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Where Do We Go Now? – Review

Dance, tragic dance

A sectarian struggle between Christians and Muslims lies at the centre of this intermittently serious and slight comedy/drama/semi-musical. Lebanese auteure Nadine Labaki has upped the stakes for her second feature film, and the director of Caramel has this time perhaps bit off more than she can chew.

The set-up appears simple. A small town in rural Lebanon has been cut off from the rest of the country following years of civil strife – it is surrounded by landmines on all sides and the only bridge out of town is crumbling and wrapped in barbwire, too dangerous for many to cross. Within its social vacuum, the town has found an almost soap operatic level of fraternity, with Christians and Muslims co-existing peaceably.

This peace is disturbed when the town’s clever youths manage to get a TV signal atop a nearby hill, and arrange for a town viewing, à la the local cinema in times gone by. But when the TV brings news of turmoil between Muslims and Christians from across the country, ancient rivalries are rekindled and a cold war is drawn between men on either side. “Elsewhere is elsewhere,” insists the imam, but the message does not take. Soon pranks are committed against church and mosque alike, leading to an iconoclasm that threatens an outbreak of violence. It is up to the women – mothers and wives, Muslim and Christian – to keep the peace. Unwilling to sacrifice their friendships with one another and fearful of losing any more of their young men to fruitless bloodshed, they aim to settle the matter with a few pranks of their own.

Labaki, a truly feminist filmmaker, works on the old adage that if women ruled the world there would be no war, and spins a fun, sometimes harrowing, tale from it. The women’s attempt to calm the tidal wave of testosterone by inviting exotic dancers to visit the village plays like classic 1950s Hollywood comedy. But when tragedy strikes and the tone shifts, the film’s balance is upended – one can’t but feel Where Do We Go Now? wants to have its cake and eat it.

Where does this go now?

The film also struggles through Labaki’s decision (as well as directing she co-wrote the film, and fills the lead role) to make the film a musical… well, barely. Opening promisingly with a Pina Bausch-esque march of mourning by the town’s women to the local cemetery, where the throughway bisects the Christian and Muslim plots, the film manages to squeeze in only three more songs into its 110-minute running time. One wonders why they bothered, especially when two of those songs are related to Labaki’s character’s forbidden romance with a local Muslim, which becomes less and less the focus of the film as time passes, and is sadly never acceptably resolved.

But for all these problems, Labaki’s film is very sweet and well-meaning. Its message is all too simple, but it is very cleverly put forward, and the finale is quite the treat. Labaki gets solid performances across the board from her cast of dozens, and does not save all the best scenes for herself. Like Caramel before it, Where Do We Go Now? is shot in sumptuous browns, blues and yellows, and is always beautiful to watch.

Let down by its convolutions and ambitions, this remains a strong, powerful movie, and further secures Lakaki’s reputation as one of the most talented female filmmakers working today.


(originally published at http://www.filmireland.net)


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2008 in Review – The Year the Audience Sat Still

Best of 2008

There seems to be plenty of division over whether 2008 was a successful year at the cinema. Certainly, as the world collapsed around us in all other respects (or so it seemed), the movie world kept up a steady output and, at least in Hollywood terms, continued to turn a profit.

There were enough films to both keep minds racing and allow them to shut down, and films from either side of this divide fared as well as one another.

There was plenty more comic book nonsense in cinemas, but also some of the best films of that newfangled sub-genre thus far came out in 2008.

At the Oscars and the various other award shows, there were few surprises, but also few cries of films being undeserving of their awards as in other recent years.

Even here in Ireland the Irish film industry reacted to one musical award success by producing some of the best Irish films in over a decade, slowly beginning the long crawl out of the gutter of inadequacy.

There were losses of course; Heath Ledger died early in the year and left expectant fans gobsmacked, while Paul Newman and Sydney Pollack – to name but two – passed after tremendous careers in cinema.

There were films I was sorry to miss; I was too cowardly to see 4 Months, 3 Weeks, 2 Days alone, and couldn’t find anyone who dared accompany me. Waltz with Bashir came out when there was simply no time available to see it. Man on Wire also passed me by. These and many more will be caught up with in the coming months.

