FNC 2021: The Noise of Engines (Le Bruit des Moteurs, 2021)

The Noise of Engines (Le Bruit des Moteurs, 2021)

Director (and writer): Philippe Grégoire

Cast: Robert Naylor, Alexandrine Agostini, Marc Beaupré, Tanja Bjork, Maxime Genois, Marie-Therese Fortin, Naila Rabel

Alexandre, an instructor at the Canadian customs college, will finds himself under surveillance by police investigators trying to get to the bottom of the sexually explicit drawings that have been troubling the town. – IMDB

The Noise of Engines is Philippe Gregoire’s debut feature. It is an interesting one to talk about no doubt. Filled with dry humor in a rural small town Quebec setting where only a few things are known, the story follows a Canada Customers firearms instructor who is suspended for inappropriate sexual conduct and goes back home for two weeks for his suspension while telling it as a vacation. As he returns to help his mom with their family business running the racing track, he gets approached by a young Icelandic female drag racer with an incredible love for André Forcier’s films. They share each other’s views and stories while Alexandre is under suspicion of an investigation of sexually explicit drawings first found at the church but showing up elsewhere.

This film starts off in the right direction. The dry humor is right on point and the story feels very correlated as it sets up the workplace environment where Alexandre works as well as his character. It gives a good feeling of his relationship with his mother which is a bit conflicting with some tension and some care as well. And it also sets up his character towards his feelings towards the town and the authority that it has, specifically the two officers investigating the town’s troubling affair. Much like the Icelandic female drag racer which enters on a rather bizarre note as well. All these characters set in their place rather quickly and the humor sets in along with it.

In some ways, the film explores the small town in its rather humorous jab at the normalcy. However, it also highlights the hurdles of both authority and the small town diplomacy much like the deeper issues that get him suspended as well as the mysterious drawings and its artist. While the film itself does feel slightly disjointed at parts, especially when it enters the final 15 to 20 minutes which takes a rather abstract form, moving into the no narrative scenic wandering from Alexandre, it does still have a charm to it both in its humor and the story of Alexandre as he tells more about both his unintentional career choice and what he wants in his heart.

Overall, The Noise of Engines starts off as a comedic film which takes a turn gradually to something a bit more dramatic and relatively deep. It does feel a tad abstract in some executions especially its ending but it still has some conversations that do give some room for thought. There’s a little bit of mystery as the question of who drew the drawings looms in the air despite the absurd suspicion the officers have. As an afterthought, there is a subtle connection of André Forcier films that are mentioned but I have no idea who it is and haven’t seen his films so maybe its time to look that up.

*The Noise of Engines is showing during Festival du Nouveau Cinema on its virtual platform until October 31st.*

FNC 2021: Bound (2020)

Bound (2020)

Director (and writer): Jean-Armand Bougrelle

Bound is a Japanese documentary that explores the traditional art of Japanese rope bondage in today’s society in regards to women. While bondage as a term itself has strong sexual connotations, these women share a different view depending on how they view it and the different roles that they have assumed to the meanings that it has for them. Its an interesting topic to explore to say the very least and has not only acts to open the society towards this community of women who practice but also the deeper elements from the techniques and art to the deeper feelings and different settings that it can take place.

Bound takes an interesting angle. It dives into the interviewers which are primarily all women who practice in different avenues. It looks at what got them interested in the first place and their own journeys with shibari and the feelings that it exposes. For some, its a liberation, others its about vulnerability, a few view it as an art while others enjoy it for its capability of being able to communicate without language. It also emphasizes on the differences in context when performed between two women or a man and woman, and whoever leads as the rope artist. In some ways, it shows a part of how these women feel about the society around them in order to search for these releases.

The community of practitioners of this rope bondage in the society also feels very varies. Its touches on what differs between each of these roles: domina, performers, models, etc. Its rather intriguing to see how the different spaces they choose to do this and the different places that some people have created in order to keep this safe space alive mostly for women who desire to have their own space to have this release and communication and yet, it has nothing to do with the sexual elements where a lot of them especially mostly exploring the women tying up women performing together and the dynamic that they have together which exceeds the romantic interest. It dials right down to the artistic element of how certain performers and models are more pleasant to watch than others.

