Our Little Sister: Film Comment Selects Review

Left to right: Haruka Ayase as Sachi Koda, Suzu Hirose as Suzu Asano, Kaho as Chika Koda and Masami Nagasawa as Yoshino Koda

Photo by Mikiya Takimoto, Courtesy of Sony Pictures Classics

OUR LITTLE SISTER

Film Comment Selects 2016

2016, 128 minutes

Rated PG for thematic elements and brief language

Review by Joshua Handler

Hirokazu Kore-eda’s latest, Our Little Sister, is a rich film full of life, love, and care. One of my very favorite films that I saw at last year’s TIFF, Our Little Sister is a humanist masterwork from a filmmaker who brings a unique sense of goodness to his films. Our Little Sister tells the story of three sisters who find out that their recently deceased estranged father left behind a teen daughter from his second marriage. They connect with this daughter and invite her to live with them. In the process, the older sisters give this young girl the childhood that she never had and allow her to blossom.

Our Little Sister distinguishes itself from many other films because it has a distinct lack of conflict. Where this would come as a fatal flaw in any other film, Kore-eda makes it one of his greatest strengths, as it allows him to show his four lead women grow together and strengthen each other’s lives. Kore-eda allows each character to develop, and as we watch them, we fall farther and farther in love with them. As a director, Kore-eda is gentle and patient, allowing scenes to play out in full without cutting them short. While Our Little Sister’s pace is careful, it is never in doubt whether Kore-eda is in command of his material. Every moment is crafted with thought and acted to perfection.

Kore-eda sees the good in his characters and has immense empathy for their situations. In Our Little Sister, there isn’t a single unlikable character. When I saw Our Little Sister for the first time at TIFF, I immediately fell in love with it because of how simple and realistic it is. I fell in love with not only the filmmaking but also the performances, which are of the highest caliber. Each one, particularly of the lead four, is so realistic, so moving that it’s hard not to care.

With a film this simple and with this little conflict, it takes an incredible amount of control on the part of Kore-eda to keep it from becoming something completely inconsequential. But, by focusing on the smallest of details, Kore-eda has created something special that's completely compelling. It’s rare to find a film as genuinely touching as Our Little Sister, which is why it’s a gift that it exists. Please see this one when Sony Pictures Classics releases it later this year.

4/4

Joshua Handler's Best Films of 2015

The Best Films of 2015

By Joshua Handler

2015 has been a superb year for film, and to pick 10 films that were "the best" is a joke since it's nearly impossible to compare such different films as Inside Out and Spotlight, even though both were great pieces of cinema.

That's all I'm saying about this year because I'll speak more about the films that made this year the memorable one that it was. The following were selected from over 200 films.

1. INSIDE OUT (Dir. Pete Docter) - Each year, there are always one or two movies that stand out enough to land the number one spot on my "best of the year" list, though the number one film usually is not that much greater than the one or two films that follow it. This year, however, Inside Out is so far above everything else that from the second I saw it first in June, I knew that if anything were to overtake it for my number one spot of the year, it would have to be on a level of greatness not seen yet in cinema.

This sounds like hyperbolic praise, but those who have seen Inside Out know that it is almost an understatement. Peter Docter crafted a courageous masterpiece of cinema about accepting your emotions, particularly sadness. Amy Poehler and Phyllis Smith give particularly impressive performances that color their respective emotion characters with nuance. You're doing yourself a disservice by not seeing this one. It made me think about my own adolescence and emotions in a whole new way. 

2. SON OF SAUL (Dir. László Nemes) 

Horrifying, claustrophobic, immersive, and humane, László Nemes' Cannes Grand Prix-winning debut feature, Son of Saul is another 2015 masterpiece. An essential piece of cinema for every human being, this is inventive filmmaking that takes a clinical approach to highly emotional subject matter to create a film so realistic and hellish that you'll never look at the Holocaust in the same way again. Everyone knows that the Holocaust was one of the greatest tragedies in human history, but most people don't see it through a first-person perspective in Auschwitz. As a guide through hell, Géza Röhrig is emotionally distant, yet thoroughly compelling. The entire film rests on his shoulders, and he pulls his weight magnificently. Major commendations also must go to Tamás Zányi's sound design and Mátyás Erdély's cinematography. 

