Luca Padovan and Robert Pattinson. © 2023 GKids, Studio Ghibli, and Toho.
Directed by Hayao Miyazaki. VFA Nominee - 2 VFAs Including "Best Animated Feature Film"
Watched it at 59th The Chicago International Film Festival @ Music Box (CIFF #4)
How Do You Live? It has been a decade since Hayao Miyazaki's recent film, The Wind Rises. A decade of waiting. Waiting for the supposedly final film by Miyazaki and it is now here. Was it worth the long wait? It definitely is and Miyazaki pushes the animation genre with breathtaking animation and a deep story that will speak to our current lives and our morality. This story goes to new lengths to bring meaningful imagery and it lets us question our choices in life and the regrets we have that strengthen or weaken our relationships with others. So many questions that Miyazaki let us interpret with his latest film and it sure was a personal experience from beginning to end. Let's travel to the oceanic world and witness the beauty and madness of this world. Story: Mahito, a young 12-year-old boy, struggles to settle in a new town after his mother's death. However, when a talking heron informs Mahito that his mother is still alive, he enters an abandoned tower in search of her, which takes him to another world. The beauty of this film is out of this world with so many deep themes while keeping the "awe" factor that makes this film colorful and spectacular. Through its synopsis, it seems like a straightforward story about finding a mother in an extraordinary unique world. However, the story is far more through the visual imagery and characters. The characters are the story of this journey. It feels like this story is just a simple blueprint for the vast depth and emotional complex of the characters in the film which combines another story within the main initial story. I always loved the visual complexity, symbolism, and philosophical themes that Miyazaki explores and there's so much to explore. Yet, the more I watch and think back to the film, it gets more personal and it slowly reveals a huge message about grief and family relationships. Also, a theme of trying to move on and pushing yourself to become your true self. A lot of thematic elements and central themes which are almost all laid out with the protagonist and the side characters in the film. It doesn't feel like a narrative structure, but rather, a thematic structure and it spices the film through its crazy adventure. It feels like two films into one but it culminates the main themes of the film into a very personal message for Miyazaki and his audience. With those thematic elements, the characters carry them which makes their journey, a journey through personal ups and downs. These characters are very likable with certain characters having a lot of depth. The cast of characters are very great with the Heron character and Lady Himi being the biggest standouts. Even with their American voice-over performances, they are amazing and they have some much depth in their character that connects to the overarching themes. Lady Himi being a representative of a mother is very heartwarming and seeing her with the protagonist Mahito Maki was emotional and touching. These characters click easily and they carry the film alongside its supporting cast of characters. With these characters, it paints a picture of a personal journey for the audience and Miyazaki. I feel like these characters are a representation of Myazaki's family but also a representation of his emotions and past memories. It is a very personal film and it easily resonates with me through its many symbolisms and visual imagery. Even with its simple story, it opens for interpretation and lets you soak into the many emotions these characters are going through each event and it makes their journey wildly special.
The animation alone is a fantastic treat and a spectacle of wonder, imagination, and texture of each world and location Mahito Maki visits. 2D animation always floors me. Even though I love 3D animation, 2D animation, especially hand-drawn animation, really adds depth and smooth flow to the animation and there is more freedom to do. The set designs are flawless with each distinctive location being tied to the emotional and thematic context. I also have to compliment the food animation because the food in Studio Ghibli movies looks delicious and this film is no exception. Besides the wonderful animation, the sound design is great alongside its breathtaking score by Joe Hisaishi. The mixture of sound design and score really made the sound aspects stand out more frequently which adds a feel of vividness and straight-up goosebumps. Some of the in-animation camera work is smooth with divine lighting and colors! Altogether, the animation and technical filmmaking hits the jackpot with its stellar attention to detail and letting the audience feel the sense of imagination and scale through its huge feat of animation. Even with all of this praise, there are some flaws that I would like to point out.
The film's pacing was a bit of a mixed bag. While I like the editing choices with certain sequences and transitions, it felt a bit slow, but unintentionally. It could slow some of its emotional scenes and some little scenes or moments could have easily been cut out. The majority was in the first half of the film but the second half was much stronger with its editing and pacing. Plus, some audiences would be a bit lost with its narrative or even a bit bored because there is nothing quite going on in terms of plot. I could see that issue flying over some audiences and I felt like for certain scenes, the plot moved more slowly than I expected. Yet, it amps up when we arrive at the magical world and the rest of the film is a treat. Miyazaki gave us a wonderful and thematic focus film that not only speaks to him but to his central audience. Jaw-dropping animation, well-rounded thematic story, amazing voice-over performances with Robert Pattison and Karen Fukuhara being the major standouts, and maybe an emotional send-off to Miyazaki's career. We don't know for sure that this is his true final film but time will tell what will Miyazaki and the team at Studio Ghibli will do next.