What completes the documentary is that it also goes into a little history lesson on how shibari formed when its historical roots were as a torture device in ancient times where different knots and methods suggested different class and crime with an end game to kill. Its an opposite of how its viewed now which creates in some cases pain that brings pleasure.

Bound is a straight-forward documentary that shares the community of women who performing this mostly in secret and the different roles. It aims to share a different side of the society and a different angle to how bondage can be viewed. Its a rather eye-opening lesson in general and a rather intriguing topic. In some ways, there is a certain depth to the whole topic explored.

*Watched as coverage for Festival du Nouveal Cinema*

FNC 2021: Compartment no.6 (2021)

Compartment No.6 (2021)

Director (and writer): Juho Kuosmanen

Cast: Yuriy Borisov, Seidi Haarla, Dinara Drukarova, Galina Petrova

As a train weaves its way up to the arctic circle, two strangers share a journey that will change their perspective on life. – IMDB

Compartment no. 6 is one of those films where its about an encounter with a stranger which brings on some new realization. Coincidentally, it is one of the type of film premise that I am very drawn to. The film is primarily in Russian but also has some Finnish as well. Its main setting is during a train ride from Moscow to Murmansk as Finnish student Laura and Russian labourer Ljoha have the same trip to make and is assigned to the same compartment. What starts off as unbearable for Laura specifically ends up taking a turn when she starts to know Ljoha more.

These two characters are absolute opposites at first glance. Ljoha starts off as a loud vodka drinking straightforward Russian guy while Laura is sulking in her emotions from doing this trip alone without her girlfriend Irina but also calmly looking forward to seeing the rock paintings to round out her studies. There is an eagerness for Ljoha to know Laura better at first evem if he essentially feels baffled by her desire to go to the middle of nowhere to see these rock paintings. As they do this trip, the changes between the characters together and individually are executes really well. While it feels a lot more on the surface, there is this subtle feeling that connects these two characters together and to the audience. While this train ride seems unbearable at the beginning, the time they spend together end up being rather entertaining. Thinking back, its hard to really specify one single moment that stands out but yet, its the little moments where Laura observes Ljoha or the conversations they have or the friendly gestures extended that gradually makes them into friends. There are undertones of romantic connections here and yet the film leaves that open-ended.

The charm of these sorts of films is mostly character driven and in this sense, Compartment No.6 delivers very well. It does feel at times a little more on the surface but its sufficient to connect with them and their motives. At the same time, the Russian setting and its train ride also has its charm as its not only a tight space but also its many stops reveals a variety of adventures especially since it is in a cold and snowy time. When she goes for a car ride with him to meet an old lady or when Laura invites a Finnish guitar player to their compartment, there is a different dynamic that comes in. The first being one where Laura learns more about Ljoha and the views on life in general between two women while the latter almost feels like an intrusion into their dynamic in the compartment. Much like the train ride also gives the supporting character of the train attendant her own spotlight as she starts off fairly rude but proceeds to being rather nice at the end as well.

Overall, Compartment No. 6 is a really nice film. A good part of it is thanks to a great script that builds up two really good characters and their time together on the train and slightly after. It also is credits to the actor Yuriy Borisov and actress Seidi Haarla that play Ljoha and Laura respectively who captures their roles and delivers their connection and chemistry really well. At the same time, the setting itself its pretty nice. It is fairly isolated the further they go but it emphasizes the contrast between the cold barren outside versus the crowded and tight space inside the train. As a final note, a lot of people seem to compare this to Before Sunrise, which is a film that I haven’t seen yet (but will soon) however, I wouldn’t mind seeing a follow-up on these characters years after just to see what happens to them.

*Watched as part of Festival du Nouveau Cinema coverage – The virtual platform is available until October 31st. You can find the film selections HERE*

FNC 2020: Sin La Habana (2020) & Poissonsexe (2020)

Its taken a while to wrap up the Festival du Nouveau Cinema coverage but we’re in the final double feature. Both a romance in their own regards is a Canadian film, Sin La Habana and a French movie, Poissonsexe. Both having a romance wrapped up in highlighting a bigger plot and both carrying a different tone and atmosphere.