3. THE BIG SHORT (Dir. Adam McKay) 

Adam McKay ingeniously boils the housing market crash down into something digestible, yet ruthlessly intelligent through the story of a group of men who saw the crash coming and bet against the economy. Steve Carrell, Christian Bale, Ryan Gosling, and Brad Pitt's idiosyncratic performances are entertaining and humane, with Carrell's standing out as a human time bomb. The Big Short is funny, until it becomes terrifying. Only a director with McKay's irreverent sense of humor would have been able to pull off a film like this with this much nuance, humor, and grace. And Hank Corwin's unconventional editing deserves an Oscar. 

4. BROOKLYN (Dir. John Crowley) 

This year's biggest heartmelter, Brooklyn is a moving piece about leaving home and finding a new one that I found unexpectedly relatable. Saoirse Ronan's soulful performance is the perfect match to Emory Cohen's energetic, charming performance - their electrifying chemistry elevates the film and makes their romance the year's most involving. Nick Hornby's screenplay is one of the most satisfying of the year (the ending gives me chills and makes me tear up every time I see it). With 2014's Wild and now Brooklyn, he created two of the most surprising, affecting endings in recent memory.

5. ROOM (Dir. Lenny Abrahamson) 
Brie Larson and Jacob Tremblay create a bond between a mother and son so realistic that it feels as if it goes beyond acting. They smashed my heart with a sledgehammer with their warmth, honesty, and raw emotion. Combine that with Lenny Abrahamson's nuanced direction, Danny Cohen's versatile cinematography, and Emma Donoghue's screenplay (adapted from her own novel), and you have an unforgettable filmgoing experience that will make the world that you live in and take for granted seem a bit more extraordinary. 

6. THE MARTIAN (Dir. Ridley Scott) 
The Martian exemplifies the best of big-budget filmmaking. It's smart, well-written (Drew Goddard's screenplay is astoundingly detailed and engaging), well-acted (Matt Damon leads the film with charm and charisma), well-edited, and entertaining. Ridley Scott showed that he still has the ability to make us ride the edge of our seat with excitement and make dents in our armrests from gripping them tightly. 

7. MISTRESS AMERICA (Dir. Noah Baumbach) 
Noah Baumbach and Greta Gerwig revive the screwball comedy in Mistress America, an energetic, insightful film about a college freshman in New York City who learns to be her own person through her enterprising, yet scattered soon-to-be stepsister. Lola Kirke and Greta Gerwig are a winning team, and Baumbach's direction has never been clearer or funnier. The climactic set piece shows impressive vision from Baumbach, as it's complex, well-staged, and is perfectly timed comedically. The final voiceover is also immensely satisfying. There are few films this year that consistently filled me with as much joy as Mistress America.

8. MUSTANG (Dir. Deniz Gamze Ergüven) 

Another debut feature on this list, Mustang is maddening, timely, and features five phenomenal performances by it's young actresses. Mustang is the work of a director in complete control of her medium with a burning desire to tell a story, and I was glued to the screen from the second it started. 

9. 45 YEARS (Dir. Andrew Haigh) 
Andrew Haigh's sensitive 45 Years features Charlotte Rampling and Tom Courtenay at their best, giving two searing performances of quiet power. But, the reason why this already-transfixing film made this list is because of its ending, which is devastating and has haunted me since I saw it well over a month ago. It's a devastating capper to a well-measured, mature film that left my jaw on the ground.

10 (tie). SPOTLIGHT (Dir. Tom McCarthy) 

Understated and fascinating, Tom McCarthy's Spotlight is a powerful testament to journalism, as it tells the true story of the Boston Globe Spotlight team who uncovered the Catholic sexual abuse scandal in the early 2000s. McCarthy and Josh Singer's screenplay never points fingers, never judges, and smartly shows how institutions and communities allow crimes to be committed. Michael Keaton, Mark Ruffalo, Rachel McAdams, Brian D'Arcy James, Liev Schreiber, John Slattery, Stanley Tucci, and Billy Crudup create the ensemble of the year, all giving equally subtle, complex performances into which they disappear. Tom McCarthy's subdued direction is typically effective, as he never lets his camera get in the way of his actors.

10 (tie). PHOENIX (Dir. Christian Petzold) 

Christian Petzold's drama about a concentration camp survivor who gets a new face post-war and attempts to figure out whether her husband sold her out to the Nazis is pure cinema, largely thanks to its gut-punch of an ending and Nina Hoss' performance, which is so extraordinary that words cannot do it justice. Hoss' most impressive scene is one in which she recalls the horrors of the concentration camps. Petzold focuses the camera directly on her face and never cuts away, allowing it to tell the story instead of cutting to a flashback. Couple that with the final scene (there's a reason it has been cited by many as one of the most memorable of the year) and with those two scenes alone it will be clear why Hoss gave the performance of the year.