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Vizeit Score: "A"
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Copyright © 2024 Vizeit Reviews / Vizeit Studios. All Rights Reserved. Review Written By: Everardo Garcia Jr. Editor In-Chief/Owner of Vizeit Reviews | (Chicago Indie Critics Member [CIC])
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Sandra Hüller. © 2023 A24, Film4, Access, Polish Film Institute, JW Films, and Extreme Emotions. Directed by Jonathan Glazer. VFA Nominee - 6 VFAs Including "Best Motion Picture"
Watched it at 59th The Chicago International Film Festival @ AMC Theaters (CIFF #3)
Everything Seems Normal Until You Look Out of The Picture... The sounds of dread, death, and peace are through the house of a Nazi-oriented family. A manipulative view of peace and quiet is seen through the eyes of this family. Director Jonathan Glazer shows us a different perspective of a Nazi family who are living their lives like any other family, but secretly hear the violence playing in the background. It is a deeply rooted film through its psychological and philosophical presence. A film that may be uncomfortable to watch, but it will immerse you, keep you thinking throughout, and leave you in a complete state of mind when the credits roll. It is a film that represents the horror that we may be living in today, but Glazer lets us soak into this time when war was at its peak and fall during this critical point in human history. Let's go back to 1943 and take a peek at this family living next to the Auschwitz concentration camp. Story: A Nazi commandant tries to build a dream life for his family near the Auschwitz concentration camp. However, with leadership and international changes, he must find ways to keep his family stable while keeping his job and the future of the family. In the first few minutes of the film, it is totally pitch black. However, the film slowly brings up the dreaded and daunting music and sounds that seem unpleasant and unconformable. Yet, it is fitted with the theme and story of the film which showcases the first shot of the film where the family is enjoying a nice summer day like any other family would. Yet, when closely hearing the sounds through the speaker channels in the theater, I hear a small yet distinctive sound of work and possible gunshots in the distance. This is just the beginning of a film that utilizes sound as a character which elevates not only the experience but deeply connects to the family and the environment surrounding them. The sound design and mixing are flawless with the rich and unnerving sounds of the environment and the conversations of each family member. From the silent sounds to the loud chaos within the Auschwitz camp, it stresses and destresses your listening experience from scene to scene. There are moments where sound can be given as a breather moment but once those dreading sounds come back, the film pulls you in like an instant shock. The brilliant sound design of the camp sounds, the nature and home environment, and even each room tone gave a sense of nervousness and sometimes fear. Fear is the message with the sound design and mixing of the film which gives the entire experience a memorable experience but in a unpleasant way. If there was no dialogue and just pure sound, this film still would be a masterpiece due to the sheer amount of haunting dreaded audio from the camp and the calm noises from the home environment. It is like two worlds smashing into one which creates some of the most haunting sounds I have heard in film and by the end, I left shocked. I felt like I was watching this film in a museum with its presentation and this should absolutely be in museums around the world. It is a work of art. I didn't even get to the score of the film yet in this review and it is also very memorable and disturbing. Within the music, it gets distorted through the instrumental score with hushed piano music mixing in the entire score. There isn't a lot of music in the film but when it is present, it hits you silently. It is atmospheric through and through which steps up the cinematic experience. If I were an Academy member, this would easily win best sound at the Oscars without a doubt including a nomination for music as well! Yet, as a critic, I love the amount of detail and expression within the sound design in every second. Before I lose myself in the fantastic sound work, the story and characters drive the film forward which accompanies interesting philosophical themes that are being challenged throughout the film for audiences. Ever since I finished taking that "Philosophical Issues in Film" class during the fall semester, I have been more deeply into philosophy than ever before which leads me to this film filled with philosophical interpretations. Before I dive into the philosophical themes, let's take a look at the story of this film which is based on a book based on the same name. Even though it is based on a true story, many of the story plot points are based on the novel with some dramatic storytelling being added for dramatic effect. There isn't much dialogue within the story but the relationship between the mother and father of the family we follow is apparent and focused. Throughout the film, the film quickly shifts to the father's point of view while it switches back to the mother. There is a balance between those characters which gives a fresh view of their family actions and the life they are living. It gives us empathy for these characters in their lives and while we know that they are a Nazi family, that is mostly landed on the father. The father is pretty much the protagonist or even the antagonist of the film. Yet, Glazer lets us into the family's home and live into the moment of their lives from their morning routine until they go to bed. That is the most crucial part of the film because it deals with this family. If it was just focused on the father, it wouldn't be a strong story, let alone, the whole point of the film. Glazer uses the occasional character development for all characters but there is little for each family member until the Nazis are starting to lose or where there is conflict in the family. For some, it will feel late, but for me, it fits well into the structure of the story and it feels natural within the context of the situation. This is not a typical family drama. It is more experimental within its technical filmmaking and its directing style of Glazer. Yet, with the storytelling narrative being also the focus, Glazer allows his interpretation of the characters to feel real and write them in interesting ways like the way they react to the slow defeat of Nazi Germany and the fall of the Auschwitz camp. Even from their kids, they are raising them to think that they are going to be future Nazi soldiers and have nice families in the Nazi regime. When watching it through, it is very sad to see how these children were raised in this environment which makes it devastating and you feel a bit of sympathy for them, but you quickly remember that they are still part of the Nazis. It can be emotionally complex based on your relationship with the history of WWII and the Nazis, but it also manipulates your feelings about the family alone. There is so much depth within the storytelling of the film but by the third act of the film, the plot takes into a whole new direction that exceeds the first two acts and makes the ending devasting and real. There is so much to praise with this film but the one thing I would like to explore is its philosophical themes about the family, war, and the Holocaust. Even though this film is focused on a Nazi family, you can't ignore the fact that this is one of the many tragic stories of the Holocaust. It is devasting to witness a family living near the Auschwitz concentration camp where you hear gunshots, screaming, mining sounds, and death. It is heartbreaking and it feels like your breath is out for two hours due to the sheer experience throughout the film that you are being sucked into. The way the Holocaust is being viewed here is interesting because you don't see the camp inside. You only hear sounds from outside. However, the film lets you briefly enter the camp but with no actual sight of the camp. Only the father monitoring the camp while you hear the loud gunshots, mining, and crying in close proximity. That is one of the few moments in the film that brought a true horror aspect and it has stuck with me ever since. There are moments in the film where they talk about the killing of the Jews which made me sick to my stomach and I was very uncomfortable witnessing that. Yet, it was necessary and it is not an easy film to watch. Even though there are not any real disturbing scenes, it is still disturbing with the context behind it including the way these characters talked and treated the Jews. The final ten minutes of the film is where the Holocaust takes its importance over the family with a silent memorial of the Jews in which the father doesn't know what his future holds. It is a brilliant yet sad ending that I will not forget.
