Witches and Poets. Films reviewed: Benediction, Lux Æterna

Posted in 1920s, 1930s, Drama, Feminism, France, LGBT, Movies, Poetry, UK, WWI by CulturalMining.com on May 28, 2022

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Spring film festival season is in full swing this week in Toronto, with ReelAbilities, Inside-out and the Toronto Arab Film festival all on right now. TAF is a pan-Arab film festival; featuring movies from 19 countries, including dramas, docs, animation and experimental, and it’s on through Sunday. ReelAbilities has films by for and about people from disabled and deaf communities and it’s running through June 10th in a hybrid format. And Inside out, Toronto’s LGBT festival is on now through Sunday June 5th, featuring many world premieres, and presenting at the TIFF Bell Lightbox. 

Some of the movies at Inside-out I’m looking forward to seeing include a stunning-looking musical from Rwanda called Neptune Frost, Camilla Comes Out Tonight, an Argentinian coming-of-age drama,  So Damn Easy Going a Scandinavian story of the messy relationships of a young woman with ADHD, and The Divide, about the breakup of a couple in France during the “yellow vest” protests

But this week, I’m looking at two new movies both opening this weekend in Toronto that handle narratives in an experimental way. There’s a film from France about a burning witch, and a biopic from the UK about a war poet. 


Wri/Dir: Terrence Davies

Siegfried Sassoon (Jack Lowden) is a Lieutenant in the British Army at the western front in WWI, known for his bravery and valour. He’s also famous as a war poet. An aristocrat, he’s a descendent of the Sassoon clan, late of Baghdad, Bombay and Shanghai. But by 1917, he is sickened by the war and the death of his men, so he writes and publishes a formal letter protesting it. Instead of being courtmartialed, he is diagnosed as shell-shocked and sent to a psych ward near Edinborough. There he befriends a young soldier named Wilfred afflicted with night terrors, and together they write poetry for the hospital’s literary magazine, the Hydra.

After the war he joins other writers, musicians and artists around London. One evening, while reciting his dark poetry at a soiree, he meets Ivor Novello (Jeremy Irvine), a hugely famous celebrity whose sentimental songs — like Keep the Homefires Burning  kept up morale during the war. By that evening they are sleeping together with Ivor unceremoniously dumping his previous boyfriend Glen. But while Siegfried is a passionate romantic, Ivor is cold and cruel; he cares more about his looks and career than love or commitment. So after a messy break up, Siegfried has a series of relationships with various bright young aristocrats like Stephen Tennant in the 1920s-30s. But will he ever find true love?

Benediction is an impressionistic biopic about the life of Siegfried Sassoon and his friends and lovers between the two wars. This means he’s as likely to see Edith Sitwell reciting her doggerel as running into Lawrence of Arabia at a wedding rehearsal. But you never forget that this is a Terrence Davies movie, his unique style always apparent. Like singing — whether it’s soldiers breaking into song, actors on a west-end stage or just sitting by a piano at a party. And Sassoon’s own voice recites his poetry over photos of war dead. Flashbacks might fade from one to the next then back again reflecting the thoughts of a character, often with black and white newsreels projected in the background. There’s a lush, dark look to the whole film, in its music, images and sets. The acting — especially Lowden and Irvine but also Calam Lynch as Stephen Tennant and Gemma Jones as his ultimate wife Hester — is terrific all around. (The movie flashes forward to a reclusive and bitter Sassoon (Peter Capaldi) with a wife and adult son in post WWII England.) Benediction is romantic in the classical sense, more like a Wagnerian opera than a rom-com. The script is exquisitely written, with almost every line a bon mot, a witty observation or a cutting insult. Benediction is experimental and idiosyncratic in style but with a deeply moving story.

I really like this film.

Lux Æterna

Wri/Dir: Gaspar Noé 

Béatrice Dalle and Charlotte Gainsbourg (played by themselves)  are two French famous actresses making a film together. Beatrice is trying her hand as director and Charlotte is the star. The film they’re shooting, on set, is a feminist reboot of accused witches being burned at the stake by religious zealots in the manner of the Inquisition. They chat about the meaning of burning witches as a misogynistic crime.  But all is not well. 

The producers of the film, are plotting to get Beatrice fired, so a young man named Tom is ordered to follow her everywhere and record it on film, with the hope of catching an error. Meanwhile, an American actor, Karl (Karl Glusmann) is trying to have a meeting with Charlotte, various models are desperately looking for the proper costumes and hair, and all of the personal assistants are incompetent. Worst of all, though, something is wrong with the lighting system, which begins generating as series of multi-coloured strobe lights, the kind that can induce a tonic-clonic seizure. Can the scene be shot? Or will panic destroy everything before it’s caught on film?

Lux Æterna is simultaneously an experimental piece of art, and a satirical look at the film industry, the Me Too Movement and the backlash that followed it. Gaspar Noe is the enfant terrible of French filmmakers, all of whose films somehow provoke and torture its viewers. In the past it was through extreme violence, horror, drugs or explicit sex. This time, it’s (theoretically) supposed to induce tonic-clonic seizures among epileptic viewers of the film. Why? Because the aura leading up to as seizure is said to be the ultimate psychedelic experience. (Not sure who said it because I can assure you there’s nothing pleasant about having a seizure!) Anyway, about a quarter of the film consists of the gorgeous multicoloured strobe effect projected over the crucified bodies of the witches. Another portion is in the titles themselves (Gaspar Noe is the master of creative titling — no font is accidental in any of his films) with old Roman capitals used to advance the plot. All the characters use their real names, and the shooting takes place on a movie set, just in case you need more meta. 

