By Nadia Ranaputri

Image source: IMDB

Director: Sam Levinson
Cast: Zendaya, John David Washington

How would I describe this film, exactly? Perhaps a love story that doesn't play it like a love story. Or, a lavish looking film filled with anger, grief, and catastrophic romance; those are probably some of the best suited words to describe Sam Levinson's latest film Malcolm & Marie. After taking on the hit HBO show Euphoria, Levinson teams up once again with Zendaya on a harrowing look into two lovers who are way past the honeymoon phase, and the twists, turns, and revelations that unravel in a single night. 

Malcolm & Marie tells the story of a couple coming home from the premiere of Malcolm's new film. Having just shown his work, Malcolm (John David Washington) is excited and elated about his film. His girlfriend Marie (Zendaya), on the other hand, seems content to listen to his many ramblings (a scene that becomes the centerpiece of a visually gorgeous one shot scene that goes on for almost a good 10 minutes) about film critics, the intention behind his new film, among other things. What ensues after that is a battle of wits, a true testament of their relationship, leaving them to question one another and embark on hours of pent-up resentment. 

Zendaya is especially powerful in this film. Her performance hit all the right notes and left a lasting dent, particularly during an hard-hitting monologue at the climax of the film. Beyond what is unfortunately either an exaggerated or dull script half the time, Zendaya did the best she could, and she absolutely sells the role. From her stoic stance, calmly lighting a cigarrette as Malcolm goes on a rant, to delivering all those years of pent up anger towards her lover, Zendaya was the real star of the film. John David Washington isn't far behind in performance, having already seen the more collected type of characters from BlackkKlansman and Tenet, it's fun to see him branch out in a role like Malcolm. Washington oozes a type of elated strut, going on a roll with a one-shot monologue regarding the film critics that saw his film. It takes a while for Malcolm to really burst out, but when he does, Washington's performance is all the more mesmerizing. Zendaya and Washington's chaotic chemistry is all over the place, in a good way. While I can admit that there are lines that aren't that well delivered, they still brought a lot to the table, and if there's one reason to watch this film, it's for their performance.

Image credit: IndieWire

Another thing that Malcolm & Marie succeeds at is the visuals. Having it in black and white makes it more cinematic and eye-catching. There are plenty of one-shot sequences that add to the authenticity of the scene, making it visually immersive. The steady cam long take scenes give the film a clean and appealing look to it, makes it feel like you're in the house with them. This is going to sound absolutely ridiculous, but I couldn't help but think of the game Facade while watching it. Essentially, you're the bystander stuck in between two people arguing and wondering when you're ever going to get out of it. The difference is that the game allows you to interact with them, but of course, Malcolm & Marie doesn't do that, and you're only resolved to watching them. I told you it would sound crazy, didn't I? That aside, the film is incredibly sleek in its presentation. Director Sam Levinson and cinematographer Marcell Rév really knew how to craft a fine canvas to display their piece. It's quite an impressive result visually for a film shot in the span of only a few weeks. 

So let's address the elephant in the room. Looking past its visuals, it's a film that has a lot to say, and that's where it starts to have its struggles. The conversations it has didn't really have a main point, or even a starting point, everything it wants to convey gets lost in the process. There isn't much of a plot here, which isn't a bad thing in and of itself, plenty of films that follow this approach have proven to still make a statement, even with little to no plot. Steve McQueen's Lovers Rock for instance, managed to create an experience rather than having a central plot. Another example is Ma Rainey's Black Bottom, a film that takes place in the span of a day, and yet, you know the general outline of these characters and can still get what it's trying to say, and it builds up to everything the characters say and do. In Malcolm & Marie, you're bombarded with a lot of things being thrown at the wall and having only a few of them stick. It's an amalgamation of all these contrasting ideals that came out of nowhere, and eventually lead nowhere. There is a debate around whether or not the criticism towards this film is related to Levinson's very direct messages, especially when it comes to critics and film criticism itself, but that isn't an issue for me. In fact, a lot of what Levinson puts in his screenplay is already interesting enough, but the execution of it didn't deliver quite as well as it should have.