10 (tie). CAROL (Dir. Todd Haynes) 
Todd Haynes' Carol is the work of a director, cast, and crew at the top of their game. Cate Blanchett and Rooney Mara's chemistry lights up the screen, Ed Lachman's Super 16 cinematography is cold, textured, and revealing, and Haynes' direction guides this film just to the right of melodrama to strike a perfect tone. And the final scene will make your heart swell. This is a work of incredible feeling by one of America's great directors.

The next three:  

EX MACHINA (Dir. Alex Garland)

MOMMY (Dir. Xavier Dolan)

THE HATEFUL EIGHT (Dir. Quentin Tarantino)

Honorable Mentions in no order:

SLOW WEST (Dir. John Maclean)

MERU (Dirs. Jimmy Chin and E. Chai Vasarhelyi)

IT FOLLOWS (Dir. David Robert Mitchell)

KUMIKO, THE TREASURE HUNTER (Dir. David Zellner)

APPROACHING THE ELEPHANT (Dir. Amanda Rose Wilder)

SPY (Dir. Paul Feig)

TRAINWRECK (Dir. Judd Apatow)

WHITE GOD (Dir. Kornél Mundruczó)

(T)ERROR (Dirs. Lyric R. Cabral and David Felix Sutcliffe )

DOPE (Dir. Rick Famuyiwa)

INFINITELY POLAR BEAR (Dir. Maya Forbes)

TANGERINE (Dir. Sean Baker)

10,000 KM (Dir. Carlos Marques-Marcet)

99 HOMES (Dir. Ramin Bahrani)

BEASTS OF NO NATION (Dir. Cary Joji Fukunaga)

WILD TALES (Dir. Damián Szifron)

DADDY'S HOME Review

Left to right: Will Ferrell plays Brad Whitaker and Mark Wahlberg plays Dusty Mayron in Daddy’s Home from Paramount Pictures and Red Granite Pictures

Photo credit: Paramount Pictures

© 2015 PARAMOUNT PICTURES. ALL RIGHTS RESERVED.

DADDY'S HOME

2015, 96 minutes

Rated PG-13 for thematic elements, crude and suggestive content, and for language

By Adam Gordon

There are some movies where going in, you know EXACTLY what you are going to get. They do NOT stray very much from formula, other than a few variations on theme or character in order to call the film their own, and they certainly do NOT toy with plot points that would lessen the overall pleasing effects that the audience unwittingly went to the film to begin with to experience. Daddy's Home is one such film that chugs along down the track of familiarity like it was born to take on the slew of serious holiday awards fare, as it calls out to ALL family audiences in the multiplexes looking for just-raunchy-enough entertainment to make everyone (from Grandpa, down to six-year-old Tiffany, and Aunt Delilah as well) happy.

As a wimpy, overgrown child himself, Will Farrell plays Brad Whitaker, the clueless stepfather striving to be the best stepdad he can to his wife Sara's (Linda Cardellini) two children. When Dusty (Mark Wahlberg), the kids' real father and Sara's ex, shows up to compete for the kids' affection - all hell breaks loose. As expected, you have every low-brow sexual innuendo, fart, and semen joke that could possibly be fit in under a PG-13 banner (including artificial insemination)...but it doesn't really matter. Director Sean Anders never looses sight of who this movie is for or what it's about, nor does his absolutely winning cast. Ferrell and Wahlberg are much like Fey and Poehler (to a far lesser intellectual extent). They are like popcorn and butter, peanut butter and chocolate (you get the idea). And Ms. Cardellini, who seems to pop up all over the place (she's had a marvelous stint on ER, played Velma in the Scooby Doo films, and most recently appeared in Mad Men and New Girl), is the Betty Crocker frosting that ices over this whole unlikely, humble, yet hilarious three-layer holiday treat.

7/10

CREED Review

Courtesy of Warner Bros. Pictures

CREED 

2015, 132 minutes

Rated PG-13 for violence, language and some sensuality

By Adam Gordon

One could only be miffed at the concept of actually thinking of recommending what would be the umpteenth sequel/installment to the Rocky series, a series of films that has no doubt had its ups and downs in quality and viewer bearability, but against all odds, I am about to do the unthinkable and HIGHLY recommend Creed. This seventh installment finds the former champion Rocky Balboa serving as a mentor and trainer to Adonis Johnson, the illegitimate son of his former late friend and rival, the great Apollo Creed. 