With its philosophical themes that Glazer is tackling like the problem of evil, ethics, and morality, it makes the psychological part of the characters a bit more complex. Evil is depicted in the film through the family actions with the Jews and the father working near the camp. There aren't a lot of on-screen evil actions but through the tone and atmosphere of the film, you can sense the evil and fear within the walls of the house and the camp walls as well. A sense of horror and dread is blocked off from the outside walls of the camp which questions the true evil within the family. Who is the problem of evil in the family? What is the problem of evil in the family? So many interpretations can be expanded but one thing to note is that evil is being hidden from the family except the father. He's the true evil person in the family and when he realizes that the Nazis are losing, his evil starts to die and he will be forgotten. He also has no morality in the Jews unfortunately except the mother but maybe not the kids. Morality is also being juggled here but their ethics within the family are very centered and we get to see it play out in the family. Some morality is developed between the family and their Jew workers but no morality is developed by the father which makes his character a bit soulless to have empathy. Yet, from a philosophical point of view, that makes his character a bit more sinister. The philosophical elements can be seen through its visual presentation than its character storytelling but it allows more interoperations of evil and morality within the characters and ethics running through the family. Through all of this storytelling, Glazer ultimately uses the technical part of filmmaking to bring this story in a thoughtful yet immersive dark experience of this tragic and haunting story.
The way this film was shot is quite simple. Yet, it is beautiful and the framing is exquisite and intentional. There are no handheld or gimble shots being used. It is purely static and tripod shots in every shot of the film. There are a quite few dolly shots but there are no pure moving shots which helps the film to not break the illusion that the film is intended for. Plus, the way the cameras are being positioned in the house feels like a camera watching them at all times. It gives a Big Brother feel to the experience of the film and with its slow pacing, it feels like it was playing in real time. The editing is brilliant with its sound mixing and editing. There are interesting editing choices that made the experience a bit more real. There is also a sense of rhythm through each scene with its pacing in each pivotal sequence and when it hits nighttime in the film, the editing keeps that rhythm momentum going like a CCTV camera. Even during the scenes with the mother and father, it only cuts up close to the person who is feeling a sense of uncomfortable or taking control of the conversation. The editing is better described when you watch the film. The production design is also fantastic and while the film is just in the house with some great VFX being placed with the wall and the camp, it takes a step further into the house. Even way beyond the house with its underground system and in the final act, it goes beyond the house. There is one aspect that may be overlooked but it is the costume design of the film. With the context of the story, it is scary to think that some of the costumes being worn could have been dead Jews and there is one scene where Sandra Hüller's character is trying out a nice winter coat. However, that winter coat belonged to a Jew, and seeing a Nazi mother wearing that was honestly shocking. The colors on certain characters' costumes including the father give a sense of authority, system, and emotional state. Even if we go back to the cinematography, the colors are mudded yet vivid with some standout colors like white, green, and gray. It feels like a documentary at certain moments but at the same time, it feels like you are actually being there. That feeling of if it is a documentary or a narrative feature. That blur is present throughout because of the fantastic production of the film and it is one of the best technical films of 2023. As I look back on the film, I don't see any major flaws besides that this film could be very slow for some people, despite being a 105-minute film. I didn't feel that at all throughout. However, I feel like I wish there was more family drama but I don't think that was the point of the film. It can be mixed for some people who had family members who experienced the Holocaust or had relations with the war in Germany. I know it can be emotionally complex for folks out there so I have nothing against that. This is not an easy film to watch. It will destroy your mood for the entire day or night. Yet, it is an important film that everyone should watch. Jonathan Glazer takes this important story and unfolds it into a daunting experience that will leave you numb or speechless. It is an important film that interestingly explores the Holocaust through a Nazi family but without seeing the Jews in the camp. It blocks you from seeing the horrors within the camp by keeping the "beauty" of the family right in front of your eyes. It can be manipulative but the film gets its point across with its dark themes about humanity, morality, and history. The ending is what made me say this film is a work of modern art. This should be shown in schools and show both sides of the events of the Holocaust. This film even made me join a course about the history of the Holocaust. Film can really impact you in so many ways and this film successfully did that. Even though I know the Holocaust in general, I still wanted to learn the many stories that aren't being told through the eyes of the Jews and Germans during this crucial event in human history. A true work of cinematic film art.
