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MonthMay 2020

Posted Documentaries

Shadows of Freedom

Amos Carlen and Aline Robichaud’s new documentary Shadows of Freedom tells the story of the organized Jewish resistance movement in Algiers during WWII and its involvement in Operation Torch, an Allied invasion of French North Africa in 1940. Over the years more information about Jewish resistance has come to light. But the Algerian story is not one that is often discussed. It’s been swept under the rug because this event, an attack on the Vichy French in an effort to support the Free French, is considered low point in French history. The history of Operation Torch has also been eclipsed by other more celebrated invasions including the one on Normandy. However, Operation Torch, which was part of the Anglo-American alliance, was key to giving Allied forces an advantage in future battles with Nazy Germany.

Shadows of Freedom serves an important role in enlightening and informing its audience about Jewish persecution in Algiers as well as the staged coup that successfully ousted Vichy Admiral François Darlan. The resistance movement was made up of young Jewish French men, motivated by persecution to fight back. The documentary offers archival interview footage of various key players in the movement. Several experts, professors, policy makers and historians, offer key insights into this little known movement. The history of Jews during WWII often focuses on the Holocaust and rightly so. However, it’s important to know, understand and appreciate how Jews fought back against oppression.

Shadows of Freedom is informative and enlightening but doesn’t offer anything beyond the usual documentary fare. Archival footage, talking heads, narration and talking head interviews make up the basic structure. The history of Operation Torch itself is convoluted and hard to follow. If you’re interested in WWII history and want to learn something new, Shadows of Freedom will be worth a watch.

Shadows of Freedom is available on VOD through iTunes, Google Play and other platforms.

Posted Film Reviews

Our Mothers/Nuestras madres

Sometimes you have to reopen a wound and let it bleed before it can fully heal. In director César Díaz’s new drama Our Mothers/Nuestras madres, the trauma of the Guatemalan Civil War is brought to light four decades later. The film addresses the emotional damage that the Guatemalan genocide caused those who were left behind. Guerilla fighters were brutally killed and buried in unmarked graves. Their wives were imprisoned, tortured and raped.

Ernesto (Armando Espitia), a young and idealistic anthropologist, is devoting his life’s work to reunited the dead with the living. His motivations go far beyond mere benevolence. Ernesto’s own father was one of the many fighters who went missing. As he searches for his father’s grave site, his mother, Cristina (Emma Dib), refuses to participate and keeps the story of her trauma closely guarded. In the search for his father, Ernesto is about to uncover the truth about himself.

“In Guatemalan Indian oral tradition things must be spoken for them to exist. When a newcomer arrives in a village, that person is told what happened at this place so that it is never forgotten.”

Director César Díaz

Our Mothers/Nuestras madres channels the grief of a hurting nation. The film is set in 2018 when war crimes of the late ’70s and early ’80s were finally being brought to trial. The story is inspired by filmmaker César Díaz’s own journey to learn about his father, a guerilla fighter who died during the Civil War. While a male protagonist and a male filmmaker guide the story, the film is essentially about the women, survivors of the Guatemalan genocide who were tortured and raped and left without the closure needed to properly mourn a lost loved one. Don’t be put off by the heavy subject matter. Our Mothers/Nuestras madres is more hopeful than it is depressing. There is a sense throughout the story that these characters are finally going to heal their emotional wounds and move forward with their lives.

Our Mothers/Nuestras madres is available through virtual cinemas nationwide. Visit the official website for more information.

Posted 1 Comment on Phoenix, Oregon Film Reviews

Phoenix, Oregon

You’re never too old to reinvent yourself. Bobby (James Le Gros), a middle-aged bartender, hasn’t quite figured this out yet. He’s spent too many years of his life just coasting by. After the sudden death of his mother and the dissolution of his marriage, Bobby has spent his time working the bar at a local restaurant and chipping away at his work-in-progress, a graphic novel memoir. When his old crush Tanya (Lisa Edelstein) pops back into his life, he’s too timid to whisk her away from her suitor, a debonair investor named Mario (Reynaldo Gallegos).

Bobby has become complacent, a bit too comfortable in his situation. He’s sitting on a nest egg of $50k but chooses to live in his airstream trailer and continues to work for the morale killing, tip stealing boss Kyle (Diedrich Bader). But his buddy Carlos (Jesse Borrego), a talented chef who works at the restaurant, has an idea. They should invest their money into a new concept: a local bowling alley/pizzeria that offers more than just cheap entertainment and greasy fare. Bobby suddenly finds a new purpose in life. Will he realize his dream and get the girl? Or will he just go back to his usual humdrum life?

“Are we all just a bunch of ones and zeros?”

Written and directed by Gary Lundgren, Phoenix, Oregon is a heartfelt exploration of self-reinvention, friendship and love. It’s for anyone who felt that age was a roadblock to forging a new path in life. It also champions the notion that you don’t have to accept your situation as it is, that you can always take steps, no matter how big or small, to live a happier and more fulfilling life. Phoenix, Oregon is a small city in the southern part of the state but within the context of the film, Phoenix, which is also referenced in the name of the bowling alley-pizzeria, Rising Phoenix, is symbolic of rebirth. Of shedding the old and starting anew.