Sin La Habana (2020)

Director (and writer): Kaveh Nabatian

Cast: Yonah Acosta Gonzalez, Aki Yaghoubi, Evelyn Castroda O’Farrill, Julio Cesar Hong Oritz, Ahlam Gholami

Set in Cuba and Montreal, Sin La Habana tells the story of a love triangle that grows from a desire to find a better life in another country. A big plan for the main character Leonardo to find a better future in another country that can’t be found in a closed country in Cuba by charming a Montreal traveler Nasim into a relationship in the goal of having her bring him over and eventually get married to immigrate to Canada. When settled, he needs to find a way to bring his girlfriend Sara in Cuba to Montreal so that they can find a way to be together again. However, the issues are piled up when their relationship takes a turn for a more complex when the new country brings on its own problems, not only for Leonardo and Sara but also Nasim who being an immigrant herself has her own issues to deal with.

Looking at the issues of relationships, immigration, assimilating in a new country, Sin La Habana covers quite a few topics. Immigration and how its not as great as people imagine it plus the story of these great ploys at going to no lengths to achieve their goals for a better life to find that things don’t ever go as planned. One in the dark (kind of) and one that isn’t and yet dreams aren’t easier to achieve in another country, its something that is from within as Leonardo goes through from his first moments as a ballet dancer to a roundout point of trying to get a position in a dance group in Montreal. On the other side, Nasim’s character might seem a softer character at first but soon to realize that she knows exactly what is going on and stays cautious but she is fighting her own fight with her family and her future. These two’s story comes in the front that the love triange element falls in the backdrop along with the character of Sara after the Cuba side of things shifts over to the Montreal setting.

Its always nice to see Montreal as a location in movies as a personal little highlight for myself. Montreal is a diverse location but a harder place to fit in because of its language barrier as a French-speaking province in Canada along with the cold winters and it makes for a fitting location for this story. Sin La Habana talks about an issue and perhaps loopholes of the immigration system. A story that probably someone has heard of about one person or another or the news however its the characters that are crafted and their journey that gives Sin La Habana an interesting angle. They each have their good and bad character traits that make them believable and real people and each chasing some form of their own dream and life.

Poissonsexe (2020)

Director (and co-writer): Olivier Babinet

Cast:  Gustave Kervern, India Hair, Ellen Dorrit Peterson, Okinawa Valerie Guerard, Alexis Manenti

Daniel, a biologist studying the disappearance of fish, is haunted by paternity. It is by looking for a woman who could be the mother of his children that he will come across a strange fish and discover what he really lacks: love. – IMDB

Poissonsexe, called both as Fishlove or Fishsex on FNC site and IMDB respectively, is a peculiar little story. The characters are peculiar and they find a strange fish and altogether it has this unique take on the environment especially on a biological marine/aquatic side. Its about love and sex and babies but in the end, its also about these fairly lonely people who do the same things everyday and want to find companionship. A bit of a comedy and a little of drama pulls this story together in a charming way.

The story’s focal character is Daniel, played by Gustave Kervern. He is a rather routine and boring sort of fellow. He has everything planned out for an upcoming baby room without even having a girlfriend and then he gets set up by his friend for online dating. When he meets a woman who finds him parked on the beach, they end up finding a strange fish with legs. This brings their connection together and he slowly realizes that he wants love and not just a child. The whole movie is a little quirky and moments of comedy and awkwardness and yet it manages to find its own balance to make the whole thing fairly charming.

Other than the leading roles standing out, the little strange fish creature adds this almost psychedelic nature to it. Sometimes it feels like it overdoes some of it a little but then, it feels deliberate to make this fish have its own pull for Daniel. However, what is a big theme that pulls the story together is about the environment and how its being wasted away does to the smallest fish which grow extinct because they no longer can reproduce despite the best scientific effort. Yet what goes on this lab almost reflects the story line that Daniel’s character goes through right down to the most entertaining part which its finale.

Poissonsexe is a little odd and the strange fish is a quirky little addition and putting together the parallels of extending the next generation whether in the fish world or human world, the story is about love and feelings instead of the science. There are some disjointed moments and some supporting characters do feel a little one dimensional but its a lot of fun. French humor always seems to have this interesting charm when balanced well and this one definitely.has those charming elements. The love story is a fairly basic element here but what makes it different are the other elements all combined together.

