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The Teachers’ Lounge
(Das Lehrerzimmer)

Director – Ilker Çatak – 2023 – Germany – Cert. 12a – 98m

**** 1/2

A new teacher at a school where petty thefts have been taking place for some time makes some bad decisions which put her in a very difficult place – out in UK cinemas on Friday, April 12th

Schoolboy Lukas (Okar Mats Zickur) is being questioned about recent thefts in the school. Does he have any suspicions as to which of the pupils might be doing this? A girl sits beside him, a class representative, to make sure everything is being done properly. “You don’t have to speak if you don’t want to”, teacher Carla Nowak (Leonie Bedesh) assures him. Nevertheless, her male colleague pressurises the boy. First, he gives him a printed list of names with checkboxes and asks the child to tick any relevant boxes. When that doesn’t work, he goes down the list with his finger and asks the boy simply to nod at any suspicious name. He gets a nod.

Teaching in class, with a number of the kids stumped by the current algebra problem, star pupil Oskar Kuhn (Leonard Stettnisch) works through a proof on the blackboard, way in advance of the capabilities his age would suggest.… Read the rest

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Io Capitano
(Io Capitano)

Director – Matteo Garrone – 2023 – Italy – Cert. 12a – 121m

*****

Two teenage Senegalese boys set out on a journey to Europe and a better life – out in UK cinemas on Friday, April 5th

Garrone’s earlier features (Gomorrah, 2008; Tale of Tales, 2015; Dogman, 2018; Pinocchio, 2019) have a particular, muted look, making considerable use of browns and, to a lesser extent, greys or greyish colours. These were all films set in Garrone’s native Italy, featuring characters with an Italian perspective of one sort or another. This new film eschews all that and, while it’s recognisably the work of the same director, exhibits a completely different colour palette in accordance with its different location. It’s brighter and much less dingy.

The different look very much fits with the different intent. Garrone wanted to deal with migrants crossing the Mediterranean from Africa to Europe, but portray the journey from the migrants’ perspective rather than that of their destination countries. So this starts with two teenage, Senegalese boys who want to run away to Europe and is made in various African dialects, with the main one spoken by the two boys being recognisable as French.… Read the rest

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Typhoon Club
(Taifu Kurabu,
台風クラブ)

Director – Shinji Somai – 1985 – Japan – Cert. 18 – 115m

*****

A group of teenagers is trapped inside their school by a typhoon – screenings around the UK and Ireland from Wednesday, April 3rd; also available on Blu-ray from Third Window Films

A film about teenagers which uses tropical weather conditions – in this instance, an approaching and then all-encompassing typhoon – as a catalyst for exploring character. Its bravura visual style engages from the get-go, with a shot looking across a swimming pool between two ropes of a lane with a child swimmer.

Thursday. A bunch of girls in bathing costumes including Yasuko (Tomoko Aizawa) lark about outside in what is obviously hot and humid weather – one runs through a shallow pool and turns on a water spray to catch the others as they follow, but soon their tomfoolery looks like it may have dire consequences as they all but drown the boy pool swimmer Akira (Toshiyuki Matsunaga). Fortunately, Kyoichi Mikami (Yuichi Mikami), who turns up with his friend Ken (Shigeru Benibayashi) in tow, is able to sort the situation out by administering artificial respiration.

Later, Akira and Mikami, with Ken smoking between the pair of them, hang out on a bamboo scaffolding structure discussing girls, including Yasuko’s lesbian activities with another girl.… Read the rest

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Drift

Director – Anthony Chen – 2023 – Singapore, UK, France, US – Cert. 15 – 93m

****

A Liberian woman and former London student from a privileged background has lost everything and lives on her wits in a Greek holiday resort until she makes a connection with a tour guide – out in UK cinemas on Friday, March 29th

