Peneflix MOVIE REVIEWS BY PENEFLIX
Sabbaticals are refreshing, rejuvenating, a time to canvass the unnurtured, unexplored; a time to dive into the abyss of tasted, but underdeveloped curiosities: authors, like iconic genius Stefan Zweig, loved, but volumes yet to become “friends”, yearning to be guzzled; directors whose nascent films, unwatched: John Carpenter, maven of horror, finally, horrifically requited; vistas of the world, tempting, luring, begging to be investigated: South Korea, Hakone, Japan, sensationally satiated.
Venturing into the marvelous world of film, wallowing in the foreign, from the banausic to the crepuscular, absolutely nothing bests the Chicago International Film Festival, headed by brilliant Mimi Plauche and devoted Vivian Teng. Nearing its conclusion (pushing 30), perpetually resonating are questions viewers must resolve: credit given to the gratuitousness of today’s directors: Jafar Panahi, Richard Linklater, Laszlo Nemes, Mascha Schilinski, Chole Zhao and a myriad of others.
Here is a sample of worthy watches, contemplative, compelling, oscillating eternally in one’s memory as the imaginative fodder spewing from known and unknown filmmakers. The elements: earth, air, water, fire, and the elusive ether are prime props galloping through films: “Wind, Talk to Me”, “Sound of Falling”, “Frankenstein” (warranting worship) by invigorating director Guillermo del Toro.
“Silent Friend”, staggeringly intelligent, vigorously earthy by director IIdiko Enyedi. A ginkgo tree bears witness to three generations of protagonists: from 1908 to 2020. It is unbelievably awe-inspiring, majestically crafted, unforgettable.
“Below the Clouds” a wondrous memoir of the effects of Mount Vesuvius eruption in 79 CE, and today’s life in Naples; director Gianfranco Rosi’s imposing documentary is a depth-full historical analysis of the pervasive power of mercurial, creative, nature.
“Strange River”, a subtle star of the festival by director Jaume Claret Muxart, where a river is a catalyst for discovery of self; miraculous growth is celebrated by beautiful boys, questing manhood. A consummate, complete cycle of perfection. Flawless.
Permeating the Festival is the “Feminine Mystique”. The remarkable “Hamnet” by director Chloe Zhao focuses on a fictional “Agnes” Shakespeare (Jessie Buckley) and the insufferable, indescribable agony of the loss of a child. Sublimity throbs through every mise-en-scene.
Director Joachim Trier in “Sentimental Value” paints a familial portrait of sisters “Nora” and “Agnes” (Renate Reinsve & Inga Ibsdotter Lilleaas) coming to terms with their “star spangled”, filmmaker father “Gustav Borg” (dazzlingly depicted by Stellan Skarsgard); actor Elle Fanning is stunning as a substitute for “Agnes” in a biographical version of her life.
Director Richard Linklater’s “Nouvelle Vague” is a dynamic, black and white homage to director Jean-Luc Godard (Guillaume Marbeck), Jean Seberg (Zoey Deutch) and Jean-Paul Belmondo (Aubry Dullin), while filming “Breathless” (1960).
“Primavera” directed by Damiano Michieletto, where composer Antonio Viivaldi (1678-1741) (Stefano Accorsi) plays second fiddle to neophyte “Cecilia” (goddess of music) Tecla Insolia. Exquisite costuming portrays the tale of a woman’s vicissitudes and futile choices (orphanage, marriage in seventeenth, eighteenth century Venice (hotbed of prostitution). An example of the purest, profound sacrifice one makes for the sake of art.
“What Marielle Knows” directed by Frederic Hambalek scores in ingenuity with protagonist “Marielle “ (Laeni Geiseler, also in “Sound of Falling”) mind-reading prowess. Dark humor lies in her parents’ reactions to her skills.
“The Sound of Falling” directed by Mascha Schilinski follows the lives and traumas of four generations of women living in a rural German village; mesmerizing soundtrack imbues the film with bewitching luminosity, enhancing the poetic poignancy of the storyline: before WWI- after WWII. Reminiscent of Terrence Malick’s “Tree of Life”.
“Marama” directed by Taratoa Stappard falling into the “horror” genre is a “hell hath no fury” gorily gorgeous movie; paired with “Mother of Flies” (Adams family directors and stars) never has necromancy been so magnificently delineated especially by actor Toby Poser as the witch “Solveig”.
Thus concludes the sabbatical and the return of….
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