- Episode 495 – Indian Film Festival of Los Angeles (#IFFLA) – Part 2
- Episode 495 – Indian Film Festival of Los Angeles 2022 (#IFFLA) – Part 1
- Episode 494 – Nightmare Alley / Death on the Nile / The Batman
- Episode 493 – Oscar Noms Discussion
- Episode 492 – The Lost Daughter / The Matrix Resurrections / The Tragedy of Macbeth
Author Archive
PAPILLION | Review
August 23, 2018 | 
Author 
McQueen | Review
After Auschwitz | Review
As the 70th anniversary of Holocaust Remembrance Day approached earlier this year, Poland passed some controversial legislation criminalizing any mention of Poles “Being responsible or complicit in the Nazi crimes committed by the Third German Reich.” They stated that the harshest penalties would be reserved for those who referred to Nazi-era concentration camps such as Auschwitz as “Polish death camps.” Many in Israel called this an attempt to whitewash the role that some Poles had in the detention and killing of around three million Polish Jews during World War 2.
Regardless of what you may think about who was complicit or how we refer to the role of Poland specifically, one thing is for certain; the holocaust occurred, it was one of the atrocious cases of mass killing, and we need to do everything we can to make sure such horrors never happen again. This alone makes AFTER AUSCHWITZ critical and compelling viewing. Recently I was invited to a sedar dinner where our host explained that one of the last remaining holocaust survivors at their local synagogue had just passed. As the years move on, so do most of the remaining survivors and our ability to hear directly from them about the atrocities each of them faced for a period of their lives
Jon Kean’s AFTER AUSCHWITZ, is a “Post-Holocaust” documentary that follows six incredible women after their liberation from Nazi concentration camps. It effectively captures what it means to move from tragedy and trauma towards life although we quickly learn that despite these women surviving and going on to build productive lives in the United States, they never truly find a place to call home. Well-constructed with appropriate archival footage and in-depth interviews, the documentary examines the question around what happens after surviving an unspeakable horror.
For survivors of the Holocaust, liberation was both an incredible moment and a devastating one. It marked the beginning of a life-long struggle. Most wanted to go home, but home no longer existed in devastated post-war Europe. Many came to America and wanted to tell people about their experiences but were silenced. “You’re in America now, put it behind you” is what they were told. The women Kean follows became mothers and wives with successful careers, but never fully healed from the scars of the past
Their stories not only show the indelible role immigrants and women played in the history of America during the second half of the 20th century, but also how each of them tried to assimilate, some more successfully than others. In all cases however, what strikes the watcher most about these resilient and inspiring women and what is captured perfectly is this incredible will to survive and a sense of duty they feel to live a full life.
Although AFTER AUSCHWITZ deals with a specific group of survivors, it is universal in the questions it ponders about which relate to moving on after tragedy and adapting to a “normal” life. It’s a story we see repeated by survivors of other genocides – a sad recurring reality that haunts the women in AFTER AUSCHWITZ. Their suffering from post-traumatic stress is also unfortunately universal, as seen in the lives of soldiers coming home from war and even in victims of childhood abuse.
“We normally learn about the Holocaust as if it started with Germany invading Poland, and liberation was the end of it,” says Kean. “Allied soldiers triumphantly told Jews in camps, ‘you’re free, go home.’ But what happened to survivors on the day after liberation? And the day after that? That’s the film I wanted to make. By seeing the world through the eyes of these amazing women, we not only hear unique female voices, we witness stories of resiliency and determination that audiences have never heard before.” Mission accomplished.
This is a rush out and see documentary that is compelling, heart wrenching and inspiring all at the same time.
AFTER AUSCHWITZ opens in Los Angeles on May 4th however for more information about the film, including dates, cities and theaters, visit https://www.AfterAuschwitz.com
Beirut | Review
Oscillating between suspenseful spy thriller and geopolitical drama set in the middle east, BEIRUT follows a U.S. diplomat (Jon Hamm) who returns to Lebanon after 10 years, working with a CIA operative (Rosamund Pike) to negotiate for the life of a friend he left behind.