The film is quite formulaic, and thankfully so. It doesn’t try to break new ground – but its familiarity is very well served by its multi-racial story and breakout performance by Michael B. Jordan. Additionally, director Ryan Coogler proves he’s no flash in the pan, continuing his winning streak off Fruitvale Station. Coogler shows he is just as comfortable with a mid-range studio film as he is with a small indie film. It may be close to 40 years since the original underdog Rocky blew into town (39 years to be exact), but Sylvester Stallone never had a finer moment than that 1976 “little film from nowhere” (though he has had a brilliant action/adventure / middling drama career ever since). Stallone’s Rocky is at the core of this film and with it he has given Rocky Balboa new insights and new life as a character. He also has fought his was to a best supporting actor Oscar nomination – it's true, no joke. 

8/10

An Interview with Mike Rezendes

The cast of SPOTLIGHT

AN INTERVIEW WITH MIKE REZENDES

By Joshua Handler

At the Toronto International Film Festival, I conducted an interview with Pulitzer Prize-winning journalist Mike Rezendes of The Boston Globe. Rezendes is portrayed by Mark Ruffalo in Tom McCarthy's (The Station Agent, Win Win) new film, Spotlight, about the Boston Globe Spotlight team who uncovered the Catholic sex abuse scandal in the early 2000s.

To find out more about Rezendes' work with the Spotlight team, see the film, which is in limited release today but expands across the nation in the coming weeks. It's an extraordinary piece of filmmaking that will be a big Oscar contender come next year. My full review of the film as well as another interview for the film are forthcoming.

Here is the interview:

SUFFRAGETTE Review

Courtesy of Focus Features

SUFFRAGETTE

2015, 123 minutes

Rated PG-13 for some intense violence, thematic elements, brief strong language and partial nudity

Review by Joshua Handler

Suffragette is a film that we should be viewing wondering how people's views towards women could have been so antiquated. But, while Suffragette is set 100 years ago, its story is unfortunately still timely and relevant, especially in light of the gender inequality issues being brought back to light recently.

Suffragette tells the story of Maud Watts (Carey Mulligan), a mistreated young factory worker and mother who joins the women's suffrage movement in 1910s England.

Narratively, Suffragette is fairly generic. It follows familiar story beats and structure. The screenplay, while obviously well-intentioned, doesn't have enough of a potent punch to it, which somewhat undermines the excellent direction. In many ways, Suffragette should have been more narratively similar to Selma, a film that relied much more on the smaller moments of power than the bigger ones. It was a human drama of vivid characters - ordinary people who did extraordinary things in a story filled with violence that hurt to watch. Suffragette's violence does hurt, but it only hurts because its actresses and director make them hurt. It's not because the characters are so beautifully-written or extraordinary.

Sarah Gavron's graceful, yet urgent direction makes up for a lot of the film's flaws. The best historical films immerse audiences into the time period that they depict like Selma and even Zero Dark Thirty (though that's much more recent history). Gavron primarily uses gritty, grainy 16mm photography to place her audiences right in the middle of the violent clashes of the women's suffrage movement. Much to her credit, Gavron does not shy away from the police brutality that occurred during this time. There's an intensity to Suffragette that's entirely unexpected and very welcome.

No matter if people like Suffragette or not, no one will dispute the quality of its performances. Carey Mulligan gives yet another heartfelt, moving performance as Maud. Mulligan possesses one of the most angelic faces in cinema, one that almost immediately provokes a sense of sympathy. She also happens to be one of the few actresses who can rest the weight of her performance on her face. But, like one of the greats like Marion Cotillard or Meryl Streep (who gives a short, memorable performance in this film), Mulligan can also shine in her bigger moments.

Helena Bonham Carter and Anne-Marie Duff give strong supporting performances. Bonham Carter leaves a lasting impression as Edith Ellyn, a doctor who is one of the movement's leaders. Bonham Carter's performance can be compared to Gavron's direction in that it's graceful where it needs to be but brings the power when it needs to.

As important as the film's technical and performance-based merits are, they pale in comparison to how important Suffragette is to this day and age. More so recently than in a long while, gender inequality has been brought to the forefront of discussion, making Suffragette disturbingly relevant. This is not a film that should be relevant, just as Selma was a film that shouldn't be relevant. But Suffragette is and will remain so until attitudes towards women change. Let's hope it doesn't take another 100 years for this problem to be eliminated.