That being said, it doesn't truly falter as a whole, I still think it presents an interesting character study for the two leads. It has its complexities, and the film is able to explore some intriguing aspects from the characters. Marie is perhaps the most interesting of the two, having felt belittled by Malcolm (one scene being when he aggressively eats mac and cheese, that's quite a sight to see. "If you're going to treat me like an insane person and call me crazy, the least you could do is do it without eating mac and cheese," as Marie puts it). The film puts the two characters on the spot, ready to sharpen their weapon and battle it out. It attempts to show a grey side between the two of them, both having made good points, but neither being completely innocent in their raging lovers quarrel. While Malcolm seems to be the one at fault here, Marie isn't any better. How it plays out is both a hit and a miss, as Levinson's direction and script goes back and forth in characterization. At times, the dialogue and performances are masterful to the point where it feels genuine, and they feel like real, complex human beings. Then the next, they can come off as caricatures reading words off a script instead of expressing them in a natural way, particularly when it comes to Malcolm. 

Image credit: IMDB

Though it stumbles in the execution, the topics it discusses are no less captivating. For what it's worth, the message and theme that it tries to convey could be something worth discussing. You can at least still get a sense of idea of where it wants to go. In this case, it's the two main leads addressing their gripes with one another. While the dialogue can certainly come off a little too direct at some point, there are scenes where the dialogue does hit in the most graceful way. Most can take Marie's side of the argument, since she's the one that brings most of the film's hard-hitting moments. You can practically see why she is the way she is, and really know her side of the picture. Some of her frustrations towards Malcolm are justifiable, and she rightfully calls him out on his questionable behavior, like using her unnerving past as some form of exploitation, whether it is as a basis for his film, or to further strengthen his side of the argument, even going to the point of gaslighting her. It's an incredibly toxic cycle, but I felt like it was intentional. It is what it is, a destructive relationship on the verge of ending in flames, it doesn't want to glamorize that, rather it touches upon that matter head-on. Though that isn't directly stated, you can get enough evidence of it just from the dialogue alone. 

In some ways, if you're already familiar with Levinson's work, particularly Euphoria, you can get a sense of Levinson's style and how he chooses to portray certain topics. But for what it is, the overall message and ambition behind Malcolm & Marie does elevate the film in a way. It's a film that had so much potential, it had all the right elements to make a creative and meaningful film with plenty of interesting things to say, it just didn't reach that point of being fully formed or well conveyed. It's understandable that the film has its limits, especially given that it takes place in the span of a single night, not to mention that filming took place during the pandemic. There are elements that worked, and there are elements that didn't. Truth be told, in terms of realism and grit, the film nails that aspect, particularly in terms of performance, even though the dialogue says otherwise. Film-wise, it fails to weave its ideas together cohesively, but to look at it as an experience, ala Lovers Rock, it's an exhausting yet still gripping piece. The film is absolutely raw, with both characters placed on the pedestal to be unraveled, leaving no stone un-turned. As a whole, Malcolm & Marie may have its faults, but it also has its moments that give it a silver lining. 

Image source: IMDB

Stars: 3/5

Malcolm & Marie is available to watch on Netflix

By Nadia Ranaputri

Image credit: IMDB

Director: Lee Isaac Chung
Cast: Steven Yeun, Han Ye-ri, Yuh-Jung Youn, Alan Kim, Noel Kate Cho, Will Patton.

As soon as the film opens to a whimsical score from Emile Mosseri, I had a strong feeling that this was going to be one of my favorites. It's such a simple scene, it's barely five minutes into the film, but I was already in love with it somehow. There's something special about a film that is able to capture your attention from the second it opens. maybe it's unusual for a film to really grasp you with such a simple opening. Films like Dunkirk or Children of Men could be the films you would think of that have incredibly gripping opening scenes that present the tension or stakes from the get-go. Minari is nothing like those films, but it presents something else entirely: establishing a family dynamic and their journey to a new and unfamiliar situation, an uncharted territory.  