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Vizeit Score: "A+"
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Copyright © 2024 Vizeit Reviews. All Rights Reserved. Review Written By: Everardo Garcia Jr. Editor In-Chief/Owner of Vizeit Reviews | (Chicago Indie Critics Member [CIC])
Barry Keoghan. © 2023 Amazon MGM Studios, MRC, LuckyChap Entertainment, and Lie Still. Directed by Emerald Fennell.
Watched it at 59th The Chicago International Film Festival @ Music Box (CIFF #2)
Q&A Section Included We're All About to Lose Our Minds After the amazing crazy film from Emerald Fennell's directorial debut, she amps up the eroticism and insanity of her characters which leads to unexpected turns. That is what best defined for Fennell's sophomore feature Saltburn. It takes approaches that are risky yet rewarding through the protagonist and the characters surrounding him. Not a lot of people will approach and take away from this film in a positive light but it sure does serve a pack a punch throughout its daring sequences. Let's go to Saltburn and see the wonderfulness of this unique broken estate. Story: A student at Oxford University finds himself drawn into the world of a charming and aristocratic classmate, who invites him to his eccentric family's sprawling estate for a summer never to be forgotten. The sensation of this film is all over the place but in a good way. Fennell's unique screenplay really delves into the psychological mind of Oliver (Barry Keoghan) and his insane love for Felix (Jacob Elordi). His character arc starts slow but as the film progresses, the flow of the energy doesn't stop. The relationship between Oliver and Felix is very well written. There is nuance through Oliver's point of view of the palace and his feelings towards Felix's family. It touches on each one of them through Oliver's point of view and it's well-balanced to see how he feels about the family. The structure here in the film is similar to her past film but a bit longer which does add depth to Oliver but also adds tension to each character's dilemma. Alongside her unique script, Fennell's directing here is amazing. There are unique moments in the film that give an artsy vibe while giving a thriller or horror vibe. Her creative decisions here could be polarizing because there are scenes in the film that will leave you a bit traumatized or disgusted. However, it lets you get inside the mind of the character in those scenes which opens the vulnerability of that character. It's clever writing and direction with the support of the amazing performances from each actor. Barry Keoghan is great in the film. He gets to play a unique character who is seeking love and something more erotic. His performance is wild in the second half but he really encaptivates the character and it's a wild ride from start to finish. Jacob Elordi is also surprisingly great. After only seeing him in Euphoria (thank god I didn't watch The Kissing Both), I was hoping he would play a character that would not only fit his personality but play a character that allow a bit of character freedom. What I can report back is that this is his best performance since Euphoria. His character and performance are charming in a way that could be very jocky. Yet, his chemistry with Keoghan's character is very daunting and intimate. The supporting cast here all around are great. The biggest standouts would be Rosamund Pike and Richard E. Grant. They elevate the drama and comedy in the film. Plus, their chemistry with each other characters is unnatural yet good. As I mentioned in my last paragraph, the screenplay alongside its story is well written. There are interesting unique twist and turns that elevates the plot and the climax. The plot lets you be with the characters in the good and weird moments while the eroticism and beauty start to take over the story. You can even look at this film's story as a chaotic party family drama but really, it's a vampire story. Without spoilers, during a Q&A panel with Fennell, she said "We just knew exactly the kind of gothic, sort of, sexy. kind of, erotic thing, we wanted to make. And I think with Suzie Davies, the production designer, and with everyone else too, I think the thing is if we are making something this kind of, I suppose, knowingly aesthetic, that kind of took place on sort of beautyism and literature, your sort of acknowledging things but also making your own thing." (Taken from a Post Q&A during the Chicago International Film Festival 2023).
With the aesthetics and gothic storytelling that inspired this original story, Fennell wants audiences to be clear that when Keoghan's character journey begins at the estate, it's going to be erotic, chilling, and jolting. See the film for yourself and you will come out with many reactions all at once. Even with its psychological story, Fennell made sure the technical side of the film hits the spot to bring this story to life.
