Family Romance, LLC (2019) | Directed by Werner Herzog

 4.5/5

Werner Herzog’s Family Romance, LLC is a Herzog film through and through, complete with the auteur’s obsessions about the blurred lines between performance and reality, as well as his penchant for narrative digressions and his delight in the imperfections that arise in the filmmaking process. Made on a tiny budget, the film’s handmade aesthetic and use of non traditional actors (mostly playing themselves and recreating and improvising situations similar to ones they’ve encountered) creates an eerie space where fiction and reality blur, placing us within the uncanny valley – where the approximation of real life is off just enough to keep us off balance and unsettled for the duration of the film. It’s a space where Herzog thrives. And he’s found the perfect collaborators in this film that asks us to question what it means to truly connect with another human being in an age where we’re so disconnected. As postmodern and intellectual as it is, Herzog and his cast never lose sight of the humanity at the center of these questions. It’s an approach that makes the film deeply moving and a work of incredible beauty.

Where to Watch

The Truth (2019) | Directed by Hirokazu Kore-eda

 5/5

Hirokazu Kore-eda’s The Truth may be the first of the filmmaker’s works made outside of Japan, but he’s lost none of his unblinking honesty about the nature of family and the deep wounds we inflict upon one another over the years. On the surface, it’s a film that can feel slight and superficial – like any number of dramas centered around family and relationships. But as you keep peeling back the layers and examining what Kore-eda is doing with memory and the pain embedded within family dynamics – not to mention the weighted symbolism of playing Juliette Binoche off of Catherine Deneuve – you begin to see just how rich and complex a story he’s telling here. And unlike the acerbic comedies you’d get from a more European aesthetic, there’s a quiet honesty to Kore-eda’s approach with this story and a generosity that allows each character a moment of grace and their own reasons for action or inaction. This is an absolutely marvelous film.

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Pin Cushion (2017) | Directed by Deborah Haywood

 3/5

There’s a lot to like in Deborah Haywood’s Pin Cushion – the moments of fantasy throughout are particularly striking and I especially like the ways in which the film explores the slow escalation of feminine teenage cruelty. I also like that, even with the fairy tale quality to everything, there are no simple solutions to the persistent bullying that we see directed to both mother and daughter. But even with strong performances across the board, the film’s narrative transitions are too abrupt, making several essential character beats feel less organic and natural, more forced and predetermined. Add in a final twist with conclusions that feel naïvely dangerous at best, and you end up with a film that had so much potential but comes up short.

In This Corner of the World (2016) | Directed by Sunao Katabuchi

 4/5

Sunao Katabuchi’s In This Corner of the World is a lovely, heartfelt family drama set against the backdrop of World War II in a naval community near Hiroshima. Tracing the life of a young woman as she is married off and sent to live with her new in-laws – strangers in a strange new village – the film manages to eschew most of the typical beats you’d get in a family drama of this variety. There are no overly melodramatic elements, no abusive husband, no domineering in-laws – just a tender story of a young woman coming into her own during difficult times, learning resilience and the powerful bonds of this new family she’s married into. There are lovely flourishes to the animation that serve as a nice counterpoint to the brutal reminders of the grim realities of war, and the final coda is a lovely note of hope, a reminder that acts of humanity and compassion are what get us through these truly horrific moments in history.

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Tito and the Birds (2018) | Directed by Gabriel Bitar, André Catoto, and Gustavo Steinberg

 4/5

Gabriel Bitar, André Catoto, and Gustavo Steinberg’s Tito and the Birds is a breathtakingly gorgeous work of Brazilian animation about the ways fear is used by those in power to exploit and divide us. Using the outbreak of a disease across the globe as its central metaphor for ways fear, hatred, and division spread from person to person, the film’s young hero and his friends must find a way to communicate with the birds to find a cure for this fear before it’s too late. Watching this in the midst of an actual pandemic requires a certain amount of distancing, reminding yourself that the outbreak is a metaphor for other concerns. And even though the final act relies a little to heavily on the children’s action movie formula, it’s still such a beautiful and emotionally moving film with absolutely dazzling animation.