Minari is about a Korean-American family moving in to rural Arkansas in search of the American Dream. They settle in a home on wheels, surrounded by a vast land that Jacob (Steven Yeun) intends to make profit from by turning it into a farm and selling Korean produce to fellow vendors. To achieve that, Jacob and his wife Monica (Han Ye-Ri) work as chicken sexers for their full-time job. As the head of the family, Jacob is determined to provide for his family in the best way possible, whilst also trying to prove that his dream could finally turn things around for the better. However, the same can't be said for Monica, who expresses longing for a different kind of outcome. Because their jobs require them to spend a significant amount of time away from home, Monica seeks assistance from her mother Soon-ja (Yuh-Jung Youn) to travel from Korea to Arkansas and look after their children, Anne (Noel Kate Cho) and David (Alan Kim), leading to a series of discourse between David and Soon-ja, as well as a growing tension between both Jacob and Monica.

Minari boasts strong players into the scene, bringing in avid performances that are sure to capture your heart. Steven Yeun especially, gives a heart-breaking performance as the head of the family, his character tethers between wanting a better life for his family by exuding a bright confidence in assuring them that his latest project will do exactly that, and eventually seeing it slowly fade away to a more stoic yet slightly desperate expression. Han Ye-Ri is also excellent in her first American feature, becoming the stern but loving mother who feels the most alienated and distant on the very land they live in. Ye-Ri perfectly captures Monica's feeling of uncertainty at the state of their new life, as her eyes show that her mind seems to be somewhere else, and she longs for something better, far different from what her husband wants. There's an obvious strain between both Jacob and Monica, and this is displayed in one of the film's opening scenes, played in a subtly nuanced way by both Yeun and Ye-Ri. The standouts though, were most definitely Alan Kim and Yuh-Jung Youn as David and Soon-ja. Their bond and chemistry is what really binds the film together, I enjoyed every single second they were on screen.

Image credit: IMDB

Minari explores the struggles that immigrants have to face to achieve the American Dream. But what exactly counts as the American Dream? For Jacob, it's making a farm and growing his own crops for business, believing that doing so will give them the stability and financial profit they need. Most importantly, he wants his family to see him thrive in something for once. For Monica, she seems to think that Jacob's goal is futile, even from the very beginning where she stares at their new home in wheels with distaste. From there, you start to wonder just how this strain is going to play out. Parts of the film focuses on this growing tension that builds up slowly, and sometimes bursts in unexpected places, but at the same time, it displays this family dynamic where you get both sides of the picture. There are no true antagonists in this story, only the trials and tribulations that the family has to face in a land that they believe can bring them prosperity. You sympathize with Jacob and his want to strive for something big, but you also understand Monica's side and why she feels that her husband's plan will risk their finances. What they're dealing with is an uphill battle, where both sides want the same goal, just achieved in different ways.

But even with the amount of determination and risks that Jacob puts in in his work, it doesn't always work out the way he wants it to be. And that's the thing, the film doesn't shy away from the downfalls, even if it is to make ends meet. Moreover, there's the struggle for identity and maintaining one's heritage in foreign land, especially in one that's predominantly white. David for example, has a more Westernized ideal and only knows about his Korean roots from his parents, but he doesn't experience it firsthand. As he is unfamiliar with his homeland and cultural heritage, he also has to adapt to life in a foreign country with a small amount of people that are like him and his family. While it isn't autobiographical, it's a personal take from director Lee Isaac Chung, since Chung himself moved to Arkansas with his family at a very young age, and even lived in a trailer. What it results in is an intimate and authentic depiction that Chung so intricately crafts in this film. Despite the complexities of the subject matter, Chung explores this theme in small nuanced moments, yet it never falters in making an impact. There is still a great amount of depth, intricacy, and meaning beneath the seemingly simplistic surface. While it's a film that is profound for those that relate to the experience, it is just as poignant of a film for others. 