If you like Gaspar Noe — I love his stuff but it’s certainly not for everybody —  well, Lux Aeterna is his latest artistic experiment. A large part of it resembles Dreyer’s 1928 silent film The Passion of Joan of Arc, beautifully done, as if photographed on Calvary. And the strobe light effect is hypnotic though irritating. There’s very little plot or acting involved, with lots of gratuitous nudity, but, hey, it’s only about an hour long. I like everything he does, but this is not a major work, more like him fooling around. If you like art, you might enjoy this experiment, just don’t expect a normal movie. 

Benedction is playing at the TIFF Bell Lightbox; and you can see Luxe Aeterna at the Revue Cinema in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com

April 20, 2012 Are All Men Cads? Movies Reviewed: The Deep Blue Sea, Damsels in Distress

Posted in comedy, Coming of Age, Cultural Mining, Drama, Movies, Romance, UK, Uncategorized, US by CulturalMining.com on April 24, 2012

Hi, this is Daniel Garber at the Movies, for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, genre and mainstream movies, helping you see movies with good taste, movies that taste good, and how to tell the difference.

I’m back again to review some new movies. Are all men cads, heels, users, liars and cheats? How about douches, stalkers, assholes, Tucker Maxes, players, pricks and opportunists, who will say just about anything to get laid? This question is taken up by two films with male directors and writers, but told from the points of view of the female characters. One is a post-war historical melodrama about a married woman who willingly goes astray; the other a contemporary light comedy about a group of college students who risk being led astray.

The Deep Blue Sea

Dir: Terrence Davies

based on the Play by Terrence Rattigan

The war has ended and, Hester (Rachel Weisz), is a beautiful young woman married to a much older man. Sir William Collyer (Simon Russel Beale) is intelligent, kind, upper class and very rich, and he’s also a judge. He loves Hester dearly, but can’t provide for her sexually. Hester is the daughter of a vicar whose life feels like it’s hit a dead end. Then she meets Freddie (Tom Hiddleston), a dashing RAF pilot, a hero in WWII. He’s brash, funny and charming and “makes a pass” at her.

Soon, she’s separated from her husband and trades his mother’s stately home for a dowdy London flat filled with society’s struggling outcasts – like a doctor whose license has been revoked.

The movie opens with Hester’s attempted suicide. The reasons for this, the reactions of her husband and her lover to it, and her final decision, make up the rest of the movie. It’s told through Hester’s flashbacks to the war, her time spent with Freddie and William, and memories of the war. And it tries to explain her strange decision to leave wealth, status and a loving husband for a nonchalant cad.

Davies is an remarkable director for whom what you see, and the music you hear is always as important than the dialogue. He doesn’t tell strict linear narratives, but gives impressions of the thoughts and experiences of the main character. This is adapted from the play by Terrance Rattigan, but Davies uses dialogue sparsely. He hints at what’s going on and is rarely explicit. For example when William discovers the aptly-named Hester’s infidelity, you get a brief glimpse of a punch and judy show going on just outside a door.

Although it’s a melodrama, I found it very moving, visually stunning, with an evocative soundtrack often provided by the characters themselves singing period songs in pubs or bomb shelters. The acting is also great – Rachel Weisz’s first good job in a long time, (I was losing faith in her as an actress) with the exception of one strange shouting scene between Hester and Freddie that seemed a bit clumsy and overdone. Not a conventional movie, but a beautiful and moving one.

Damsels in Distress

Dir: Whit Stillman

Lily (Analeigh Tipton, a Michelle Trachtenberg look-alike) is a university student who transfers to Seven Oaks, a former all-girls college in a small New England town. She is immediately befriended by a clique of discerning, conservative women, and moves in with them. They all have flower names like her. Violet (Greta Gerwig), the obvious ring-leader, thinks men all have “B.O.” She knows aromas and colours are very important. Rose (Megalyn Echikunwoke), an African-American with a recently acquired impeccable British accent, says men are all players. Along with dumb-as-a-post Heather (Carrie MacLemore), the three have a goal: to rescue the downtrodden and suicidal students on campus by distributing donuts and teaching them… tap dancing!

Violet has a theory – aim for the bottom, and only date guys stupider than she is. So she goes for the frat boys (“They’re not “Greeks” – we only use Roman letters here”) some of whom haven’t even learned the colours yet. But her world is sent off-kilter when Lily proves too popular, and has two romantic and handsome boys chasing her. Will the smart, but inexperienced, Lily choose the suave frenchman Xavier (Hugo Becker), who tells her he’s a member of the Cathars and must follow certain sexual rules? Or the charming and successful businessman Charlie (Adam Brody) who just happens to be on campus? And will she ever see through these guys’ transparent ruses?

Damsels in Distress is a very cute, and very funny, coming-of-age story about life in a sheltered, liberal arts college. This is Whit Stillman’s first movie in a long time, and it’s great, like all his movies. He did The Last Days of Disco, Barcelona, and Metropolitan, all very distinctive portraits of educated, but naïve, upper-middle-class people. This one is done in vignettes, over the course of a year, with a terrific ensemble cast — all new, and all terrific. Admittedly, it has a confusing and cobbled-together-looking finish, that leaves you thinking why was that there? but it was just silly, not bad enough to spoil an otherwise fully enjoyable movie.

The Deep Blue Sea is now playing, and Damsels in Distress opens today (Friday, April 20) in Toronto, check your local listings. The Strawberry Tree is showing tonight (Friday) at the Images festival, and tickets for HotDocs, Toronto’s documentary festival, are available now.

This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM, and on my web site CulturalMining.com.

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