Louis Malle is a famous French director so it’s sort of funny that the onl;y films we’ve watched so far by him have been his later American ones. It’s good then to go back to this earlier one that helped establish his career. Despite its year of release, this absolutely isn’t New Wave as it actually has a straightforward narrative. The main character Alain Leroy isn’t a person that I would ordinarily have much sympathy for, being a former alcoholic who has difficulty finding purpose in life now that he is sober. Yet Malle’s direction really spoke to me and I can see why this is one of Wes Anderson’s major inspirations.
Here’s a film by a director Nicole Holofcener whose work I haven’t really seen before. It’s the kind of film that I’m not inclined to like, being set in New York in which nearly every character is a creative artist of some stripe and are each obsessed with their personal foibles. Fortunately this is a film that doesn’t take itself too seriously and the characters themselves are well aware that their problems are insignificant in the greater scheme of things. This is no psychological deep dive but it’s clever, occasionally funny and that’s good enough.
This game’s description didn’t quite make it clear to me, but it’s really a very old-school style text adventure game accompanied by still images. There are no real combat mechanics for example. They’re just skill checks to see if you can get past obstacles. There are things like RPG stats, inventory items and so on, but it’s all very simple. I was turned off by how much reading this entailed at first even though I used to be a big fan of gamebooks. But I came around as I grew to know its world and ended up enjoying myself quite a bit.
My wife wanted to watch this local film for the longest time due to the international accolades it won. Yet when it was finally screened in Malaysian cinemas, it was censored so badly that this version was disavowed by its director Amanda Nell Eu. Fortunately for us, it’s now available on Netflix so we can see for ourselves both why it has a 100% rating on Rotten Tomatoes and why the Malaysian government is uneasy about it. I am in awe of the director’s ability to coax such strong performances out of its young, untrained performers and her courage in confronting the problems of female puberty in a conservative society. It struggles to land its ending but I can understand what the director is going for so it works out alright.
Even before it won all those Oscars, I was always going to have to get around to watching this eventually as much as I didn’t relish the prospect of watching a three-hour biopic. Critics have praised Christopher Nolan for successfully framing this as a thriller with the use of jumps in the timeline to add tension and uncertainty yet to my mind it is still a biopic. The unique angle that Nolan adds is elevating the character of Lewis Strauss to serve as the principal antagonist of the film. I understand that this was a major brouhaha at the time but as Nolan observes himself, it really is much ado about nothing. It feels unworthy to make such a big deal out of it and in the same vein, I don’t think very highly of this film either.
Saving this science-fiction classic until now was unexpectedly fortuitous because I have better idea of its influence having watched films such as Vesper and Nausicaä of the Valley of the Wind that were clearly inspired by it. Right off the bat, it blew me away with its depiction of a far future Earth in which what remains of humanity must eke out a precarious existence against the plant-life that predominates. The amoral perspective, since there is no room for anything other than survival, is sobering and this is pretty much purely a survey of the ecosystem of the era. My interest did fall off somewhat once it establishes a pattern of its characters being continually forced to confront unfamiliar environments due to a series of misadventures, rather than staying in one particular biome to explore it in-depth. But it remains one of most eye-opening and original science-fiction books I’ve ever read.
I was aware of this documentary’s reputation as a real tearjerker but it still managed to leave me in shock. This is a very personal film made by a single person, Kurt Kuenne, in honor of his friend Andrew Bagby who had been murdered. The horror is that his murderer is his ex-girlfriend who was at the time pregnant with his son and the intent behind this film is to let the son Zachary know what kind of man his father was. The story develops into so much more than that as it touches the lives of so many people and resulted in the law being changed. I’m not sure that I’ve ever seen another documentary that is as charged with personal rage and frustration as this one as Kuenne really invests so much of himself into it.
