Tag: sex

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La Mif

Director – Fred Baillif – 2021 – Switzerland – Cert. 15 – 110m

*****

The lives of inmates in a girls’ care home, and the working lives of the staff who look after them – out in UK & Irish cinemas on Friday, February 25th

This ‘docudrama’ (for want of a better term) follows the residents of a Geneva care home for vulnerable young people.

Screaming blue murder, a young woman is escorted from the premises by a policewoman.

Lora (Claudia Grob), the manager of this care home, returns after time off to say “hi” to the girls. (The fact of her returning is thrown in to the narrative almost casually at this point; only later does its significance become apparent.) These girls are vulnerable children in the State’s care, and Lora feels like a mother to them. They, in turn, refer to the home – meaning themselves and the other girls, with their support workers on hand in the background as sort of substitute parents – as La Mif (French slang for “the family”; literally, “The Fam”).

Novinha (Kassia Da Costa) is a sassy, pushy teenager who talks frankly about sex, And everything else. Audrey (Anaïs Uldry) – the arrested girl from the opening – has been caught having sex with a boy three years younger than her; after this, the centre is turned into a home for girls only.… Read the rest

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Ghostbusters Afterlife

Director – Jason Reitman – 2021 – US – Cert. 12a – 124m

*****

A single parent mum and her two teenage kids relocate to a small American town to find strange, paranormal goings-on – currently streaming in Ultra HD and from Monday, January 31st on BD and DVD in the UK

Hollywood loves sequels to or reboots of successful films. The original Ghostbusters (Ivan Reitman, 1984), in which three parapsychologists set up as a team to capture the many ghosts that have inexplicably begun appearing in New York City, was unlike anything that had gone before with its mixture of comedy, action and the paranormal. Deservedly a huge hit, it spawned the inevitable sequel Ghostbusters II (Ivan Reitman, 1989) which didn’t have a strong enough plot to maintain interest beyond the first 20 minutes or so. The reboot Ghostbusters (Paul Feig, 2016), recasting the parapsychologists as women, worked well enough.

Ghostbusters Afterlife, however, is another attempt at a sequel. A very brave attempt it is too, because sequels are often expected to basically rerun the original film in an attempt to serve the audience a second helping of what they enjoyed before. After seeing it, you might argue that Afterlife does that, but going in, you might wonder what on Earth is going on.… Read the rest

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No Time To Die

Director – Cary Joji Fukunaga – 2021 – UK – Cert. 12a – 163m

*****

We have all the time in the world. The new Bond movie gives Daniel Craig’s James Bond unexpected space to deal with human relationships and mortality – out on Blu-ray and DVD in the UK on Monday, December 20th and the US on Tuesday, December 21st

With its release delayed for over a year because of the global COVID-19 pandemic, Daniel Craig’s final screen outing as James Bond 007 finally arrives in UK cinemas, a week ahead of US release. Which is as it should be: Bond is British after all.

And yet, the plot sees Bond, now retired and living (like his late creator Ian Fleming towards the end of his life) in Jamaica, help out not MI6 but the CIA in the form of Felix Leiter (Jeffrey Wright in his third outing in the role opposite Craig’s Bond.).

The snowbound opening shows a little girl’s mother killed by a man wearing a Noh mask over a disfigured face; in the space of an edit, the little girl grows up to become Madeleine Swann (Léa Seydoux), previously Bond’s love interest in Spectre (Sam Mendes, 2015) and still together with him here.… Read the rest

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House Of Gucci

Director – Ridley Scott – 2021 – US – Cert. 15 – 157m

*****

A woman marries into the wealthy Gucci family and inadvertently brings about its downfall – out in cinemas on Friday, November 26th

First impressions.

A beautiful day. A well-dressed man (Adam Driver) relaxes at the café, pays his bill, cycles through the streets. Life is good. He reaches his destination. As he approaches the door, a voice asks, “Mr. Gucci?”

Milan, 1978. Another beautiful day. A woman dressed and moving like a goddess (Lady Gaga) walks past trucks and workers to her father’s transportation business office where she works as his assistant. Later, a friend asks her to a costume party. She dances. She looks incredible. She goes for a drink. The barman (Driver) turns out not to be not the barman. He makes her a drink anyway. He’s Maurizio. Gucci. He knows the host. She’s Patrizia Reggiani. She doesn’t. He tells her he can’t dance. She drags him onto the dance floor and makes him look good even though he does nothing. He leaves at midnight, worried he’ll turn into a frog. It’s a pumpkin, she calls after him.

She stalks him, ‘accidentally’ bumping into him at a bookshop where he’s buying armfuls of legal books (he’s studying to be a lawyer).… Read the rest

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Features Live Action Movies Music

Annette

Director – Leos Carax – 2021 – France, US – Cert. 15 – 141m

****1/2

Musical conceived and composed by Sparks plays out as a very dark opera ending in tragedy – on MUBI from Friday, November 26th

Although billed as a musical, this may actually be closer to opera given that even though it starts as a story about two people deeply in love, it veers into very dark territory.