Superbly directed by Brad Anderson (The Machinist, “The Wire”) with a tight script written by Tony Gilroy (The Bourne Identity, Michael Clayton), Beirut will have you on the edge of your seat as you watch an effective cat and mouse chase unfold, only the cat and mouse often change places and we never quite know who is pulling the strings or the political agendas at play.
Set against the back drop of war torn Lebanon in 1982, the movie is relevant to the goings-on in the region today. This serves to be both depressing in that not much seems to have changed in the two decades that have passed since but also a reminder of just how complicated the politics of this area of the world remain. The movie effectively holds a mirror to the role that the US often plays in such political treacle using the story of a highly skilled negotiator played expertly by John Hamm who is forced back to the very place he escaped from ten years earlier following tragedy. A hauntingly beautiful score never lets us forget where we are as we see that war often creates situations and people who can be labelled as hero or terrorist yet when viewed through a different lens, those who are treated as criminals are often the very victims of the situation themselves.
The movie is both thrilling and surprising at times as it twists and turns to a thrilling finale with great performances and well rounded characters. Rosamund Pike holds her own against a mostly male cast and reminds us yet again of just how versatile she is. The movie does however expect you to know a little of the history of the region and doesn’t spend a lot of time educating you about it.
Beirut manages to be effectively nostalgic of an era gone by yet current and fresh despite the fact that it is set in the eighties. The movie opens Nationwide on April 11, check local listings for dates and times.
Review | Viceroy’s House
At no other point in history has it been more fitting or important to share a story about the dividing of a nation and its people; extreme and differing political views, nations ravished by arguments over religion and ethnic cleansing often feature front and center in the news – only this story is set in India in 1947.
Welcome to the stunning epic of VICEROY’S HOUSE; the true story of Lord Mountbatten (played by Downton Abbey’s Hugh Bonneville) who is dispatched, along with his wife Edwina (played by Gillian Anderson), to New Delhi to oversee the country’s transition from British rule to independence. Taking his place in the magnificent mansion known as the Viceroy’s House, Mountbatten arrives hopeful for a peaceful transference of power. Yet ending centuries of colonial rule in a country divided by deep religious and cultural differences proves no easy undertaking, setting off a seismic struggle that threatens to tear India apart.
The sumptuous period detail created by the director Gurinder Chadha (Bend It Like Beckham) brings to life a pivotal historical moment that re-shaped the world. Indeed, the ramifications of decisions made seventy years ago have led to two nations (India and Pakistan) in a perpetual state of heightened tension with each other since their inception.
It would have been satisfying enough to watch this bygone event unfold through the lens of the Viceroy and his wife yet Chadha, ever an over-achiever, gives us a stirring love story that layers on top. Equally well acted, we experience the forbidden and complicated love story of Jeet a Hindu boy (played by the hundred Foot Journey’s Manish Dayal) and a Muslim girl, Aalia (played by Huma Qureshi) which perfectly demonstrates the impact that decisions made half a world away had on a people that had endured three centuries of colonization by the British.
An heir of this destiny herself, Chadha who describes herself as someone who “grew up in the shadow of partition” took her time to bring this project to fruition and in doing so uncovered some previously unseen documents, “I always got the impression that Partition was our fault, but the documents we found showed us there was already an agenda in place by the British”.
Chadha does a meticulous job of making this Every man’s partition story and as a result no one in this movie is portrayed as either a villain or a hero. Having been reminded by her own family to ensure that the “Mountbatten plan” was exposed, after doing her thorough research about this story, Chadha soon realized that India’s fate had already been sealed by Winston Churchill and that Mountbatten was merely a pawn led to the slaughter, the result of which would be a divided nation with millions of people getting slaughtered themselves in the process. A tailor-made performance by Bonneville will certainly capture the audience’s empathy yet, when questioned about whether this was the desired outcome, Chadha reiterates her goal was to show just “how ill equipped he was to do such a huge task.”
It would be easy to think of this movie as just a political narrative but to do so would be an injustice. Scattered with strong bold women like Edwina and Aalia who represent the heart and soul of the movie, we experience firsthand not only the exciting sights and sounds of India but also the heartache and trauma that many including the Viceroy himself experienced. That along with an often heart wrenching last performance by the inimitable Om Puri makes this a must-see movie
One will easily be transported to another time and place when watching this movie yet when the credits run you can’t help but wonder whether we learned anything from history, given this was one of the largest movements of people from one place to another in the twentieth century.