There were disappointments as well, mostly in films by reliable filmmakers, and indeed in reliable franchises. Hellboy 2 smacked of fanboyism instead of relishing in the same beautiful darkness of del Toro’s Pan’s Labyrinth. Indiana Jones returned; needlessly. And James Bond’s 22nd outing was so sloppy it sadly undid much of the greatness of Casino Royale.

As for me, I personally had a great year, cinematically speaking. The highlights are numerous; watching Lawrence of Arabia in 70mm as the centenary of David Lean’s life passed by (I also saw Great Expectations, Oliver Twist and Brief Encounter for the first time over the year); stumbling upon Wings of Desire, Amores Perros, The Leopard and many others for the first time; watching Crank with a selection of my closest, and most sugared-up, friends at an absurd hour of the night. Laughing til I could no longer breathe at Robo Vampire. These are the sort of films you never forget not just because of how great (or terrible) they are but because of where and how and who you were at the time you saw them.

Similarly there were other special, more personal moments. I had the privilege of interviewing both Will Ferrell and Michael Palin in the space of just a few months. At the Irish premier of There Will Be Blood I had a remarkable – if utterly terrifying – encounter with Daniel Day-Lewis. Jeremy Irons invited me to dinner, though never followed through.

As well as all that, this blog was begun.

Thus far in 2009 the crop of films looks tantalising, and one can easily look forward to Milk or Revolutionary Road as much as one can to Watchmen or even the sequel to Transformers. Here’s hoping for as memorable a 2009.

And now, what you’ve been waiting for, here’s my personal selection of the best films I saw in 2008.

(Note: this list is made up entirely of new films released in Ireland in 2008, that I saw. Thus, certain films released internationally in 2007, such as Juno, are present here. In turn, late 2008 international releases, such as The Curious Case of Benjamin Button, will not appear until next year.)

20. Lust, Caution
Ang Lee’s follow-up to Brokeback Mountain was somewhat of a letdown, and was undoubtedly overlong, but the photography, taking in countless greys and greens, was beautiful, and the central performance by Tang Wei was superb. A shot late in the film, of a diamond-laden ring representing betrayal finding its equilibrium on a hard wooden table, was one of the year’s most impressing images.

19. Things We Lost in the Fire

The American debut of Susanne Bier was disappointing for reasons somewhat out of her control. The script’s abandoning of its fractured storyline after the first act was unsettling, and the casting of Benicio del Toro in a film so similar in feel to 21 Grams was a mistake. But it was shot in a very personal style that felt distinctly un-American, and for which it went largely unrecognised by critics and cinemagoers. The performance by Micah Berry (no relation to Halle) as the young son was notable, while David Duchovny gave what may stand to be the performance of his career.

18. Kung Fu Panda
Dreamworks may not have broken the mould with this latest animal caper, but it certainly moved into a more mature, less spoofing area of family comedy with some clever gags and superbly arranged action. Sweet in nature and low on character development, it took delight in its own silliness and provided some splendid animation, particularly in its opening sequence.

17. Lars and the Real Girl
Sweet may not be the word, in fact, Lars and the Real Girl was at times undeniably creepy, but it had buckets of wit to support itself on. The story of a man so awkward and retreated that he can only express himself through the love he shares (romantically, only) for a life-size sex doll is so inventive that it could hardly be anything less than charming.

16. Juno

Perhaps lacking the ambition of Thank You For Smoking, Juno certainly had heart, a solid script by Diablo Cody and an adorable cast. Ellen Page got the majority of the credit, but really it was Michael Cera as the stupefyingly realistic teen dad-to-be and JK Simmons and Allison Janney as Juno’s reluctantly supportive parents who deserve the most credit. The quirky soundtrack and dialogue added to the fun of the proceedings and let the film skirt around its unwillingness to genuinely tackle the issue of teen pregnancy.