And yet framing all that, and underscoring it throughout, is the sheer pleasure of writing / composing songs… and, for that matter, performing them. The opening song is So May We Start while the closer, as the credits roll, is It’s The End. (For added enjoyment, watch 90% of the audience leave before the last song starts. Or in my case, 10% of my fellow critics.)

The former starts with the band, the brothers Mael (singer Russell and keyboard player / composer Ron, profiled in recent documentary The Sparks Brothers, Edgar Wright, 2021) and a backing band in a recording studio in an invitation for the proceedings to get going, swiftly joined by the film’s two leads, while the latter ends with seemingly the entire movie cast and crew walking through the countryside hoping we’ve enjoyed the show and asking us to tell our friends if we did so.… Read the rest

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A Good Lawyer’s Wife
(Baramnan Gajok,
바람난 가족)

Director – Im Sang-soo – 2003 – South Korea – Cert. – 105m

***

Unsatisfactory family life in which fathers and mothers cheat on their wives and partners in search of a more fulfilling existence – screened with a director Q&A as part of a strand of films celebrating actress Youn Yuh-jung at LKFF, the London Korean Film Festival which runs in cinemas from Thursday, November 4th to Friday, November 19th

Joo Ho-jeong (Moon So-ri) bemoans the fact that once you’re married, you get less sex than you did as a single woman. Judging by the opening sex scene, in which her husband comes prematurely leaving her to satisfy herself, she would probably be better off single. Still, she has a small son Soo-in (Jang Joon-yeong) to mother and a local dance classes to teach.

The relationship is not working for her husband Yeong-jak (Hwang Jung-min) either, given his full workload and the fact that he’s sleeping with his P.A. Kim Yeon (Baek Jong-rim). His mother Byung-han (Youn Yoh-jung), meanwhile, is watching her alcoholic husband die and enjoying a new lease of life with a new lover following a decade and a half with no sex.… 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

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Still The Water
(Futatsume
No Mado,
2つ目の窓)

Director – Naomi Kawase – 2014 – Japan / France – Cert. 15 – 119m

*****

Two childhood sweethearts living on an island beset by storms must come to terms with the mortality and fallibility of their mothers – on BFI Player (rental) and MUBI.

The ocean roars and then, just as suddenly, is quiet. The wind howls through the trees, then sunlight is glimpsed through tranquil branches. Welcome to the sleepy yet storm-battered island of Amami Oshima, part of the Southern Japanese Archipelago, a place of paradox and contradiction seen through the eyes of two teenaged friends and their families.

Kyoko (Jun Yoshinaga aka Junko Abe – Samurai Marathon, Bernard Rose, 2019) loves swimming in the sea. Her friend Kaito (Nijiro Murakami – Isle Of Dogs, Wes Anderson, 2018, Destruction Babies, Tetsuya Mariko, 2016) is less keen – he’d rather be in the safety of a swimming pool. She uses him and his bicycle to get around the island if and when he’s nearby. She is rather keen on him and would happily have sex. He can’t explain why, but is less enthusiastic about the idea.

Once we move on to their parents, there are fascinating observations regarding motherhood – especially in the light of adoption / unwanted pregnancy outing True Mothers (Naomi Kawase, 2020) – and, to a lesser extent, fatherhood.… Read the rest

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A Snake Of June
(Rokugatsu
No Hebi,
六月の蛇)

Director – Shinya Tsukamoto – 2002 – Japan – Cert. 18 – 77m

*****

Unlike any terrorised female narrative you’ve ever seen, at once bizarre and hugely rewarding – currently streaming on BFI Player as part of the BFI Japan 2021 programme

This review originally appeared in What’s On In London, June 2003.

In an unnamed (but suspiciously Tokyo-like) Japanese city where it’s constantly raining, a mysterious phone caller blackmails repressed housewife Rinko (Asuka Kurosawa). If that sounds clichéd, set your prejudices aside because Shinya Tsukamoto’s unique, new film is unlike any terrorised female narrative you’ve ever seen. The motives of the caller (director Tsukamoto himself) are scarcely what you might expect.

From the moment Rinko opens a postal package labelled “Your Husband’s Secrets” to find photographs of herself masturbating (which she flicks into life like a series of animated stills) via her subsequent following orders involving short skirts and vibrators through to the extraordinary finale, the piece walks a difficult path between humiliating and liberating women.

With the year’s most arresting opening – a stripping model reduced to orgasmic ecstasy in serial, rapid-fire static images to the flashing of a stills camera – it’s likely to engross some viewers while offending others.… Read the rest