3/4

NYFF Review: DE PALMA

Courtesy of A24 Films

DE PALMA

NYFF Review

2015, 107 minutes

Not Rated

Review by Joshua Handler

Noah Baumbach is on a roll. With this year's enjoyable While We're Young and the brilliant Mistress America, this would be a great year in anyone's book. But, Baumbach had to one-up himself with one more film that proves that he's mastered another kind of filmmaking craft: documentary. De Palma is essentially the results of Noah Baumbach and co-director Jake Paltrow interviewing famed director Brian De Palma (Carrie, Blow Out, Scarface) about his career. It's simple in concept, but endlessly fascinating. 

De Palma is very candid in front of the camera, giving insights into his own films while telling stories about their productions. He isn't afraid to discuss his regrets about many of his films, which deepens the film and our understanding of its subject (while many of his films are considered classics, a fair amount are not, to say the least). 

It's very refreshing to see a piece of work as passionate as De Palma. Baumbach has made it no secret that he is a huge cinephile. When watching a Baumbach film, it's fun to see which films he has paid homage to. His past two paid homage to the French New Wave (Frances Ha) and the screwball comedy (Mistress America), and the attention to detail in those films is astonishing. So, it comes as no surprise that De Palma is a detailed, comprehensive work, covering every one of De Palma's films. This may sound tedious, but De Palma is so entertaining to listen to that it never once becomes less than completely compelling.

A few years ago, I saw Yves Montmayeur's Michael H. Profession: Director, a comprehensive look at Michael Haneke's career, at the Tribeca Film Festival. While I certainly enjoyed that film, it grew tedious by the end. That film wasn't told by its subject, which is something unique about De Palma. Listening to De Palma is like listening to the greatest Hollywood insider story ever told, except with brutal honesty.

Overall, De Palma is one of the best movies about movies I've seen. It made me want to revisit a number of De Palma films and then watch the ones I haven't. This is a passion project that went very right. While it will help to have seen a few of De Palma's films before viewing De Palma, it isn't essential since this could serve as someone's entry point into his fascinating filmography.

4/4

NYFF Review: SON OF SAUL

Géza Röhrig as Saul

Photo by Laszlo Nemes, Courtesy of Sony Pictures Classics

SON OF SAUL

NYFF Review

2015, 107 minutes

Rated R for disturbing violent content and some graphic nudity

By Joshua Handler

Holocaust films are inherently horrifying. However, most of them show a big-picture or impersonal view of the atrocity told through the story of someone extraordinary (Schindler's List, The Pianist, etc). While films like the aforementioned ones are by most people's standards excellent films, they aren't experiences to watch. László Nemes' Son of Saul is a visceral experience. Shot in a claustrophobic 4:3 aspect ratio, Saul is tells the story of a member of a sonderkommando (a group of Jewish prisoners who worked in the gas chambers), Saul (Géza Röhrig), who finds the body of a young boy in a gas chamber who resembles his son, and his struggle to give him a proper burial. 

Nemes and cinematographer Mátyás Erdély shoot the entire film from Saul's point of view, relying heavily on Tamás Zányi's complex sound design to fill in what isn't shown onscreen. Everything we see and hear is what Saul sees and hears, making this film the most immersive film ever made about the Holocaust. Nemes takes his audience through the concentration camp, a literal hell on Earth, and avoids sentimentality at all costs, finding small moments of humanity to provide momentary reprieve from the camp's horrors.

Son of Saul is not a film that evokes tears. Instead, Nemes uses this film to evoke a deep feeling of numbing horror. Because Saul is unrelentingly brutal, the viewer, like Saul, becomes numb to the horrors depicted onscreen. It's a uniquely unnerving feeling to look at a pile of naked bodies and look at it as if it's normal. 

As Saul, Géza Röhrig gives a performance for the ages, leading the audience through this hellish journey with subtlety and nuance. Röhrig's work in Son of Saul is one of the most impressive acting showcases of the year, as Nemes relies on him to tell Saul's story, past and present, through his face. He walks around with a disturbingly blank expression on his face, numb to the horrors around him. Everyone around Saul goes through their lives with one goal, survival. Saul is the only prisoner with a tangible mission, and this ultimately allows him to keep his humanity in the face of inhumanity. And, the final frame of Röhrig's performance is one that will haunt me for a very long time.

Overall, Son of Saul is an innovative masterpiece of cinema. It's one of only a few films this year to truly move the medium forward and try something completely different. Frequently experiments like this one fail, but Saul is a massive success. And it's all the more impressive when you realize that this is a debut feature. Son of Saul is likely the closest any of us will come to experiencing life in a concentration camp. While many viewers will leave the theater feeling physically ill as I did, we all need to remember to be thankful that we can return to our normal lives once the film is over; Saul and those who he represents, couldn't.