15. Iron Man

Comic book mayhem got a whole bag of cool dropped on it this year. Robert Downey Jr played Tony Stark/Iron Man like a father hastily unwrapping his son’s new train set on Christmas morning. Gwyneth Paltrow emerged from who-knows-where to play his long-suffering and ignored love interest with more class than the film deserved. Yes, it was all a little rushed, the villain was terrible and the final action sequence was a mess, but – hey look! Another explosion! Fun!

14. Cloverfield
Seriously, who needs well-developed characters when you have nauseating camerawork and a giant alien crab-lizard tearing up Manhattan?! The night vision subway sequence was superbly built-up and executed, while the whole film gave off a 9/11 but with popcorn feel.

13. Caramel

As sweet as its delicious title, this Lebanese delight from all-round talent Nadine Labaki was the film most deserving of out-the-door queues of chick flick-eager women. Beautifully acted and shot, Labaki chose to ignore the politics and strife of her country and focus on the simple pleasures and sadness of everyday life.

12. Mamma Mia!

Not what one would consider a true piece of art, Mamma Mia! burst at the sides with so much energy and fun that even the dire karaoke singing of most of its leads couldn’t hold it down. Much prettier to look at than it ever needed to be, few were able to resist its cheeky charm.

11. Wanted

For years we’ve waited for a film in which two bullets, shot by two characters at one another, would collide in slow motion and fall to the ground. But who knew we were waiting for a keyboard, shattered across a man’s face, to spell out “Fuck you”? It turns out we were! Hectic, noisy and decidedly over-the-top, Wanted showed enough ‘mad as hell’ attitude to make it more memorable than your average blockbusting tripe. A cautiously curious squeak from a doomed rodent may have been the year’s funniest sound.

10. In Bruges

Irish playwright Martin McDonagh’s feature-length debut was as dark as dark can be. Obvious targets for humour, such as overweight American tourists, were made funnier by Colin Farrell’s violently disrespectful delivery of lines we’ve all thought and bottled up inside. Brendan Gleeson also brought a feckload of fun to the proceedings as a simple hitman with a fondness for historical architecture. The duo were unfortunately outgunned and outclassed by the scenery-devouring Ralph Fiennes. The profanity was wonderful, though the ending attempted a philosophical sentiment that the film couldn’t really support.

9. Gomorrah

Violent and gritty, the underbelly of the criminal world has never been portrayed quite like this. There were times when it felt like the cameras were intruding on real events where it was dangerous to be filming. Amazingly, if simply, realised.

8. Persepolis

From Marjane Satrapi’s bittersweet graphic novel came a film that dared to change little from its source material. The growth of little Marji’s confidence in the film’s first act was reflected by her subsequent disillusionment with life in Iran and the world as a whole. Iraqi gasmasks became alien faces and burka-clad fundamentalists became snake-like nightmares through the simple but mesmerising animation. Honest and full of wit.

7. The Orphanage

At the same time clichéd and yet utterly original, The Orphanage was that rare joy – a horror film where nothing really happens. Using the simplest tricks of the trade – a motionless child, creaking floorboards, never-resting cameras – Juan Antonio Bayona created a house of largely unseen horrors, where everything you feared was only what you assumed you should fear. Likely to become a classic of the genre.

6. The Diving Bell and the Butterfly

A late release in Ireland allowed this gem to make the cut for 2008. Harrowing and beautiful, the story of Jean-Dominique Bauby’s stroke-imprisoned body allowed for a rich story of hope and sentimentalism while allowing director Julian Schnabel to experiment with camera trickery, light and inventive editing. Mathieu Amalric gave one of the year’s best performances as Bauby, so full of life at one moment, the next, frozen.

5. The Dark Knight

Building on the back of Batman Begins, already a pinnacle of comic book movies, Christopher Nolan drew back on Bale’s Batman and allowed other characters to move to the fore, particularly Gary Oldman as Lieutenant Jim Gordon and Aaron Eckhart’s Harvey Dent. Though hindered by a necrophiliac curiosity, Heath Ledger’s Joker was certainly one of the most impressive performances of the year. Broken up by clumsy plot holes and an at times overly complex narrative, The Dark Knight thrilled and impressed on several levels, and deserves much of the acclaim it has received.