Fennell went all in with the cinematography, production design, and even editing of this film. I really dig the academy aspect ratio which allows the beauty of the production design done by Davies to be shown in its full glory. Plus, Linus Sandgren's camera work here is beautiful and colorful as well. I really love the mixture of orange, red, and blue colors including the close-ups in this film. The estate is pretty enormous and the way they shot it is very smooth. Plus, there are interesting framing choices that allow the audience to delve into a certain character. The editing here is also great with its smooth pacing and the score feels so romantic yet daunting and un-natural. The costume designs here are underrated, especially during the big party scene. Overall, it's a very well-made technical film that helps bring the story to its full potential. However, there are flaws behind this magnificent estate of a film. The film can be a bit of a mess with its plot. There is a lot to take in and while it keeps you entertained, it can be a bit too much all at once. There were moments when I had no idea what was going on yet, but I was still entertained. Again, there are interesting directing choices that people will be divisive on but I thought they were darkly smart. However, the film tries to juggle some ideas or plot strings that need to match the overall story or even the intentions of the protagonist. The biggest scene that people will love or hate will be the ending. For me, I thought it was a solid ending but it left me questioning about the state of the protagonist and the world around him. Even with those small flaws, I was still thrilled by the film's nature of its story and characters. Beyond the beautiful darkly estate full of emotions and desires, this is Fennell's most unapologetic sexy, and daring film that she has made. Filled with great performances from Barry Keoghan and Rosamund Pike, alongside its unique screenplay and story, it's a film that dares to tackle unique subjects and themes that ultimately surround desires and temptation. While this film will slip under the radar during awards season, it is sure a film that doesn't hold back on anything it is showing. Especially that grave scene...yeah, I drank bleach right after that.
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Vizeit Score: "A-"
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Copyright © 2023 Vizeit Reviews. All Rights Reserved. Review Written By: Everardo Garcia Jr. Editor In-Chief/Owner of Vizeit Reviews | (Chicago Indie Critics Member [CIC])
Sandra Hüller and Swann Arlaud. © 2023 NEON, Les Films Pelléas, and Les Films de Pierre. Directed by Justine Triet.
Vizeit Reviews is in solidarity with SAG, however, SAG will allow film critics to continue their normal movie critiques as usual but with certain restrictions. [WGA has reached their deal with the AMPTP.]
Watched it at 59th The Chicago International Film Festival @ AMC Theaters (CIFF #1)
Did She Do It? The mysterious fall that everyone keeps talking about but we have the same question in our minds? Did Sandra kill her husband or was it just an accident? This film deeply explores a lot of themes of marriage but also trust, love, and identity. Anatomy of a Fall is a film that has a lot to unpack from but with the stellar performances and direction, you will find yourself glued to the screen. Let's visit the courtroom and listen to the unraveling truth of this "fall" while listening to 50 Cent. Story: A woman is suspected of her husband's murder after a mysterious fall. However, during trial, her only witness is her blind son which leaves the mother and the son in a moral dilemma. Suspense fills the air throughout this film and director Justine Triet captures it very effectively. The atmosphere and tone of the film are dreading and every second leads to something very important that the audience will miss in the background. Triet uses interesting yet beautiful and insane shots to make some of the most vital "evidence" in the film surprising. Simon Beaufils's beautiful camera work with Triet's great direction brings up certain moments that elevate each character's view of the murder. Even with the slick editing from Laurent Sénéchal, it allows the audience to become one of the jury members to witness the evidence presented during court. All of that is accompanied by Sandra Hüller's amazing performance which she lets her character bring her judgment into the picture and unravel who she is which answers the question of her husband's mysterious death. Even with the supporting cast of the film, Swann Arlaud was one of the highlights of the film which brought the tension higher and engaging. The writing of Hüller's character is so depth and nuanced that you already connect to her character in the opening of the film. A lot of well-put-together writing pieces make the prediction a bit more difficult in a good way to allow the audience to engage more with the story. Plus, the writing of the film doesn't overstuff certain character backgrounds and traits which allows the fluid of the film to be more thrilling and certain around the protagonist. The dialogue feels so natural and also the comedy here is intentionally and unintentionally funny which makes the dialogue and acting feel natural in its presence. Yet, some overlooked filmmaking elements should be highlighted in this review. The sound design here is interesting because it takes silent and loud moments which adds to the mystery of each scene. Even the opening sequence alone with the loud PIMP song by Bacao Rhythm & Steel Band can make the scene feel more tense and annoying in a good way. The distractions that Triet applies in each scene will force the audience to look beyond the picture through sound and interesting directing cues. When this is also applied through the courtroom scenes, it will make you think of what evidence is presented through each sequence. The courtroom sequences are well executed with a lot of intense drama and well-paced scenes that will leave you hooked. That piece of drama included in the film is its themes which capsulates the protagonist's story and the whole case surrounding this mysterious death.
Anatomy of a Fall has interesting themes about identity, marriage, and trust in and out of the courtroom. Since Sandra's accusation of her husband's death, she begins looking back on the decisions she made with her husband. The mother-father relationship is heavily discussed with the relationship of their child. Sandra's only child who can help her and himself to get out of this trial. However, Sandra's past was being discussed with her bisexual relationship with other women and we see her flirting actions right in the opening scene. It opens up on how Sarah really is at the point of her marriage and the matter the fact is that she's not happy with her relationship. Without any spoilers, the ending answers Sandra's marriage and identity problems in the opening scene. However, Sandra's struggle with trust makes the courtroom scenes more tense due to her blind son's lack of trust in her mother. All of those themes combined bring up a question, is Sandra really a trustworthy mother and wife? The answer speaks for itself in the film. Through all the narrative elements, the technical filmmaking here once again is sleek and amazing. The coloring of this film is very beautiful and saturated yet realistic. The production design of the house is unique and cozy as well. Technically, it's a well-made film but with its narrative, it is a strong foot. However, I have some criticisms that could've made the film much faster.
