical, slow and meditative pace that is flattered by its watercolour like cinematography by CHRIST LOTZ. And despite the thriller noir suit that it mostly follows, as the third act of the film especially shows, the film is much better when taken as a remuneration on more inner musings on relationships and guilt, which recalls the alienated tone of the works of ANTONIONI. Perhaps a little demanding for some, OLIVER HERMANUS in his bold directing style shows a confidence that is mostly lacking in today's cinema, but its vision of bleakness and human disenchantment is absolutely disarming.