4. There Will Be Blood

As grandiose in its scale as is the figure at its centre, this beast of a film could not be ignored in 2008. Violent in tone, like many of the best films this year it sought to look at what makes a man, and what a man can be at his worst. Succeeding through Daniel Day-Lewis’s authoritative and terrifying performance (one should not overlook the quality of the writing however), the finale answered that question of what happens when an unstoppable force hits a formerly immovable object. Paul Dano can easily be overlooked due to the towering Day-Lewis, but gave a truly impressive performance as Eli Sunday, a young man twelve fathoms out of his league. The music kept the viewer on edge, while the shocking photography echoed the greatest films of American cinema, from Greed to Gone with the Wind.

3. Hunger

More of an experiment with the possibilities of the camera than a political eulogy, Steve McQueen’s biopic-of-sorts of IRA hunger striker Bobby Sands is slow, contemplative and utterly intense. From the beautiful yet ghastly art of a faeces-smeared prison wall and the wasting away of Sands’s body (Michael Fassbender is a revelation in the lead role), to the lighting of a cigarette by bloodied hands and the slow and haunting washing a prison floor, Hunger is nothing less than a work of art. It may become more famous for its exhausting single take sequence in which Sands debates his fate with Liam Cunningham’s priest, but the shot that sticks with you is a blinding beam of sunlight blasting through a bus window.

2. No Country For Old Men
The Coen brothers’ returned to their best this year, again taking a dark and twisted look at humanity, but this time with less wit, and a greater awareness of the potential of the story they were telling. Using Texas in 1980 as a wilderness representative of man’s emptiness, the story injected a pulse-pounding thriller into this void that never stopped pumping til the last minute. Eschewing a musical soundtrack in favour of fear-drenching silence, No Country took several thrilling set-pieces – a river escape from a vicious dog, a darkened stand-off at a hotel door – and divided them with moments of simple reflection that asked no deep questions but invited you to contemplate the answers. The decision to remove some of the most important sequences from the film adds to its sense of chaos and disorder. The stellar cast acted it with such honesty you might believe they were in fear of the script itself.

1. Wall·E

Arguably Pixar’s greatest achievement to date, Wall·E demands to be taken seriously. Almost utterly-dialogue free for the duration of its first act, the film builds a romance between two robots in a future where mankind has lost all sense of humanity. Building on the great debates of science fiction; what does it mean to be human?; what are the effects of our unending obsession with commercialism?; how will our relationship with nature affect the future?; Wall·E repackages them in a new form that is a glory to behold. Spellbindingly beautiful and sickeningly sweet, this animated marvel can appeal to anyone of any age, and will forever have something to say to those who watch it. That there is even a supply of heart-warming gags to boot only seals this as one of the most wonderful products of American cinema in a generation.


And now, as an extra treat, here are the five worst films of 2008, in my embittered opinion.

5. Sweeney Todd: The Demon Barber of Fleet Street

Great talent wasted on a cacophony of wretched melodies, the clever production design couldn’t hide the hideous CGI nor excuse such a great collection of actors (Alan Rickman, Timothy Spall and Helena Bonham Carter) reduced to their very worst. The one amusing joke – an unexpected light-hearted slicing of the throat – is a gag, if you’ll forgive the pun, that gets utterly done to death.

4. Be Kind Rewind

An unpleasant and confused little oddity that sees two capable actors (Jack Black and Mos Def) compete for the title of most irritating. It not only never quite gets its tone right, it also came out about 10 years too late to be of any real relevance. The adoration it attempts to show for the cinema really comes off as a pornographic irreverence.

3. Aliens Vs Predator: Requiem

Two once-dominant franchises reduced to teen horror nonsense. One earnestly suspects that no-one involved knows what the word ‘requiem’ means.

2. The Other Boleyn Girl

As ugly as it is dull, this film forced two hours of the most horrid characters upon its unsuspecting victims. Eric Bana appears utterly bemused by where he is and what he is supposed to be doing, while Johansson and Portman repeatedly do their bests to out-bitch one another. The ending hilariously draws you away from the story to focus on the future Queen Elizabeth, as if to try and make you leave the cinema thinking fondly of a far superior film.