Thats it for this double feature and it wraps up my FNC 2020 coverage! (FINALLY!) Hopefully there were some smaller films that caught your eye. These two were okay for me alhough Sin La Habana did win one of the festival awards.

FNC 2020: Moving On (2019) /Wisdom Tooth (2019)/The Thief’s Daughter (2019)

In an effort to wrap up the FNC 2020 coverage, the final reviews will be in multiple movies. The first is a trio of family dramas, each with their own angle and premise that makes them rather unique (and all three that I did enjoy) plus a focus on a female main character.

Moving On (2020)

Director (and writer): Yoon Dan-Bi

Cast: Choi Jung-Un, Yang Heung-Ju, Park Hyeon-Yeong, Park Seung-Jun

After her parents get divorced, Okju, her father and her little brother move in with a grandfather she barely knows. Life in the new family unit proves challenging for the already traumatized teenager. – Festival du Nouveau Cinema

A lot of Moving On is about coping. Coping with change in a world that feels like everyone is trying to move on as nothing had happened before and dealing with the inner feelings of neglect and loneliness. That is what Okju is dealing with throughout but not only her has some issues, her father also has some tough decisions while her aunt who has moved into the home as well have her own issues. Everyone tries to act like nothing is wrong in fear of their grandfather knowing about all their issues as he also has his own health issues that they worry about. And yet, in all this, the little brother seems to be the one that has escaped all these feelings. He gets a lot of the attention but at the same time, seems less scarred by these effects.

Moving On is a subtle films that focus on everyday people going through everyday issues and as they stay together in this home, they get to know each other’s issues and what bothers them or lingers in their thoughts from the past and present. As the family connections come into play, they each have their form of conflict and struggles that craft these characters especially the main teenage girl Okju who spends a good part of the movie trying to seek attention despite her quiet personality from small things like fighting to have a room to herself and her personal space to getting the attention of a boy that she likes and even the little moments that she shares with her father and aunt that all makes her feel special for little short moments.

Its hard to explain Moving On that makes it not feel like its fairly mundane however, the best movies (arguably) are those that use an everyday life premise and create believable characters and relationships. In this case, its one about a family going through divorce, break-ups and a change in living situation. The subtlety of how its executed really does give a lot of focus on an outstanding premise and story, heavily focused on each of the characters, especially with Okju.

Wisdom Tooth (2019)

Director (and writer): Ming Liang

Cast: Xingchen Lyu, Jiajia Wang, Weishen Wang, Xiaoliang Wu

Gu Xi and her half-brother Gu Liang lead a hardscrabble life in a village in northern China, where they struggle to make ends meet. Their unusually intimate relationship takes on a new dimension with the arrival of the charismatic QingChang, daughter of a rich businessman.  – Festival du Nouveau Cinema

Wrapped up in both a family drama featuring a close sibling relationship where the brother and sister’s life revolves solely around each other. However, as their lives take a turn for new opportunities, Gu Liang meets a new girl which opens up a mostly behind the scenes romance. Viewed mostly from the point of view of Gu Xi, she needs to adapt to a world where she isn’t the center of her brother’s world as an outgoing rich girl QingChang gets into the picture. Call it an unusual love triangle if you want but aside from the family/romance side, a fairly more subtle subplot lies in the little details of the dealings that Gu Liang and his best friend are involved in in the fish business as well as her boss’s issues due to her undocumented status.

One of the best elements of Wisdom Tooth is the link of Gu Xi’s wisdom tooth issue at the beginning that pulls back to it at the end as she finds back her way. At the same time, its the execution of the premise from the lighthearted sibling relationship at the beginning that defines them right away to its gradual addition of QingChang and the best friend which leads to a friendship between WingChang and Gu Xi as they try to bond together which all comes crashing down one day and she needs to make a huge decision. Set in the 1990s China backdrop and its cold weather in a part of a more northern China (I can’t remember the exact location) but the looming winter adds a lot to the setting and cinematography.