Image credit: Variety

Though its main story is about the hardships and day to day life of an immigrant family trying to make ends meet, the film is deeply rooted in familial themes. It's about a family coming together in the midst of all the hardships. Even if it is small and contained, there's a sense of togetherness that makes the film even more intimate. At the heart of the film, lies the core relationship between David and his grandmother Soon-ja. Having been used the American way of living, David doesn't exactly welcome her with open arms, one example being when he refuses to sleep in the same room with his own grandmother because "she smells like Korea" despite having never been to Korea. She's far from the image on an ideal grandma in David's eyes. But as he starts to learn things from her, he slowly sees her in a different light. As their relationship takes center stage, the emotional beats of the film becomes even stronger. The bond between David and Soon-ja is such a wholesome relationship that really brought the film this adoring element and makes you feel warm and fuzzy. Watching this relationship grow is just one of the film's many highlights, and gives the film a much-needed tenderness. They add so much levity to the film, it's hard not to smile during their scenes. 

In addition to that, there is a slightly ethereal feeling to it, an immersive little world that you can get lost in. The score by Emile Mosseri is very much responsible for the film's ethereal feel, and so is the stunning cinematography by Lachlan Milne, which brings this story to life in such a vibrant way, that your eyes are just drawn to the screen. But as a whole, Minari is a humanizing and intimate film, not in a grand way, but in a small scale. It's a series of sequences that come together like a memoir that stays with you long after it ends. I think that's what made it work, that self-contained scale. The film just feels authentic, it's inviting you to this experience, to get to know the family and their story. It doesn't feel closed off, it wants you to spend the runtime with its characters, until you feel like you're well acquainted with them, almost like they could be your friend. It welcomes you to their home and allows you to have this intimate experience of their journey. It's quite rare that a drama film makes you feel like you're a part of the narrative, yet Minari manages to do just that. It is truly an excellent film, and one that leaves you feeling like you've just gotten a heart-to-heart with some wonderful people that you'll likely remember fondly for years. There's just something so beautiful about it, it's simple, yet so full of heart and meaning. I honestly cried by the end of it, having felt so overwhelmed by how stunning this film was. It's a film that I would no doubt go back to time and time again, and that cozy and loving feeling will still be there to accompany me.

Image credit: IMDB

Stars: 5/5

By Nadia Ranaputri

Image credit: IMDB

Director: Thomas Vinterberg
Cast: Mads Mikkelsen, Thomas Bo Larsen, Lars Ranthe, Magnus Millang, Maria Bonnevie.

Initially, I had no intention of seeing Another Round. The premise didn't convince me at first, and it seemed slightly ridiculous, given that it's about four guys drinking. I certainly can't relate to the subject matter, but given that Thomas Vinterberg is a well-known and respected director, I suspected that the film has more to it than what it presents itself to be. And of course, that was exactly the case. In addition to that, having Mads Mikkelsen in the lead role was already an intriguing aspect on its own. The more I heard about this film, the more interested I became. So, I took the plunge and watched it myself, and was pleasantly surprised with what this film brought to the table.

Another Round tells the story of four professors who have been friends for a long time. There's Martin (Mads Mikkelsen), a history professor, Tommy (Thomas Bo Larsen), a gym teacher and occasional soccer coach, Martin (Magnus Millang), a psychology teacher, and Peter (Lars Ranthe), who leads a choir group. Unsatisfied with their attempts to motivate their fellow students, the group decides to test a theory stating that having a blood alcohol level of 0.05% could lead to an increase in social performance. Essentially, the experiment consists of day drinking, mainly in small and medium doses before heading into work. When the group sees that their experiment has vastly improved their social and work lives, they decide to take it one step further, which leads to the eventual downsides.

Mads Mikkelsen practically carries the whole film, and he does this so effortlessly. He's able to bring Vinterberg's script to life in such a visceral way, that you can't help but be drawn into his performance for every second that he's on screen. His character Martin starts off as a professor who seems to have lost his way of life. He doesn't connect with his students, nor does he have that same familial relationship with his sons and wife as he did then. Once the alcohol theory is brought into the picture, there's a flicker of curiosity from Martin, that maybe, just maybe, what is once considered as theory could be put to the test, and perhaps improve his life in the process. That's when we get to see the more loose side of Martin, and Mikkelsen plays this very well, balancing between different sides of Martin's character in rmagnetic ways. His fellow co-stars are just as impressive. Thomas Bo Larsen, Magnus Millang, and Lars Ranthe round up the group of professors and each performance adds an emotionally riveting touch to the film, as well as a spectacular chemistry that instantly convinces you that they are indeed, lifelong friends. 