THE VICEROY’S HOUSE opens on September 1 and is currently available on VOD – check local listings
Strike A Pose | Review
Posted in Film Festivals, Moviewallas, Opinion, Review, Sneak Peek, Trailers, Tribeca | 
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LEVEL UP | Review
Septembers of Shiraz | Review
If you are feeling a touch of summer sequelitis and looking for something powerful and thrilling to watch then SEPTEMBERS OF SHIRAZ is an important must see movie.
Set during the 1979 revolution in Iran SEPTEMBERS OF SHIRAZ is the harrowing story of a secular Jewish family as they fight for their lives in an attempt to escape what is going on around them. Based on true events with poignant and affective performances by Academy Award® winner Adrien Brody, and Academy Award® nominees Salma Hayek-Pinault and Shohreh Aghdashloo, SEPTEMBERS OF SHIRAZ illustrates the impact of political upheaval on ordinary people and gives us an incisive examination of a troubled moment in history.
Expertly directed by Wayne Blair this movie brings droves of tension in what ultimately becomes an adrenalin charged cat-and-mouse battle of wills. SEPTEMBERS OF SHIRAZ is moving and both topical and relevant to current world events. In revealing what many families sadly encountered over 35 years ago, the genius of this movie lies in its ability to relate the events of that time to experiences that are tragically being suffered by many in a number of countries around the globe today.
The movie cleverly reminds us that the victims of one political party’s agenda versus another are the very people who are promised their protection whilst the accompanying pollution of such communities who ultimately get divided by religion, class and economic factors often end up being the casualties of promised revolutions.
Moonwalkers | Review
I LOVE conspiracy theories, Who killed JFK, Area 51 and of course one of my all time favorites The Apollo Moon Landing of 1969.
So what if Apollo 11 never actually made it and what if, in reality, Stanley Kubrick secretly shot the famous images of the moon landing in a studio, working for the US administration?
This is the premise of the totally plausible conspiracy theory movie MOONWALKERS written by Dean Craig and directed by Antoine Bardou-Jacquet that takes us to swinging sixties London, where a stubborn CIA agent played by the delightful Ron Perlman (HELLBOY) will never find Kubrick but instead is forced to team up with the ever adorable Rupert Grint’s (HARRY POTTER) lousy manager of a seedy rock band to develop the biggest con of all time, in this riotous, high-tempo action-comedy.
Of course It’s a strange set of circumstances that lead our protagonists to meet, including one of their idiot friends who has a tendency to royally screw things up but when they do, there is undeniable chemistry between the pair and a sweetness mainly with the introduction of Robert Sheehan (THE MORTAL INSTRUMENTS, KILLING BONO) as the idiot friend who is equally huggable and slappable at the same time that forms the foundation of this recreational drug-induced caper of unbelievable proportions.
From it’s innovative psychedelic titles to the groovy sixties production, MOONWALKERS is a really fun and enjoyable movie which is both silly and thought provoking at times with great action and comedy. Full of 70s clichés and nuanced yet likable bad guys on every corner, our anti-heros (complete in funky and colorful costumes), lead us from one absurd scene to another on their journey to complete an equally bizarre yet extremely important task
“The film is an action/comedy that combines what I love: fights and stupidity. I enjoy situations where two opposite characters must join forces to accomplish a common goal as it leads to the most hilarious conflicts” states Bardou-Jacquet
As trippy as the era it’s representing, this comedy of errors reminds us of the unresolved question that still plagues many of us after all these decades; was the moon landing real?
“Why would an audience be interested in a movie like this? Bardou-Jacquet continues “Google “moon landing,” and add up the viewers interested in the conspiracy theory about it, and you’ll find millions of hits. All these people deserve at last the true story of how we “never” landed on the moon”
Of course, it also had me thinking about who would actually win in a standoff between America’s supreme CIA agents and England’s finest thugs?