Emma. (2020) | Directed by Autumn de Wilde

 4.5/5

In spite of the film’s candy-colored sets and delicate finery, Autumn de Wilde’s adaptation of Emma. is as biting and acerbic a satire on class and privilege as you could want. Anya Taylor-Joy’s performance as the titular character is fantastic, and Emma is allowed to be an unlikeable protagonist whose journey of growth and self-discovery is believable, honest, and ultimately moving. Even the most ridiculous characters are revealed to have hidden depths and reservoirs of pain or heartbreak guiding their actions and behaviors. And de Wilde’s direction is stunning, with each frame richly composed – especially the head-on close-ups of characters which allow us to chart their every fleeting emotional change as it dances across their face. It’s an adaptation that proves Austen’s work is just as timely and relevant now as ever.

Where to Watch

The Blackcoat’s Daughter (2017) | Directed by Oz Perkins

 3.5/5

Oz Perkins’s The Blackcoat’s Daughter is a very creepy, very effective psychological horror film. The visual isolation of the main characters echoes their loneliness in a way that grows increasingly sinister and haunting, especially as the film explores the ways in which isolation can lead to some incredibly dark places. I especially appreciate the film’s approach to time – even if the big reveal is something you can see coming a mile away. It’s not a perfect film, but it is thoroughly compelling and anchored by three really outstanding performances. And if you’re looking for a solid horror film that will slowly build and crawl under your skin, this is a really great one to catch.

This review has been made possible by the generous support of Doug McCambridge of the “Good Time, Great Movies” and “Schitts and Giggles” podcasts.

The Leopard Man (1943) | Directed by Jacques Tourneur

 3.5/5

Jacques Tourneur’s The Leopard Man is a lean and effective little thriller that may be thin on plot, but gets us from one moment to the next without too many unnecessary detours. It’s refreshing to have the plot set in motion by two selfish, white outsiders coming into a community of color and wreaking havoc with their carelessness. And it’s also refreshing to have them both move from selfish, hardened narcissists to two individuals who really begin to care for others and begin to see the consequences of their actions. However, the real reason to see this is Tourneur’s use of light and shadow. He takes this simple story and imbues it with real poetry, mystery, and horror, using his images to express a deep and primal terror that his screenwriters were unable to convey through the script.

Knives Out (2019) | Directed by Rian Johnson

 5/5

Rian Johnson’s Knives Out is an exquisitely constructed murder-mystery with a brilliant twist on the format from its very beginning, which propels the narrative forward in some wholly unexpected, incredibly clever, and thoroughly delightful ways. The script is a masterclass of precision, the intricacies of plotting paying homage to the great mystery writers who have gone before, all the while managing to keep us second-guessing up until the final reveal. The cast is all delightful here, the pacing and comic timing superb. Johnson’s wit is razor-sharp here, and his use of framing and composition to hide (and reveal!) the film’s mysteries is exceptional. I love that the film is told from the point of view of an immigrant and that the film is ultimately about the anxieties of white Americans losing the privilege, power, and entitlement they’ve desperately held on to for so long. The message may be pointed and blunt, but it’s all wrapped up in a delightful little confection that’s oh-so-easy to swallow.

Where to Watch

Cabin in the Sky (1943) | Directed by Vincente Minnelli

 3.5/5

Vincente Minnelli’s musical Cabin in the Sky is remarkable for featuring a cast comprised entirely of African American performers in 1943. This morality tale about a gambler whose soul is being fought over by the forces of heaven and hell has touches of a comic Faust about it, and the central relationships are an absolute delight to watch unfold. Even in this early work, Minnelli finds ways to keeps his camera gliding across the set, keeping the energy buoyant and light. And this is one of the few musicals of its time to feature music that moves that helps tell the story. While the film manages avoids some of the more exaggerated stereotypes of African American characters found in more mainstream Hollywood fare, the film does come close enough to caricature to be uncomfortable and problematic. Still, no matter how much these performers were boxed in by the conventions and expectations of the day, their brilliance and talent shine through.