1. Ghost Town

A wretchedly nasty little film, an attempt at a comedic The Sixth Sense, sees the talents of Ricky Gervais, Greg Kinnear and Téa Leoni squandered in what just might be the most blatant victim of the writers’ strike. One moment of genuine sweetness is so heavy in saccharine after an hour of hell that it feels violating and manipulative. The open-ended finale may have seemed original and smart, but makes it feel as if those involved had no real idea of where they wanted this aimless mess to go.


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Mmmm… Caramel…


When one might expect audiences to be utterly abuzz with Indy 4 mania, it cannot be ignored that the Sex and the City film is really what people, and by that I mean women, girls, their boyfriends and gay men, are talking about the most, despite its release being a week behind the latest Jones adventure (Indiana that is, not Samantha).

It might seem odd therefore that while the 19-year wait for Kingdom of the Crystal Skull has given audiences a flavour of nostalgia, Sex and the City is still fresh enough for the story to be picked up right where it left off after its 3 year absence. Certainly a dead horse is still being flogged here, but this one has suffered far less decomposition and is wearing Manolo Blahnik hooves.

Not for a moment do I have any faith that the Sex and the City film will be worth seeing; although familiar with and regularly amused by the show I find it hard to believe that this will be any more than an exercise in commercialist audience-driven drivel. SatC lost its appeal when the three interesting girls (Carrie being too despicable a human being to deserve life support after a motor accident) all entered relationships with men who were far better written than they were, and far too good for them.

It is sad therefore that women in Ireland and Britain will be flocking in gaggles and gangs to SatC when what is likely to be the sweetest girl’s movie of the year, Caramel, is still in (albeit selected) cinemas.

Caramel, or “Sex and the Lebanon” as I’ve dubbed it, is a gorgeous little story about the effects of Lebanese culture and society on the women within it. Centred on a Westernised beauty salon, the four women whose story it tells bear their own similarities to the HBO girls on the other side of the world. Layale has dreams of finding the perfect combination of love and sex, but with a married man who can never really be hers. Nisrine is a sweet girl excited about her forthcoming marriage, and so willing to please her husband that she will go to extreme lengths to disguise that she is not a virgin.

With less crassness but just as much bite as SatC, Caramel is as much a satire on the cultural landscape of Beirut as it is on the strengths and weaknesses of women; all wrapped up in a sweet little package that looks absolutely gorgeous in sun-drenched natural colours.

Adding an extra layer to the film is a parallel storyline about a local elderly seamstress, Rose, who embarks on the first romantic episode of her entire life having spent her whole life looking after her sister, who is somewhat unbalanced but sweetness personified.

The story lacks any of Carrie Bradshaw’s pathetic puns and philosophical waxings (the only waxing done here is of leg hair), it is simply what it is, a lovely slice of women’s lives.

The soundtrack also adds a great texture to the film, and the considerable wit on display (a bickering couple in their car at night are arrested for indecency, a splendid moment of editing makes light work of a cringe-inducing medical procedure) is of a kind rarely seen in English-language features these days. Many of the finest moments centre on policeman Youssef, who is enamoured of Layale; in one scene he watches her on her phone through a window and imagines it is him on the other end of the line, later, having been shaved by her in the salon, he strokes his upper lip where his moustache once was with the delighted expression of a young teenager who, having shaved for the first time, remembers the softer skin of their childhood.

Perhaps most impressive of all is that the film was written and directed by the 34-year-old Nadine Labaki, who also plays the lead role of Layale. A remarkable achievement for her first feature film.

While the hordes can surely not be dissuaded from rushing to see Carrie and Co.’s feeble attempts to still be young, fabulous and relevant, perhaps some can be convinced to make a trip to see this too. So soon after Marjane Satrapi’s Persepolis, it looks as though honest stories from the Middle East may have more to say about women globally now than the collected adventures of a woman whose sole talent is to match her shoes and dress with a hat that looks like a triffid.


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