Image credit: IMDB

Another Round is more than just a film about drinking culture. Sure, the premise is based around testing a theory about alcohol, but the core of it lies within the friendship of these four professors stuck in a mid-life crisis. It's an introspective look on their lives through the highs and lows. It's a character study, if you will, a look into a  friendship and how an experiment could affect their lives. And Vinterberg was able to create a slow but convincing character growth. These characters could have come off as one-note, but fortunately, they don't. Mikkelsen's Martin for example, is concerned with his seemingly dull demeanor, and that his current state affects his relationship with his family and his students. He feels that his marriage is failing, and doesn't know how to fix it, so he confides in his friends. And throughout the film, we see how this seemingly simple experiment takes affects his life, for better or worse. It indulges itself in small moments that make an impact. A simple conversation between friends can lead to many revelations and moments where they could truly confide in each other, or a single night could change a stoic person into the livened person that most of the people in his life wouldn't get to see. 

I think the appropriate words for it are honest, genuine, and simple. The film could have easily gone on a very dark route, and while there are dark moments, it doesn't fully veer to that aspect. A film about drinking culture and alcoholism could have ended up as a moralizing tale on the dangers of alcohol, and it is in some way, but it's handled in such a candid way that felt like an honest portrayal rather than something grim or pretentious. It shows many different sides of drinking without settling on one particular side. Yes, at first it may seem ludicrous to teach a class while being a little intoxicated, the film does show how it improved the social performances of the four professors, but it also shows the consequences of going overboard. What was once just a theory was proven right when they become more engaged and active with their students, Martin sets a witty little quiz regarding world leaders and gains the respect of his students, while Peter was able to get his choir class to sing I Danmark er jeg født heavenly. When the professors decide to take their blood alcohol level a little higher, it's quite predictable on where it goes from there, yet that predictability is more to the anticipation and dread that something is going to go terribly wrong, as what started as a social experimentation turned to be something much more tragic.

But even then, it feels realistically wholesome, and surprisingly humorous. It has the right amount of realism and liveliness, with some comedic moments too. It's not a grandeur piece, just a tame film about four lifelong friends. Vinterberg seems more interested in showing the more subtly poignant moments rather than large scale dramatic sequences, not to mention witty and vivacious. There are a lot of moments where the main characters have their fun, and it's just as equally boisterous watching it as it is for the characters on screen. In doing this more grounded approach, Another Round becomes a film that really thrives on its simplicity, but unravels an invigorating kind of depth, the kind where something seems incredibly simple on the surface, then it reveals its hidden layers one by one. It's a humanizing film where the characters are flawed and somewhat a little complex, but still relatable and charming. Some may find it too slow, and might not see the point in seeing four professors get drunk, but I find it genuine and quite charismatic. Vinterberg is one director whose works I would love to discover more. Just recently, I watched the much hyped drama The Hunt, and I have yet to see more of his films. For now, Another Round is another fine entry from Vinterberg. Once you overlook its rather simple premise, you might just find yourself enjoying a meaningful, wholesome, and vibrant little film that's brilliantly carried by its direction and performances. 

Image credit: IMDB

Overall verdict: Looking beyond its premise, Another Round is an enjoyable film with more to it than you think. Mikkelsen is the obvious star here, playing up different element's of Martin's character that are unraveled as the experiment goes on. Thomas Bo Larsen, Magnus Millang, and Lars Ranthe complete the impressive cast that bring equally strong performances. Another Round discusses both sides of alcoholism and drinking culture rather than siding on one aspect of the topic. It doesn't come to the conclusion that drinking is neither good or bad, it really depends on the person. Yet, it is more than a film about drinking. I think the core of it is the friendship between these four professors and how a seemingly harmless experiment impacts their lives and their relationships with their families. There are times where the film is lively, it embraces that feeling of levity and the quieter moments that ground the film. But even between moments of humor, it also showcases the flaws of the characters and as a result, humanizes them. Thomas Vinterberg and Tobias Lindholm's script and direction creates this authentic and honest portrayal of life, it very much relishes on simplicity without ever feeling dull or pretentious. This is actually my first venture into Vinterberg's work, following the much praised The Hunt afterwards, but it definitely won't be the last.