A T-shirt-clad back sits on the beach, facing away from us, looking out to a calm, blue sky and sea. A figure of indeterminate gender at this point. In an isolated, unpopulated landscape. However, as this young black woman (Cynthia Erivo) starts to make her way around the place, elements of both are gradually revealed to us. She travels on a bus with white tourists to a small, sleepy town where Greek lettering on the shop signs gives us some idea of where we are. Later, she takes the return journey and is back on the beach. She washes her underwear (she appears to only have the one pair) and T-shirt in the sea, letting them dry in the sun while she shelters in a cave. She momentarily panics at the sight of a coastguard vessel before realising it’s merely a small fishing skiff.… Read the rest

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The Sweet East

Director – Sean Price Williams – 2023 – US – Cert. 18 – 104m

****

Dumping her boyfriend, a South Carolina high school student skips a class trip to Washington, DC and falls in with a series of outsiders living in their own isolated visions of America – out in UK cinemas on Friday, March 29th

Although this starts off with heroine Lilian (Talia Ryder from West Side Story, Stephen Spielberg, 2021) in bed with her boyfriend Troy (Jack Irv), and a lot of visible flesh, it’s not so much a sex scene as a scene in which two people talk about the ending of the movie they watched last night. Soon after, the pair and their classmates are piled into a coach, complete with tour guide, driving them to Washington, DC. When Troy and others lark around in hotel corridors, she doesn’t really feel part of what’s going on.

At a restaurant, she meets activist and body-piercing enthusiast Caleb (Earl Cave from True History of the Kelly Gang, Justin Kurzel, 2019, Days of the Bagnold Summer, Simon Bird, 2019), who without sexual intent shows her the piercings and metal studs encrusting his penis. Going with him and his fellow commune members to an activists’ event, she finds herself at an outdoor radicals’ fair where she meets Laurence (Simon Rex from Red Rocket, Sean Baker, 2021) to whom she gives her name as Annabelle and who kindly offers her a place to stay – his place in Delaware, no strings attached.… Read the rest

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Lost In The Stars
(Xiao Shi De Ta,
消失的她)

Directors – Cui Rui, Liu Xiang – 2022 – China – Cert. 15 – 121m

*****

A man’s wife vanishes and is replaced by an imposter; when no-one believes him, he hires a hotshot lawyer to find out what’s happening and get his real wife back – out in UK cinemas on Friday, July 14th

He Fei (Zhu Yilong) walks into a police station to ask for help with finding his wife Li Muzi, who has disappeared. The desk sergeant, who has clearly heard it all before, tells him there’s nothing they can do. Outside the station, in the pouring rain, he is approached by Officer Zheng (Du Jiang) who overheard and helpfully tries to calm him. The couple are holidaying in the island of Barlandia, outside of Chinese jurisdiction. He has recurring nightmares of her (Huang Ziqi) calling out his name for help and feels helpless in the face of them.

The next morning, events take a turn for the worse when He wakes up beside his wife Li Muzi (now played by Janice Man), who is not the real Li Muzi but an imposter he’s never seen before. Yet every piece of evidence he can think of to support his story seems to have changed to support hers– her passport seems genuine and shows that she entered the country at the same time as him, she can answer all manner of questions about the couple’s personal life, she has a scar on her upper thigh that no-one but the two of them know about.… Read the rest

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The Dead
And The Deadly
(Ren Xia Ren,
人嚇人)

Director – Wu Ma – 1982 – Hong Kong – Cert. 12 – 99m

*****

A couple planning an inheritance swindle convince their victim to play along then kill him, after which he comes back as a ghost to take revenge – classic and seminal HK kung fu comedy is out on UK Blu-ray in a 2K restoration.

Made three years ahead of Mr. Vampire (Ricky Lau, 1985), this puts all the elements of that film in place, apart from the vampires. Actually, they’re not so much vampires as hopping ghosts (jiangshi). There’s no hopping in The Dead And The Deadly, but there are ghosts.