MOONWALKERS enjoyed it’s premier at SXSW 2015 and will be released on January 15th. Check local listings
San Diego Asian Film Festival 2015 (SDAFF 2015) – The Real Jewel in San Diego’s Crown
Just over a month has passed since the annual San Diego Asian Film Festival closed it’s curtains and I’m still gobsmacked by all of the incredible movies that were screened. For it’s sweet sixteenth session, the festival run by the Pacific Arts Movement screened over 130 films from 20 countries and many to record sell-out crowds. All of the beautifully and carefully curated movies had one thing in common – they were thought provoking, poignant and showed off the talents of diverse Asian filmmakers from across the world whilst showing us many of the cultural threads and different lives in the countries that make up the rich tapestry of the continent of Asia.
This is a recap of the coverage that we live tweeted and recorded on Facebook during the festival
If you live or find yourself in San Diego and enjoy movies, you owe it to yourself to get a ticket to the next festival
Some of Moviewallas favorites:
MISS INDIA AMERICA
Directed by: Ravi Kapoor
Screenwriter:Ravi Kapoor and Meera Simhan
MISS INDIA AMERICA kicked off the festival and tells a story about Lily Prasad (Tiya Sirdar) who is a winner, and don’t let anybody tell you otherwise. Fresh off her valedictorian speech, Lily intends to continue living her storybook life according to “The Plan,” her meticulously-crafted scrapbook that ropes in her less-than-willing high school boyfriend Karim (Kunal Sharma). But when Karim is caught flirting with the reigning Miss India National, Lily is livid and takes aim at the crown to win Karim back, restore “The Plan” forever, and reaffirm her endless magnificence. Lily is appalled though when she finds that the path to glory is challenged by not just a drop-dead beauty of a nemesis (played by New Girl’s Hannah Simone), but also the internal nausea of having to win despite all consequences.
This is a smart and funny movie that transcends race and tells a story which is applicable to any nerdy girl who is threatened by the thought of losing her boyfriend to a model! Most importantly it is a feel good tale that reminds us that we are who we are, and deep inside there is a model waiting to get out in all of us. Sassy and clever dialogue elevates the movie that crosses somewhere between Clueless and Legally Blonde, I can’t wait to see what this talented writing team brings us next
WONDERFUL NIGHTMARE
Directed by: Hyo-jin Kang
Yeon-woo (played by Uhm Jung-Hwa, Dancing Queen, SDAFF ’12) has the complete bourgeoisie starter package. A slick new BMW. A mixed martial arts personal trainer. Rare red steaks and French wine for breakfast. And she is head legal counsel to the biggest, sleaziest company in town.
But if we know anything about Korean rom-coms, it’s that sudden shocking comas are attracted to the rich and bitchy as much as grizzly bears are attracted to salmon wearing nightgowns of honey.
An automobile accident lands Yeon-woo in heaven, but even death can’t keep her spirit down. Korean angels cut her a deal. Teleport down into the chores, credit limits, and complications of a shabby housewife for one month. Then she will be allowed to return to the glitz, glamour, and unscrupulousness of her old life.
There have been many movies that explore what it’s like to walk in another person’s shoes or bodyswap and most often these fit squarely in the comedy genre e.g. Freaky Friday, Heaven Can Wait and most recently The Change-Up. However, there are few movies that elegantly explore the emotion that goes with waking up as somebody else with a life that isn’t yours and is everything you didn’t want. Welcome to the WONDERFUL NIGHTMARE; this is a deep and thoughtful look at what happens when a woman who seems to have it all wakes up in a life that she truly never desired and doesn’t want to be a part of. This is a delightful movie that will have you laughing whilst reflecting on what it means to be human and what’s really important in life.
THE BEAUTY INSIDE
Directed by: Jong-Yeol Baek
Screenwriters:Seon-jeong Kim, Jeong-ye Park and Kyung-hee Noh
Woo-Jin wakes up every morning with a different body. At first, it was a shock. Now, years later, he’s used to looking in the mirror and discovering a stranger. With only the companionship of a supportive mother and a highly-entertained best friend, Woo-Jin’s been forced into anonymity, working as a furniture designer taking orders from online clients he never has to meet. Falling in love is of course off limits. That is, until he meets E-Soo, a furniture saleswoman who makes him never want to fall asleep again.