4/4

NYFF Review: STEVE JOBS

Michael Fassbender in STEVE JOBS
Courtesy of Universal Pictures

STEVE JOBS

NYFF Review

2015, 122 minutes

Rated R for language

By Joshua Handler

Thrusting the audience into the middle of mayhem during Steve Jobs' unfortunate launch of the Macintosh, Danny Boyle and screenwriter Aaron Sorkin open up a window into the world of Steve Jobs. Steve Jobs moves like a machine. With Michael Fassbender leading the way, daring us to keep up with him, the movie is never less than completely compelling. 

Sitting through the 122 minutes of Steve Jobs feels like an unusually fast hour. Fassbender and Boyle give us a look into the head of Jobs, but like Jobs did with those close to him, they keep us at a slight distance, always daring their audience to want to see more. 

In not a single scene do we see any of Jobs' famous product launch speeches. We see the moments immediately before. The myth of Jobs is dismantled quickly. The man shown onscreen is a person. He is an extraordinary person, but a person nonetheless. Sorkin, Fassbender, and Boyle smartly create a balanced portrait of the very flawed man that was Steve Jobs, and the way in which Sorkin concludes the film provides a moving cap to an emotionally cold film. 

As informative as big-picture biopics can be, they frequently feel like "greatest hits" versions of their subjects' lives, never focusing on one scene for long enough to allow the audience to truly understand the subject. Steve Jobs is far more effective than standard biopics because it is a film built upon isolated scenes where Jobs' every move is filmed (each scene is depicted in real time). People can never understand another person from reading a Wikipedia biography of their life. It's when one person spends time with another person that they understand them. While Steve Jobs is only three scenes, it feels as if it comes far closer to understanding who this man was than any other film that would tell his life story. 

Michael Fassbender rules over Steve Jobs with a subtly shifting performance that showcases his commanding movie star side as well as his human one. It's a performance that is never less than completely convincing, as Fassbender disappears into the man that is Steve Jobs. With this performance, he creates what is possibly the most impressive of his career.

Kate Winslet leads a strong supporting cast as Joanna Hoffman, Jobs' best friend and head of marketing. She's the calming presence in Jobs' life, balancing him out and giving him a human perspective on everything. Seth Rogen is also memorable as Steve Wozniak, Jobs' former best friend and co-founder of Apple.

Overall, Steve Jobs is the result of a group of immensely talented artists at the top of their games. Danny Boyle has orchestrated an electrifying, moving, and unusual portrait of one of the most brilliant minds in human history. Only a screenwriter like Aaron Sorkin could make some form of sense out of a life like Jobs' and create a beautifully-structured three-act film out of it. In many ways, Steve Jobs is similar to Sorkin's other film, The Social Network, but it distinguishes itself admirably. I wanted to see Steve Jobs again the minute it ended.

4/4

NYFF Report #2

DE PALMA
Courtesy of A24 Films

NYFF REPORT #2

By Joshua Handler

During my second day at NYFF, I caught the afternoon screening of Nanni Moretti’s latest, Mia Madre, about a film director (Margherita Buy) who must cope with her mother’s failing health as she’s directing a new film starring a pompous American actor (John Turturro). A complex, funny, and sad film, Mia Madre is never boring, as it has enough material and explores enough topics for a miniseries.

I then went to screen Ridley Scott’s The Martian (which I will review in time for release tomorrow). In short, the film was a cinematic high note for the year that is one of Scott’s strongest films in years.

Tuesday, I screened Guy Maddin and Evan Johnson’s The Forbidden Room. There’s no way I could explain what the film was “about”, what it meant, or what I just saw, however, I will say that I didn't care about any of that, as it was a highly entertaining, audacious film that intrigued me and kept me invested for the vast majority of its running time.

Yesterday, I screened Noah Baumbach and Jake Paltrow’s De Palma, a documentary in which famed director Brian De Palma (Scarface, Carrie, Blow Out) discusses his entire career. In execution, it’s a very simple film, but as a film about filmmaking, it’s unbeatable and shows that Baumbach is as good a documentarian as he is a narrative filmmaker.

Apitchatpong Weerasethakul’s Cemetery of Splendor followed. That film certainly has and will have an audience, but that audience is not me. It’s simply not my cup of tea.

Stay tuned for another report and a few reviews.