Chu (Sammo Hung) becomes suspicious when best friend Ma Lucho (Wu Ma) dies, suspecting Mrs. Ma (Leung Mei Hei) and her priest companion (Chung Fat) of poisoning him. As becomes clear from an early scene in a brothel, Ma is not gifted with women, so Chu is surprised that his surviving wife is pregnant. What he hasn’t realised is that Ma is actually in on the scam and is only pretending to be dead.

But that changes about an hour in when Ma’s two co-conspirators kill him for real to get his money, as Mrs.… Read the rest

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Over My Dead Body
(Seisi Seisi Seisapsei,
死屍死時四十四)

Director – Ho Cheuk Tin – 2022 – Hong Kong – Cert. 15 – 119m

**

Confronted with a naked corpse, the residents of three separate flats in a tower block try to get shot of it before its discovery can reduce their apartments’ selling prices – out in UK cinemas on Friday, April 21st

One of two films about living in a high rise released this week.

Hong Kong movies have a long tradition of knockabout and very silly comedy which are something of an acquired taste. Many of them are enjoyable enough. This particular entry, however, doesn’t travel outside the Hong Kong Chinese culture very well. To an English, non-Cantonese speaker, it doesn’t really work, coming over largely as irritating. (I suspect that, for Cantonese speakers, it may well play far more successfully.)

Half watching a TV show on his dashboard phone about the problems Hong Kongers face around ever-escalating real estate prices, Ming To (Wong You Nam from Ip Man, Wilson Yip, 2008) makes the journey in his VW van through gridlocked traffic, past the building’s SG (security guard) Lee (Sheung-ching Lee) of the tower block Seaside Heights to Flat 14A and the bedroom of sexy air stewardess Yana Chung (Jennifer Yu Heung-Ying from Shadows, Glenn Chan, Bure Li, 2020; Tracey, Jun Li, 2018) for some horizontal refreshment under the sheets.… Read the rest

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Pickpocket

Director – Robert Bresson – 1959 – France – Cert. PG – 76m

*****

Why is a man compelled to pursue acts of petty thievery – acclaimed, arresting, existential drama is out in cinemas on Friday, June 3rd

I have just rewatched Bresson’s classic and am still not entirely sure I have its measure. Perhaps that’s the thing about great works of art. Oh, to have seen it on its original release, had I been old enough, and watch it without the baggage of it being proclaimed a cinematic masterwork.

Words on the screen proclaim at the outset that this is not the thriller its title might suggest; it’s rather a study of a man who repeatedly commits crimes which is trying to understand why he would do that.

The characters, of whom the main protagonist Michel (Martin LaSalle) is the one who gets most screen time and indeed, is scarcely if ever off the scree, are played deadpan, with Bresson doing his utmost to ensure that his cast perform the roles without acting. He doesn’t want the actors’ craft to come between us and his images of people doing, being, talking. He seeks to avoid the artificiality of acting thereby allowing his performers to realise his images without any acting technique mediating them.… Read the rest

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Vortex

Director – Gaspar Noé – 2021 – France – Cert. 15 – 142m

*****

An elderly man struggles to care for his ailing wife who has dementia – out in cinemas on Friday, May 13th

Discounting the lengthy titles detailing among other things the various film clips and images used, this throws us a series of images in a pillarboxed 4:3 format with curved corners at the edges (suggesting a projected slide show or physical, analogue photographs mounted in an album) then the young Françoise Hardy singing “Mon Amie La Rose” loads irony into the proceedings: the rose is fresh and speaks to us of love, the singer young and yet to be ravaged by the passage of time. (It’s not mentioned here, but last year, Hardy announced she could no longer sing as a result of cancer treatments, which lends the video a certain poignancy today – even more so in the context of this film.)

Then the man we’ll call the father (Dario Argento, director of such Italian gialli as Suspiria, 1977; Tenebrae, 1982) waves through windows across a courtyard at the woman we’ll call the mother (Françoise Lebrun from The Mother And The Whore, Jean Eustache, 1973) and they meet up for a glass of wine on their balcony.… Read the rest