Aside from that, this story is heavily focused on its characters and the relationships between each of them. With that said, the entire cast does an outstanding job. The standout goes out to crafting the character of Gu Xi, played by Xingchen Lyu who is followed throughout as she starts to find herself by the end and her independence. At the same time, Gu Liang played by Xiaoliang Wu is also done really well. His struggle between his sister, his love relationship and his “career” is well-portrayed. The ending of the story is done in a fairly unique manner that I quite liked. If there was one little element that held the movie back, it would be the imbalance of how it treated the mixed genre of family drama, romance and crime thriller.

A Thief’s Daughter (La Hija de un Ladron, 2019)

Director (and co-writer): Belén Funes

Cast: Greta Fernandez, Eduard Fernandez, Alex Monner, Tomas Martin, Adela Silverstre

Her father is a convicted, her boyfriend rejects her, her brother is troublemaker, her baby needs money and she’s half-deaf of one ear. Bad times to be Sara. – IMDB

A Thief’s Daughter is a movie about coming to terms with what is the current situation and striving for a better day than settling for the life with a criminal. Sara, played by Gerta Fernandez is the central character as she moves through her various responsibilities as a mother, a girlfriend, a sister, an employee and as a daughter. The relationship between her and her father is the plot that constantly builds throughout the film. However, Sara’s life is a struggle in general. As she finds a more stable job to support her desire to get her younger brother’s custody, her relationship with her father is further worsened along with her brother’s attachment to their father. The feeling of loneliness is what gradually becomes more apparent as she ends up dealing with everything on her own, whether its her own doing or the better choice to keep away from the trouble.

A Thief’s Daughter has relatively decent pacing. The different relationships she has all outlined and built upon throughout to give them all purpose and depth. Her father’s presence although not completely apparent, it appears with enough context to highlight their issues. Its a great work of the writing that gives this looming sense of dread that something bad could happen to Sara when her one good thing being finding a stable job at a school kitchen due to all the conflicts that happens to her throughout. In the end, it becomes a worry that hits her about whether she will be alone for the rest of her life, a rather heartbreaking revelation for Sara, a character that tries her best to do the right thing by everyone but rarely seems to get treated with the same about care from others. There’s a lot that’s done very well in A Thief’s Daughter. Its subtle and quiet but Sara’s character really does end up being rather powerful. Especially when faced with people that don’t seem to stick around her life and her father who she finally stands up to about her own feelings.

That’s it for this Festival du Nouveau Cinema features.
A good batch of family drama with central female characters overall which are all well worth a watch.

FNC 2020: Cocoon (2020)

Cocoon (Kokon, 2020)

Director (and writer): Leonie Krippendorff

Cast: Lena Urzendowsky, Jella Haase, Lena Klenke, Elina Vildanova, Franz Hagn, Kim Riedle

One long, hot summer, 14-year-old Nora spends most of her time with her sister and her sister’s best friend. While the two older girls run around with the crowd of boys who flock around them, shy Nora stays meekly in the background. When she meets anti-conformist Romy, a girl unlike anyone she’s ever met, unexpected desires take hold of her. – Festival du Nouveau Cinema

Cocoon is a 2020 German coming of age film about a 14 year old girl who starts figuring out who she is despite facing the different voices around her as she hangs out with her sister and her friends through an exceptionally hot summer. Cocoon feels similar to movies like Call Me By Your Name and last year’s FNC movie Mickey and the Bear as she confronts both her sexual orientation, first love and change in her own body while having some of her own family issues to deal with both her sister and her mother. Cocoon is two fold as she relates to the caterpillar that she has in a jar which over the course of the film eventually disappears and reappears as a butterfly by the end. It creates a nice parallel of her emotions over this snippet of her life as she toughens up to embrace who she is and be brave enough to walk her own path.

For main character Nora, its a slice of life about this hot summer in the neighborhood and city where she lives. She narrates segments of videos from her cellphone that recaps what happens and her feelings all shown in vertical phone clips perspective and acts like chapters to this summer. She starts off as something of a wallflower as she lurks in the background, having to follow her sister, Jule and her friends because of her mother being rather uncaring for them. Her sister and her friends are fawning over boys and how to lose weight to look like models and generally be cool and slightly reckless. For her, she’s changing alone and has no one to talk to about this when she meets Romy, a girl that she starts to have a friendship/relationship with but with resistance from her sister but opens up her feelings for the first time to be herself and accept her differences.