From there, THE BEAUTY INSIDE becomes a most unusual romance, the kind that pushes its protagonists into the ultimate tests of love: can Woo-Jin be in a relationship with somebody who doesn’t recognize him? Can E-Soo feel security from a man who starts every day as a stranger? With all the magic of a good fantasy, THE BEAUTY INSIDE has the audience seeing the romantic comedy anew, much as E-Soo and Woo-Jin treat every one of their encounters like a rediscovery.
THE BEAUTY INSIDE is one of the most unique movies that explores the true nature of who you are and how this changes if you physically don’t recognize who you are in the mirror. Stunningly shot with elegant dialogue, this film will leave you feeling like love truly can conquer all. The most impressive thing about the movie is it’s female lead Hyo-ju Han who effortlessly captures our hero’s heart.
IT’S ALREADY TOMORROW IN HONG KONG
Directed by: Emily Ting
Screenwriter: Emily Ting
Josh struggles with his lucrative job in finance, his practical-minded girlfriend, and his desire to become a novelist. Ruby, content with her job designing toys, imagines what she could be doing had she pursued her love of fashion design. Both are young American expats who happen to be on the same Hong Kong street when Ruby gets lost and Josh decides to help her find her way.
Soon though, their serendipitous meeting and stroll through the city leads to the kind of expat fantasy that seems to allow for limitless possibilities – even infidelity. Together, they begin to see their desires come within reach, however stymied by impracticality and fear of the unknown.
IT’S ALREADY TOMORROW IN HONG KONG elegantly and wistfully captures what happens when a spark is ignited between two people with an ocean separating them and the questions that arise when we find ourselves in a situation that we shouldn’t be in. The chemistry between real life couple Jamie Chung and Bryan Greenberg as Ruby and Josh is electric and we find ourselves rooting for this would-be couple who have more than distance to potentially contend with. Moviewallas caught a screening of this during LA Film Festival earlier in the year but the movie was so good that we couldn’t help ourselves watching a second time.
MOUNTAINS MAY DEPART
Director: Zhangke Jia
Screen-writer: Zhangke Jia
At first, the latest from filmmaker Zhangke Jia appears deceptively simple, a step back perhaps, crude even. Why would the director of THE WORLD and STILL LIFE and most recently, the brutally unsparing Cannes winner A TOUCH OF SIN, want to make what seems a visually unkempt and thematically shallow love story. A girl in small-town China has to choose between the affections of her ambitious, pushy, city boss and her aggravatingly shy, local coworker. You wonder if the great Zhangke Jia has finally wandered into a genre – the romantic triangle – that is outside his grasp.
And then you spend the rest of the film realizing how wrong you were to doubt him in the first place. Because it is only after awhile that the ambitions of the movie become evident. And when they do, you sit back in awe. As this film jumps from the initial story set in 1999, to 2014, and then giddily to 2025! And here is why this film needs to be sought out by cinephiles, because even as the movie sprints 15 years ahead with each leap, it also literally opens up, with a widening aspect ratio. The screen widens with the passage of time! And this was one of the most joyous surprises I witnessed in a cinema hall all year. And the widening is unqualified, as the film opens up thematically (it only lulled you at the start into thinking that this was a romantic melodrama), geographically (from rural China to Shanghai to Australia) and the scope of its reach (easily commenting on the big themes as the film progresses). The film also smartly avoids the rigors of traditional epic storytelling in which the very same characters are examined through a lifetime. Instead MOUNTAINS MIGHT DEPART concentrates, in the moment, on a specific character(s) during each time period. Yes, these characters are related, but the film has no interest in looping back to re-examine each of the original players from the first act.
The visionary filmmakers often tend to put all their cards on the table at once, aiming to dazzle you upfront, but they sometimes have a hard time sustaining that through the last act when things whimper to an end. I am more impressed by films which calculatedly build their fort and become increasingly more breathless on their way to the conclusion. MOUNTAINS MAY DEPART takes off in its last act, when it bravely somersaults into an unconventional (if not transgressive, for some) relationship between two new characters. How many filmmakers possess the bandwidth to grasp for so much.
In watching sons deal with the footprints of their fathers, and in its formal structure, this is like a smarter version of Derek Cianfrance’s THE PLACE BEYOND THE PINES. But no matter how you cut it, this is the work of a master.