The film's pacing can be very slow in the second act of the film. There is tension to the scenes but sometimes, the tension can drag a bit which almost kills the suspense in the room. The film feels a bit long so that's why I felt like the film's pacing was slow right in the middle. There are easily some scenes that could've been shortened but not cut out because all of them were very essential. However, the one thing that I wished the film had was more energetic moments in the courtroom. There for sure were energetic moments outside of the courtroom scenes but during the trial, the energy felt mixed yet, the energy was still heated. Still, even by the final shot of the film, I was surprised at how this film hooked me till the end. Chilling, tense, and sophisticated, Anatomy of a Fall delivers a well-executed court drama that will leave you questioning the justification of the murders and Sarah's personal life. A lot of great thematic elements that add depth to Sandra's relationship with her son and husband. With the unique direction from Justine Triet, it elevates the courtroom sub-genre into a new direction in which other films will follow suit. Also, this is the right time for Sandra Hüller to get the Tár treatment during awards season.
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Vizeit Score: "A-"
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Copyright © 2023 Vizeit Reviews. All Rights Reserved. Review Written By: Everardo Garcia Jr. Editor In-Chief/Owner of Vizeit Reviews | (Chicago Indie Critics Member [CIC])
© 2023 Cinema/Chicago.
Vizeit Reviews is in solidarity with SAG, however, SAG will allow film critics to continue their normal movie critiques as usual but with certain restrictions. [WGA has reached their deal with the AMPTP.]
Special Blog Preview
It's that time of season again in Chicago! The Chicago International Film Festival returns once again this October 11-22 with over 100 feature films and 60 short films presented during the festival. Films from all over the world including France, Mexico, Italy, Finland, Germany, Norway, China, South Korea, and more! Some of the most highly anticipated films will premiere at Chicago for the first time including world and U.S. premieres. This is probably one of the strongest lineups from any film festival this year and it's going to be massive. Some of these films will premiere at the iconic Music Box Theater and the Chicago History Museum. However, the main theater that Cinema/Chicago will host the festival will be the AMC NEWCITY 14 instead of the AMC River East 21. This is a bigger theater and the festival will host more films than ever before. I cannot wait to see these highly anticipated films from the festival and we will preview each film that Vizeit Reviews will try to watch and review during our time at the festival. Let's hop onto the CTA train and let's ride to the cinemas to see what films we may be watching this month! Anatomy of a Fall (Directed by Justine Triet) [Country: France] The highly anticipated Palme d'Or winning film will premiere in Chicago during the opening week of the film's theatrical release! The film follows a German writer who is arrested for murder for the killing of her husband on the outskirts of the snow. However, she has her blind child who can help her clear her name out in public before she gets convicted. However, complications start to arise with the relationship history between the writer and the husband. Mystery and thriller are some of my favorite genres in film and this film being set in a winter season will make this murder mystery more suspenseful. I heard amazing things from this film including Sandra Hüller's performance and the direction of the story. I predict this film will garner some high Oscar buzz including best picture and best actress. Specifically at the festival, I can see this film probably winning an acting award for Sandra Hüller. International films always bring something fresh to the table and this film is no different when it premieres at the festival this October 12th. The film will have a theatrical release the following day at select theaters with distribution by NEON. Fun fact, NEON has won every Palme d'Or award since Parasite. Be on the lookout for every NEON film coming out during the fall season. The Boy and the Heron (Directed by Hayao Miyazaki) [Country: Japan] Since his latest film The Wind Rises, Hayao Miyazaki and his production studio, Studio Ghibli, are back with their latest hand-drawn film, The Boy and the Heron. Claimed to be Miyazaki's last film (not anymore), this film explores personal conflicts, grief, and redemption throughout a magnificent journey between a boy and a heron. This is the long-awaited project that Miyazaki fans have been waiting for and a return to form for Studio Ghibli. Easily one of the most anticipated films of the festival and it's on the high radar for a nomination at next year's Oscars for best animated feature film. This is going to be very special for me because Ponyo is easily the best animated film of all time and Miyazaki is going to play with my emotions a lot when this film premieres on October 15th at the festival. GKids will distribute the film theatrically this December 8th in Digital and IMAX. Saltburn (Directed by Emerald Fennell) [Country: United Kingdom] After the Oscar-winning film Promising Young Woman, Emerald Fennell returns in a big way with her psychological spectacle thriller Saltburn. The film is filled with high-profile stars including Barry Keoghan, Jacob Elordi, Rosamund Pike, and Carey Mulligan. The film follows a college student who gets invited to Saltburn, an estate run by an eccentric family. Filled with parties, secrets, and chaos, the estate slowly unveils the truths behind the estate and the people behind it. This film reminds me of Babylon but this time, the students are the front and center of the story, living in England, and throwing parties until something disrupts the fun. The fun becomes the chaos and Fennell is not new with chaos and suspense in her writing and directing. Fennell explores deep themes and psychological behavior that reveal each person's flaws but also creates a personal story that will resonate with audiences in some way. Saltburn will premiere at the Music Box Theater this October 19th as the