In many ways, Nora is a great coming of age character as she doesn’t just face finding herself but the movie also makes a great effort in telling about her struggles at home especially when faced with being the one that seems be okay with her mother’s lack of caring in comparison to her sister that seems to do a lot of things that tries to get her mother’s attention and she is there to pick up the pieces. It showcases her multifaceted relationships in all of its dysfunctions: parent-child, sibling and sisterhood, friendship and especially with herself. Lena Urzendowsky portrays Nora in a wonderful way that gives her quite a change as she moves from her introvert and outsider in social settings from the beginning to the end where she becomes comfortable in her own skin despite the things she overcomes throughout the film. The story isn’t as simple and normal but in a lot of the characters and their underlying traits are portrayed in their actions shot through only the eyes of Nora.

I’ve always had some issues with German films especially in their pacing elements but Cocoon is really good as the execution of the phone snippets as chapter breaks helps a lot in drawing Nora’s inner feelings with the quiet and introvert character that breaks out of her own cocoon through the process. The parallels are done well and the story is well-written that makes it all come together nicely.

FNC 2020: The Book of Vision (2020)

The Book of Vision (2020)

The Book of Vision

Director (and co-writer): Carlo Hintermann

Cast: Charles Dance, Lotte Verbeek, Sverrir Gudnason

Eva, a mysterious doctor, searches for an answer to her urgent dilemma as she unravels Dr. Anmuth’s Book of Vision. Stellan gets involved in her life and is forced to confront his own nature, as Eva faces the biggest decision of her life. – IMDB

The Book of Vision feels like its a movie to ponder upon a little especially in terms of life. Its told in two storylines. The first is the present with Eva (Lotte Verbeek), a doctor who decides to leave the practical elements to study the history of medicine in hopes of solving her own illness. It leads her to meet a man, Stellan (Sverrir Gudnason) who leads her to look at Dr. Anmuth’s Book of Vision, a book that explores his experiences with medicine. This is where the second storyline comes in as it bounces between the happenings of Anmuth’s past as a physician as he gets phased out of his profession with newer views and practices in medicine. The two come to this blend as the two stories start to blend together much further propelled by the characters in past and present both leading different roles but existing together, leading to perhaps a theme of how perhaps life doesn’t exactly end when it does but exists in another form while others move on to some sort of reincarnation or something. I can’t truly say that I understand the complete depth of the film but at least that’s my takeaway from it.

There’s something so beautiful of The Book of Vision though. Its the cinematography mostly that shows this incredibly elegant and sophisticated air. The 18th century Book of Vision bits focus around this sense of belief in the concrete or whether some superstitions exist outside of what feels like a harder to believe realm of fantasy. The design of that element is breathtaking and mysterious all at the same time and yet, the imagination and creativity feels beautiful to look at. The outfit and the tone all coming together in those 18th century scenes so well. In the reality, there is another feeling as it focuses around not only the mystery but the gradual connection and relationship between Eva and Stellan and there’s a different feeling to the scenes using the lights and the work they explore. One of the most beautiful elements are when the more fantastical elements where the past leads to the present and the characters fall into each other’s world. Its these little subtle details. A little hard to understand what it all means but the way its put together is really quite the spectacle.

The Book of Vision is Carlo Hintermann’s narrative feature film debut after having done previously four documentaries. This one dives into a part costume drama, part romance drama and bringing in a creative dose of medicine, life and fantasy. Its not a piece to digest on the first viewing perhaps of the deeper connections and meanings. While that usually isn’t exactly the best selling point, there’s something so mesmerizing about how its portrayed and the beautiful cinematography plus the wonderful performance of this connection between these three characters paralleled in the past and present between Anmuth, Eva/Elizabeth and Stellan played by Charles Dance, Lotte Verbeek and Sverrir Gudnason respectively, that all makes it well worth a watch.

