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Widow Clicquot

Director – Thomas Napper – 2023 – UK – Cert. 15 – 90m

****

A nineteenth century French widow innovates in the male-dominated world of champagne production – out in UK cinemas on Friday, August 23rd

In the early nineteenth century, Veuve Clicquot established itself as something of an innovation in the world of champagne. You would imagine that if anyone were to make a period picture about it, it would be the French, but as may well be guessed from the English language translation title here, this is a British production using English actors speaking English.

There’s nothing whatsoever wrong with that, but given that France has a sizeable movie industry which, among other things, often makes period costume dramas, watching a film about an historical period in that country in English feels decidedly odd. Perhaps if there were more of an epic sense of scale (think: Napoleon, Ridley Scott, 2023) it might feel less so. The screenplay is based on a book by North American writer Tilar J. Mazzeo.

Perhaps it’s explained with greater clarity in the book, but the film assumes a familiarity on the part of the audience with the ins and outs of the Napoleonic Wars, which take place in the backdrop of the film and on the edge of the narrative, affecting it from a distance, as it were.… Read the rest

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Twisters

Director – Lee Isaac Chung – 2024 – US – Cert. 12a – 117m

Film ***1/2

Special Effects (the twisters themselves) *****

A young woman attempts to compensate for failed “twister taming” which caused the tragic deaths of three of her friends, by further pursuing tornadoes – out in UK cinemas on Wednesday, July 17th

In the very first moments, Kate (Daisy Edgar Jones from Where the Crawdads Sing, Olivia Newman, 2022) stands in a field of tall grass. It’s an image that could almost have come out of director Chung’s previous film, the intensely personal Oscar-winner Minari (2020). Almost, but not quite: apart from one briefly seen-child, this is not a film populated with Korean-Americans. It doesn’t attempt any kind of ethnic statement, but then, why should it? People either come to this because they saw Twister (Jan de Bont, 1996) and want a rerun or, if they’re younger, because they want the same thing that pulled audiences into the first film: mayhem caused by the awe-inspiring, unstoppable force of nature that is a tornado, aka a twister.

The title implies there are more than one, and there are indeed, but then, there were in the first film too.… Read the rest

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Woman of Fire
(Hwanyeo,
화녀)

Director – Kim Ki-young – 1971 – South Korea – Cert. 18 – 98m

*****

A married couple’s housemaid seduces the husband, ensnaring him in a love triangle from which there is no escape – 4K Restoration played at the London East Asia Film Festival (LEAFF) (European Premiere) and screens again 6.30 at the ICA on Friday, November 5th book here as part of a strand dedicated to actress Youn Yuh-jung (Best Supporting Actress, Minari) at the London Korean Film Festival (LKFF) which runs from Thursday, November 4th to Friday, November 19th

Kim Ki-young is probably better known for his breakthrough film The Housemaid (1960) than any other title. Not only did the film establish him as a maker of dark films about twisted relationships, it also inaugurated something of his trademark style. While a real watershed in Korean cinema generally and Kim’s career in particular, the material was something he felt he could do a lot more with: he remade it directly not once but twice as Woman of Fire (1971) and Woman of Fire ‘82 (1982). Where the highly effective original was shot in both black and white and the old 4:3 Academy format, the two remakes like many of his later films were both colour and scope, and made full use of both, giving them additional qualities lacking in the original.… Read the rest

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Death,
Desire
And Rat Poison

An introduction to the films of Korea’s late and, lamentably, largely unknown director Kim Ki‑young – originally published in Manga Max, Number 8, July 1999. Reprinted here to coincide with London East Asia Film Festival (LEAFF)’s screening of Woman of Fire (1971) on Friday, October 29th. If you missed it, the restoration screens again on Friday, November 5th as part of a strand dedicated to actress Youn Yuh-jung at London Korean Film Festival (LKFF) which runs from Thursday, November 4th to Friday, November 19th

Kim Ki-young

It seems unthinkable that the world could have failed to recognise a director whose 2.35:1 widescreen visuals compare favourably with Seijun Suzuki and John Boorman and whose marriage of technique with subject matter is as terrifying as anything by Dario Argento or Alfred Hitchcock. Nevertheless, when 1997’s Pusan International Film Festival (PIFF) ran a retrospective season of films by Kim Ki-young (the first of a proposed series of annual events showcasing Korean directors) it quickly became clear to astonished audiences that the unthinkable had indeed happened. Sadly, on February 4th 1998 – within six months of his new-found international acclaim – Kim and his wife died in a fire in Korean capital Seoul.… Read the rest