festival's centerpiece film with Fennell in attendance. She will be receiving the Visionary Award which is part of her tribute presentation. Amazon MGM Studios will distribute the film theatrically this November 17th in select cities and expand nationwide on November 22nd. American Fiction (Directed by Cord Jefferson) [Country: United States] An unexpected surprise at the Chicago International Film Festival after winning the People's Choice award at TIFF (Toronto International Film Festival). American Fiction is the latest buzziest film during the festival and awards season receiving critical acclaim. Not just critical acclaim but a huge shift during the awards season as it jumped onto many cinephiles and industry filmmakers' radars as one of their highly anticipated films of this season! The film follows a black writer who is fed up with the establishment that profits from Black entertainment that relies on tired and offensive tropes. To prove his point, he uses a pen name to write an outlandish Black book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain. This is a satirical dramatic film that explores the issues of Black entertainment and the racial issues presented in the media. With a star-studded cast led by Jeffrey Wright, this is surely going to be a blast! Will it lead to the Oscars? Well, let's find out when the film premieres in Chicago at the festival this October 16th. The film will be theatrically released by Orion Pictures (Amazon MGM Studios) with a limited release on December 15, followed by an expanding release on December 22. Hard Miles (Directed by RJ Daniel Hanna) [Country: United States] Probably a high radar within the festival, but Hard Miles will have its Chicago debut with the director, producer, and lead star in attendance. The film follows a social worker at a juvenile prison and assembles an unlikely cycling team of teenage convicts who must outride their pasts to complete a transformative 1000-mile ride. This is a mix of a coming-of-age story with sports drama that is fueled with tension throughout the film. There isn't a lot of coming-of-age sports film that deals with hardcore subjects and themes but Hard Miles proves that wrong and it's one of the biggest highlights prior to the festival. The film will premiere at the festival on October 21 with a second screening the day afterwards. No theatrical release date yet but potentially slating for a 2024 release by Blue Fox Entertainment. The Delinquents (Directed by Rodrigo Moreno) [Countries: Argentina, Luxembourg, Brazil, Chile] Straight out from its Cannes premiere, The Delinquents is no different film that will include heist elements that will sure grab some eyeballs. Plus, this is Argentina's official entry film submission to the 96th Academy Awards after the country's previous film Argentina, 1985 was nominated earlier this year. This film follows a Bank employee who schemes to steal enough money to never work again. However, he confesses the crimes and serves prison time while his colleague hides the cash. Soon under investigative pressure, his colleague meets a woman who creates tension which leads to love and trouble. The plot alone sold me alongside its brilliant trailer which reveals not a lot of information but the atmosphere really captures the film. Director Rodrigo Moreno will be in attendance at the festival on October 15 alongside a second screening the day afterwards. The film will be theatrically released by Mubi in North America with a limited release on October 18th. It will be later streamed exclusively on Mubi in the US and North America.
All Happy Families (Directed by Haroula Rose) [Country: United States]
The world premiere of a Chicago-based film will premiere no other than in the city where it was filmed. All Happy Families is a highly anticipated Chicago-based film that has a recognizable cast and it's executive produced by Illinois-raised actor and director, Michael Shannon. This film follows an aspiring actor who’s stuck in a funk and living in his family’s crumbling two-flat. When an old college crush comes looking to rent the first-floor apartment at the same time as his TV star brother returns home, he must finally grow up — if he can get out of his own way. This film will bring a lot of personal reactions to the city of Chicago with its plot and themes throughout the film. I worked with actors who want to become full-time actors but it takes a while to get there. Plus, you have personal problems blocking that goal which makes the journey much more difficult. This is a film that many Chicago and Illinois filmmakers should definitely watch including myself as a student filmmaker. The film will have its world premiere at the festival on October 12th with the director in attendance, alongside a second screening. No theatrical release date confirmed alongside with a distributor yet to be confirmed. The Zone of Interest (Directed by Jonathan Glazer) [Countries: United Kingdom, Poland, United States] One of the most anticipated A24 films of this year, The Zone of Interest is subverting many people's expectations and it has garnered critical acclaim throughout the year. Plus, the film won the Grand Prix and the FIPRESCI prize. A high radar for many cinephiles but why? The film follows the commandant of the Auschwitz concentration camp and his wife. They are striving to build a dream life for their family in a house and garden next to the camp with the horrors hidden from the entire family. This film will be different than other feature films this year because of its subject matter and how the film is presented. Jonathan Glazer knows how to make an audience feel disturbed by what's on screen but lets the audience analyze deeper within the ambiance rather than the literal image presented. This is a film that many people have been looking forward to and funny enough, Sandra Hüller is in this film. She also has another film coming out that will also premiere at the festival which is Anatomy of a Fall. Be on the lookout for this ambitious yet groundbreaking film when it premieres at the festival on October 18th with Christian Friedel in attendance. The film will be released by A24 on December 8th. Late Night with the Devil (Directed by Colin Cairnes, Cameron Cairnes) [Countries: United States, United Arab Emirates, Australia] Midnight