FNC 2020: Red Post on Escher Street (2020)

Red Post on Escher Street (2020)

Director (and writer): Sion Sono

Cast: Sen Fujimaru, Riku Kurokouchi, Mala Morgan

It follows a film-maker who holds auditions for his net project. Several of the actors who fail to win roles participate as extras. – IMDB

While Sion Sono is a well-known director from Japan, its one that is a bit of a blindspot in my watch list. Red Post on Escher Street is an odd film. It almost feels like one long audition reel with a lot of different groups of friends and touching a little on the different backstories from a widowed young girl and her family to a group of friends who do theatre shows today or a group of extreme fangirls of the director of this film, etc. Looking at both sides from the auditions to the different people behind the scenes like the director’s story and the executives funding the film and their influence and all coming to the finale where the film is being made and all these people who didn’t get the roles become these extras and it all goes to a crazy finale. The whole thing feels like a lot of something and nothing and almost feels like its not very significant and yet, there is something so charming and entertaining about the whole ordeal which is what makes Red Post on Escher Street such a fun movie experience despite its long runtime of almost 2.5 hours long.

Red Post on Escher Post highlights a film set and the difficulties plus the differences in viewpoints. The director wants to find his roots and a new muse of sorts that he had with a previous actress that he worked with however, things are set up in a certain way to be coerced to have the investor’s wishes of casting his own choice of cast. The pressures on all sides and the different backstories of the people all reflected and come together by the end. It all gets so ridiculous at the end and yet so hilarious as we have the shoot all fall apart when the extras want to fight for their chance and follow their dreams, each warped in their own thoughts and this whole string of people running down the streets. I’m sure the Red Post Box is meant to have some significance but its really great how it shows up in different scenes as a purpose for various events whether its finding certain items or delivering their audition application forms or whatnot.

Red Post on Escher Street is a movie to just experience. Its hard to say that anything is especially outstanding but yet it all seems to work together in a rather over the top way. Some of it doesn’t all make sense but then the script is done that by the end a lot of the randomness comes together in subtle details in dialogue and a little reveal for one of the characters. The scenes and outfits are colorful and the characters themselves are also quite catchy and oddly intriguing. Among the tons of serious movies in this year’s Festival du Nouveau Cinema, its quite the palate cleanser to have a movie that discusses a very serious themes of grief, loss, chasing dreams, oppression but all wrapped up in this colorful and oddly comedic tone.

FNC 2020: Caught in the Net (2020)

Caught in the Net (2020)

Directors: Vit Klusak & Barbora Chalupova

Three adult actresses posing as 12-year-old girls, three fake bedrooms, three cameras, three chat boxes with fake profiles. A social experiment on the sexual abuse of young people online conducted live on camera. An investigative documentary that plays out like a thriller as it probes how the sexual predators who live closer than you might think relentlessly manipulate their young victims. – FNC 2020

Caught in the Net is a Czech documentary about online sexual predators. The documentary starts off by showing how it chooses its three actresses who are all of age but looks younger and can pass as twelve year olds. From that process moving to how the set is created with their three rooms as well as the recording and monitoring of the activity right outside and how they bring some of their own younger pictures and create this fake profile for the three to interact with men who reach out to them. The have a specific code of conduct that was shown right before the online interaction started indicating that they could not initiate anything, in general. Its pretty much an experiment of seeing sexual predator behaviour which over the course of the 10 days of online interactions definitely felt like it truly was a scarring experience, and rightfully so because as much as the images and videos were genitalia was blurred out, its not hard to know what is going on. As it moved to extreme territories with blackmail, paying for their pictures (and more) and eventually, physical meeting at a spot, the documentary covers every phase.

Its no doubt that Caught in the Net is meant to trigger some very negative feelings about these online predators. However, its also a bit of an education for people who don’t realize how these young girls are treated. Other than looking at selected conversations and interactions, they did bring in experts like sexologists, psychiatrists and lawyers which brought in the extra knowledge of what these actions were. These actresses are all of age so they have their own judgement but they also offer their view on the situation and the men that they interact with. It reflects on the effects these interactions could have on future perspectives of themselves, relationships as well as sex. While it is reflective of Czech laws, aside from the details, it does reflect on a knowledge of how illegal any of these actions are from these predators. It also expands on what the nature of pedophilia beyond what the general view of it is. All these things give this documentary a well-rounded sense as they also bring in people who deal with girls who have suffered from these situations like Crisis Line directors and such. Aside from exploring the predator psyche, it also explores why twelve year olds would accept this in the first place.