This film really checked off a lot of boxes for me. The focus on middle-aged characters looking to reinvent themselves really resonated with me. I’m getting very close to middle age and am growing tired of watching films about young people starting their lives. Also, there are so many films now with diverse casts, which is fantastic, but the Latinx community is still largely missing from that equation. I was grateful to see so many Latinx actors/characters in this film including the main character of Carlos, played by Jesse Borrego, who is a supremely talented chef and is tired of wasting his talents on a soul crushing job. He’s more than just a buddy character who serves to support the protagonist. I really enjoyed the performances overall. Le Gros and Edelstein have great chemistry. Bader is hilarious as the evil restaurant manager Kyle. Another win for me was the graphic novel conceit. Throughout the film, Bobby’s hand drawn illustrations flashback to his old life, giving the viewer a sense of who he is and where he’s come from through the lens of some terrific graphic novel art.

“It’s a bizarre day when you realize you’re middle-aged, especially when you were just in your prime with your whole life in front of you. Somehow we fool ourselves into thinking we have more time than we do.”

Director Gary Lundgren

Phoenix, Oregon will lift your spirits. Seek this one out. You won’t be sorry you did.

This film is available to watch online through a theatre at home platform which allows viewers to choose which independent theatre to support with their ticket purchase. Visit the official website for more information.

Posted Film Reviews

The Wolf House/La casa lobo

After escaping from a commune of German religious fanatics, Maria has escaped into the Chilean countryside and stumbles upon a house where two pigs live. Maria moves in and imagines the pigs to be children,naming them Pedro and Ana. The house is an ever-changing structure and Maria, Pedro and Ana take on many forms and appearances. As Maria finds herself stuck in this evolving nightmarish reality, the wolf, who lives in the nearby forest, threatens to keep them all trapped inside. 

“The Wolf House is a feature film where beauty, fear, disorder and the narrative itself are born from the precarious and permanent states of change. It is the story of a beautiful young woman who is held captive, but it is also the story of a physical and mental world that falls apart, destroys itself and renews itself time and again.”

Director’s statement – Cristóbal León and Joaquín Cociña

Cristóbal León and Joaquín Cociña’s The Wolf House/La casa lobo features mesmerizing stop animation and constantly shifting imagery to illustrate the pain of extreme isolation. The story is based on the sordid history of Colonia Dignidad, a secretive sect of German emigres in Chile who became particularly notorious for child molestation and the torture and murder of prisoners during Augusto Pinochet’s military regime. The main character Maria has escaped from the sect and the house symbolizes a sort of in-between space where she sheds her old life and prepares to re-enter society. The wolf is that society, which is perceived as a threat but in reality is not. Much like the actual wolf which has been hurt over the centuries by unshakable falsehoods. The film is narrated by a male voice from the sect that haunts Maria’s existence. The story also draws from the classic children’s fable The Three Little Pigs. 

Chilean filmmakers León and Cociña’s feature film debut is an impressive feat. Produced over several years, it incorporates stop animation with papier mâché puppets made of cardboard, tape and other materials, and paint on the house’s walls and floors. The characters inhabit the house both in three dimensional form and within the walls themselves. It’s quite a marvel to behold. Viewers who enjoy innovative stop animation films and unique storytelling will want to seek out The Wolf House/La casa lobo.

The Wolf House/La casa lobo releases in virtual theaters today. Visit the official website for more information.

Posted Female Filmmakers

CRSHD

“You make things hard for yourself, don’t you?”

Izzy Alden (Isabelle Barbier) needs to get laid. She promised herself that she’d lose her virginity by the end of her freshman year in college. And with finals just around the corner, she’s running out of time. The problem with Izzy is that she’s hopelessly awkward. She doesn’t have the same natural confidence and social intelligence that her two best friends Fiona (Sadie Scott) and Anuka (Deeksha Ketkar) do. Fiona works at the local bowling alley and is lusting after the popular lesbian on campus. Anuka is Izzy’s closest ally but is dealing with her own drama of her complicated feelings for her long-distance boyfriend Juju (Dylan Rogers) and the hot blonde guy she spotted in the cafeteria. Izzy is determined to get an invite to a Crush party, where only people who are submitted as a crush can attend. But Izzy keeps sabotaging herself by putting her friendships at risk and ignoring the one guy, Oliver (Raph Fineberg), who is genuinely interested in her.

CRSHD is a quirky and authentic coming-of-age story that speaks directly to social media savvy youth. Director Emily Cohn wrote the script at age 21, produced it at 22 and wrapped up post-production by 24. She incorporates social media, texting and dating app technology into her film by having the characters act out the communications on screen. Having a young cast and crew working on the film makes the end result more relevant to its intended audience. Cohn and her team have assembled a fine cast of players. Barbier, Ketkar and Scott have natural chemistry with each other. Viewers will feel like they’re watching three friends rather than watching three actors playing friends.

“As a filmmaker, I’ve been interested in finding ways to make a computer or tablet or phone act not only as a prop, but also as a scene partner, since these devices often carry the weight of human emotion but lack the cinematic nuance to convey it.”

Director Emily Cohn

The cast is diverse with different races, ethnicities and sexual orientations represented. There has been a lot of discussion about diversity in film and TV as being forced to meet certain criteria. I appreciate films like CRSHD that demonstrate that this is a natural way of things. It also deconstructs beauty standards and highlights how beauty truly is in the eye of the beholder and should not to be mandated by some artificial cultural norms.

CRSHD is available via virtual cinemas May 8th. Visit the official website for more information.

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