films are back and one of those films has a lead Chicago-based actor who gets in trouble with the devil live on television. Late Night with the Devil stars David Dastmalchia as a late-night TV host who interviews a parapsychologist and the subject of her recent book, talks about a young teenager who was the sole survivor of a Satanic church's mass suicide. This is one of those films that won't hold back the horror elements and go full-out bonkers. This film definitely reminds me of Malignant mixed in with a Polish film called Prime Time. Even the poster gives a tease of the potential chaos that will happen on that studio set. Plus, having Dastmalchia as the lead role will make this film more chaotic and fun! I'm very excited to watch this when it premieres at the festival on October 15 with David Dastmalchia in attendance, followed by an encore screening on October 19. The film will be distributed by Cinetic Media with no release date yet to be confirmed. Green Border (Directed by Agnieszka Holland) [Countries: Poland, France, Czech Republic, Belgium] After winning the Special Jury Prize at the Venice Film Festival, Green Border is making its Chicago debut and the film deals with a lot of heavy subjects including immigration and war. The film follows a Syrian family leaving their country due to the increase in violence. Their goal is to get from Belarus to Poland and finally to the safe haven of Sweden. But while traveling through the Polish-Belarusian border region, they become a political plaything instrumentalized both by the Polish government and the press for their own purposes. With the current war conflicts including the war between Israel and Hamas, this is a powerful film that explores the tragedies of the war by finding a different country to find livable peace. While this film has a lot of controversy, especially where the film was produced, this is a bold move that director Agnieszka Holland took and created a film that speaks about humanity in an endless war. The film will premiere at the festival on October 21 followed by a encore screening the day afterwards. The film is yet to receive US distribution but it has received international distribution. A Happy Day (Directed by Hisham Zaman) [Country: Norway] International coming-of-age stories have always been something special that other people will connect to, even with the barrier of the language. This film is no different. A Happy Day premiered at TIFF and the film is about three teenage friends who are stuck in a frozen, hopeless place in Norway. They come up with a plan to escape over the mountain to a world where their dreams can be fulfilled. But when one of them falls in love, their plan begins to unravel. Based on the trailer, this is a mix of comedy and drama and an exploration of friendship and identity. This film will also take audiences to the frozen atmosphere of Norway and explore the small chaos within the asylum center. The film will premiere at the festival on October 13 with director Hisham Zaman in attendance, followed by an encore screening the following day. The film is yet to receive US distribution but it has received international distribution. Monster (Directed by Hirokazu Kore-eda) [Country: Japan] After Hirokazu Kore-eda's latest film Broker, he's back with another Japanese film that is similar in vein to his other films. This is one of the most anticipated films at the festival and we are not ready to see what Kore-eda has in store. The film follows a young mother who is starting to suspect his son's behavior and feels like there's something wrong. Discovering that a teacher is responsible, she storms into the school demanding to know what's going on. But as the story unfolds through the eyes of the mother, teacher, and child, the truth gradually emerges. Kore-eda is no stranger to bringing unique personal subjects and giving them full emotional depth which audiences will connect. Plus, the film won best screenplay (written by Yuji Sakamoto) at the Cannes Film Festival so it's clear that this film will break audiences' emotions. I cannot wait to see this film when it premieres at the festival on October 15, followed by an encore screening the day after. The film will be distributed by Well Go USA Entertainment on November 22 at select US Theaters. Departing Seniors (Directed by Clare Cooney) [Country: United States] Another Chicago-made film that will premiere right at home at the festival! Departing Seniors is Clare Cooney's feature directorial debut and the film follows a witty high school senior who develops psychic abilities which he must use to stop a mysterious serial killer targeting his classmates. This is a modern-day indie slasher that has complex characters that deal with personal issues while dealing with a killer on the loose. I got a chance to meet with Jose Nateras, the writer of the film including lead actor Ignacio Diaz-Silverio about their experiences working on the film and how this film is an opportunity for other young filmmakers to not just put their voice out there, but to push yourself on creating a project that you love and care about. Especially with a team full of passionate filmmakers who want to make this film come to life. This is a film that horror fans will love and I'm looking forward to it. The film just had its North American premiere on opening day at the festival but it will be released in US theaters next year. The film will be distributed by Dark Sky Films (a local based distributor in Illinois). This is just a peek at the over 100 films that will be presented at the festival throughout the two weeks! We cannot wait to start our coverage with Anatomy of a Fall and watch several international films that deserve to be highlighted. This is a film festival that every Chicagoan should not miss! We will see you there and if you see me at the festival, don't be shy and give me a quick hello! See you at the movies! The festival will run from October 11 to 22 at over 5 theater locations including AMC Newcity 14.
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Copyright © 2023 Vizeit Reviews / Vizeit Studios. All Rights Reserved. Preview Written By: Everardo Garcia Jr. Editor In-Chief/Owner of Vizeit Reviews | (Chicago Indie Critics Member [CIC]) |
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