Caught in the Net is truly a shocking experience. Even if before you start the documentary up, its already expected, watching the online interactions and the different men and how some of them tell their own experiences, its a grueling experience to go through. What is shown is filtered quite a bit especially since the documentary ends explaining that these three girls over 10 days had over 2400 men contact them as well as some of the highlighted men having personal meetings with them. Even for the actresses, it starts feeling very personal especially when faced with men who have turned around and posted their pictures on social media to threaten her as well as having one central men that popped up on all three girls interactions who was known by one of the crew.

Overall, Caught in the Net is a very well-executed and thorough documentary. It was eye-opening and shocking and covered all bases from the young girls (even if it was actresses) to having thought of different outcomes to selecting a few men that seemed the most intriguing of the conversations to focus on while also have a very important moment happen where after all the bad men, there’s always one saving grace. The men are all blurred out and their private parts are all blurred out and yet, it still delivers its content with knowledge on the side of law and psychiatry. At the end, Caught in the Net does make a point to address that online predators don’t only target girls but boys and give a note to parents and also was asked to give in the content to police to revise. It really is killing two birds with one stone.

*Caught in the Net is showing virtually on Festival du Nouveau Cinema until October 31st, 2020*



FNC 2020: The Tremor (2020)

The Tremor (2020)

The Tremor

Director (and writer): Balaji Vembu Chelli

Cast: Rajeev Anand, Semmalar Annam, Sasikumar Sivalingam

Following a tip-off, a rookie photojournalist sets off to report on a destructive earthquake but soon finds himself on a mysterious journey that questions the line between fact, myth, and sensationalism. – IMDB

The Tremor is one of those movies that is very hard to sell. The plot of it (just like described above) is rather intriguing but the execution is one that is going to test a lot of the viewer’s patience. The Tremor follows an unnamed photojournalist who spends most of his film driving in his car through mountain paths. The movie starts with scenes of the aftermath of an earthquake in first person as it sees trees fallen down and people being carried out in stretchers and there’s this brewing sound effects in the background that gets louder and louder and yet, back on the road, the movie spends a lot of time with a GoPro or dashcam bouncing around in first person of the mountainous roads that he drives on or close-up of his face whether trying to figure out where to go next or smoking.

The few encounters he has turns out to be fairly cryptic with different information being shared about whether an earthquake did happen and where it is exactly. That is where the suspense lies: in the unknown and whether this did happen and whether the tip-off was a real thing because it starts feeling a lot like its misinformation at a certain point. Its what keeps the plot going and the intrigue of following this man drive around the movie and visit different places and climb through mountainous locations and these little villages along the way looking and questioning the people that want to talk to him. Its these little conversations that much like him, the viewers are learning about the location and what happened or has happened.

In reality, what does give The Tremor the most style is the setting. The mountainous roads and the forest along with a deep fog that creeps in from the valley that starts covering up what is going on. It seems to come in slowly and unexpectedly, following him around. The isolated roads and the vast mountain range and valleys and just the emptiness of the whole location gives it so much suspense. As the past is revealed and almost always constant denial, much like the main character, its easy to wonder what is real or myth. If it wasn’t for the mountainous roads that feel like they loop (or maybe they do) and the unknowing direction of just moving forward and keep hitting figurative dead ends of this situation either having never been heard or the connection of a past earthquake that has been lingering in the village’s memory, it all gets a little uncertain and unclear.

In some ways, The Tremor really is quite an outstanding movie. The cinematography, the setting, the soundtrack all give it the suspense and mystery to keep the viewer intrigue. But at the same time, its a grueling experience where it ends and its a wonder how it was one to get into because in reality, its the most basic elements of watching one man drive through a mountain constantly going forward with almost always fruitless effort and it lies on whether the endgame is one that is satisfying enough. For myself, its a little half and half.

*The Tremor is currently playing virtually for Festival du Nouveau Cinema until October 31st, 2020*