The Ballad of Buster Scruggs.
The Coen Brothers return to the American Frontier eight years on from their last Western, True Grit. The storytelling format has changed this time around, with the filmmaking siblings opting for an anthology of unconnected vignettes. The first of the six tales presents the title character, Buster Scruggs, a singing outlaw with a friendly, though occasionally deadly, disposition; the next tells of an unnamed man attempting to rob a bank in the middle of the desert; then is the turn of a travelling impresario and an armless, legless storyteller; an elderly prospector searching for a vein of gold in a lush, green valley; a young woman, her brother and his dog travelling via wagon train to start a new life in Oregon; and the final story recounts a tale of five strangers onboard a stagecoach, exchanging their differing opinions. Throughout their careers the Coens’ have shown to be masters of multiple genres, the anthology format in Buster Scruggs gives them the platform to prove this, with the stories spanning comedy, drama, romance and musical, around the central western theme. The costume and set design is exceptional, as is the accompanying photography. The Coens, as per usual, produce a brilliant, sharp screenplay; though we spend very little time with the characters, they are still more fleshed out than most TV shows manage in an entire season. A cast of supreme acting talent create an enjoyable, yet odd, film. An homage to the tales from the Old West.
Annihilation.
I was seriously impressed by Alex Garland’s directorial debut, the sci-fi thriller Ex Machina, and his filmography of screenplays, including Sunshine and 28 Days Later, speaks for itself. Needless to say then, I had been anticipating Annihilation for some time. Lena, a biology professor, hasn’t recovered from her husband’s disappearance a year previously; but elation upon his return turns to frustration as he acts strangely and is unable to answer her questions. When Kane’s health suddenly deteriorates, the two are captured en route to the hospital and taken to remote Area X. Dr Ventress, a psychologist, informs Lena of the nature of Area X: they are investigating a mysterious, expanding “shimmer” that surrounds a lighthouse where an extra terrestrial crash-landed three years ago; nothing that has entered has returned, with the exception of Kane. Driven by curiosity and the will to help her dying husband, Lena joins a team of scientists, including Ventress, heading into the Shimmer. There they discover a strange, rapidly mutating and evolving ecosystem, odd experiences in their consciousnesses and messages left behind from the previous expedition. Annihilation, like so much in society these days, polarises opinion. Some claim it is boring and filled with plot holes, others that it’s a horrifying work of science-fiction genius; I would tend to agree with the latter. While the film creates questions, it is up to the viewer to answer them by using their own brain, a refreshing notion in a film industry wholly content in drip-feeding audiences endless prequels and sequels until all sense of imagination is lost. A pretty, atmospheric, puzzling horror film. Make your own mind up.
Phantom Thread.
London, circa 1950. Softly spoken, upper-class dress designer Reynolds Woodcock services socialites, celebrities and royalty with his high-end creations. Upon completion of a new dress, Reynolds visits a countryside café where he meets charmingly friendly waitress, Alma. She accepts his invitation to dinner, after which they return to his cottage where he, and his overbearing sister Ciril, begin designing a custom dress for her. The relationship between Reynolds and Alma blooms, though Alma finds the distance between them difficult to bare and their differences; he a cold, arrogant egotist constantly prioritising work and her a humble, meek romantic; drive them further apart. Ciril, meanwhile, manages the inner workings of the company, her relationship with Reynolds that of an old married couple and, though initially distrustful of Alma, begins to warm to her. Growing frustrated with Reynolds aloofness toward her, Alma attempts to show her love, disrupting the ritualistic, bordering on superstitious, routines he has garnered throughout his career, much to his horror. The photography of Phantom Thread is precise, clean and elegant: The House of Woodcock itself would be proud of the beauty on display. Jonny Greenwood’s enthralling, atmospheric score ramps up the palpable tension, and the silence between even more so; while Daniel Day-Lewis’ ability to embody every role he portrays is astounding as he cements his reputation as one of the finest actors of all time. A mesmerising insight into the relationship of an artistic genius.
Shoplifters.
On the way back from a perfectly-executed supermarket heist, a man and his son stumble upon a young girl sitting alone in the freezing cold. Welcomed back to their cramped apartment by the other members of the family, they notice the girl is malnourished and covered in scars. Once fed and rested they attempt to return her to her parents, only to discover the reason for the scars: her abusive father. The girl is taken in by the family, and joins their off-the-grid, shoplifting way of life. They are not proud of their petty crimes. They aren’t remorseful. It is simply part of their routine. As a viewer, I myself normalised the crimes they commit, until forced to view them from a different perspective. Every member of the family has a secret to hide, it’s only a matter of time before they start to unravel. Shoplifters is an intriguing commentary on what it means to be a family, the nature of parenthood in particular. Writer and director Hirokazu Koreeda contemplates some important questions, and allows space for the viewer to ponder the answers for themselves. Stunningly shot and acted; a realistically raw portrayal of lower-class family life in modern day Japan.
Utøya – July 22.
15:25, July 22nd 2011. A car bomb explodes in the government quarter of Oslo. News of the event filters through to a liberal youth summer camp on Utøya, an island 30km away. Among the attendants are Kaja and her younger sister Emilie; the two argue over Emilie’s behaviour. Kaja leaves Emilie to her own devices, choosing instead to converse with other young people about politics and the source of the explosion that occurred less than two hours ago. What unfolds will become the darkest day in modern Norwegian history. Sheer panic, confusion and terror grips Kaja as teenagers begin to run and gunshots echo over the island. Hiding, Kaya and a group of others contemplate what to do. The others agree to attempt an escape from the island, while Kaja is determined to find her sister. Utøya – July 22 gives an ultra realistic, first-person experience of the dark events of that day, following Kaja through the 72 minute attack in real time. The most uncomfortable I have ever felt watching a film. The unsettling soundtrack of constant gunfire. The unseen monster. Absolutely gripping. Utterly harrowing. Shockingly visceral. An experience so powerful, you are unlikely to forget it. Not for the faint hearted.
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