Stars: 4.5/5

Another Round is available to watch on Amazon Prime

By Nadia Ranaputri 

Image credit: IMDB

Director: Emerald Fennel
Cast: Carey Mulligan, Bo Burnham, Alfred Molina, Alison Brie, Jennifer Coolidge, Clancy Brown, Laverne Cox, Chris Lowell.

When I first saw the trailer for Promising Young Woman, I knew that I had to see it. There's just something about a trailer that can make instantly catch your attention, and whoever edited the trailer for Emerald Fennel's film deserves a raise. The first thing you see when the film opens is our very own titular character played by Carey Mulligan in a night club, drunk to the point of almost passing out. Her drunken state is noticed by a man who offers to take her home. With the belief that she is too drunk to notice her surroundings, the man decides to take her to his apartment instead. This proves to be the biggest mistake of his life, because it turns out, she isn't actually drunk, but stone cold sober this entire time.

Promising Young Woman revolves around Cassandra Thomas (Carey Mulligan), a med-school dropout working in a small coffee shop and still lives with her parents, despite being in her late twenties. But there's more to Cassandra than meets the eye. After bearing witness to a traumatizing event that leads to her eventual dropout, Cassandra spends nights pretending to be drunk in order to lure men into taking her home. She plays off with this facade until the so-called "nice guys" begin to take advantage of her. This of course, ends with Cassandra confronting each of the men that try to make a non-consensual move on her. Her reason for doing so is to teach these men a lesson about preying on women who aren't conscious enough to give consent.

Carey Mulligan is alluring as the film's lead, Cassandra Thomas. Mulligan's performance walks the line between innocent, cunning, and at times, effectively vulnerable. Mulligan makes the role her own, and it's hard to see anyone else in playing Cassandra. The character of Cassandra herself has many layers that the film slowly unravels, and each time, Mulligan's performance becomes even more nuanced than the last. There's times where she menacingly confronts those in the wrong, then in the next scene, she's dancing and singing along to Paris Hilton's Stars Are Blind in the middle of a pharmacy. It's not easy to play a character that displays many different sides, but Mulligan makes it work effortlessly. Bo Burnham too was surprisingly good in his role as Ryan, which seems a little bizarre considering that I first knew him from Vine and his standup specials on Netflix, but ever since I saw his directorial debut Eighth Grade, my appreciation for him just sky-rocketed to new heights. Here, Burnham adds that much needed charm to the film and helps ground the film a little. There are also a couple of very familiar faces in the film such as Alfred Molina, Connie Britton, Jennifer Coolidge, Alison Brie, and Laverne Cox; who all give equally solid performances, particularly Molina. 

Image credit: Luna Palace Cinemas

Promising Young Woman is a striking film, both from the cinematography to the story itself. It's so full of style, you really can't help but be drawn into its world. It's unashamedly colorful and vibrant, and while it contrasts the theme of the film, it works. The color grading is in line with something like The Florida Project, the kind of bright yet neutral colors, like colorful candy canes that just enhances the film. The cinematography too is stunning. For a revenge thriller, it sure has a lot of sleek visuals. That's what drew me in to the film in the first place. When a film has striking visuals, it elevates the film and turn it into an experience. Plenty of films have done that, and Promising Young Woman happens to be the latest. It doesn't do anything particularly innovating when it comes to camera work, but that's not to say that it lacks any good cinematography, because it still looks striking and knows how to have fun with color. Even the songs featured in the film are used in ways that gives it an entirely new spin on the songs, almost mirthless, the most notable being a rapid violin cover of Britney Spears' Toxic.

The film reminds me a lot of a recent HBO show I saw in 2020 called I May Destroy You, a gut-wrenching dark comedy about sexual assault. But while I May Destroy You tells the story from the perspective of the victim, Promising Young Woman tells its story from the lens of the person close to the victim, yet it's still just as compelling and dark. The film's first act consists of these typically "nice guys" who lure Cassie in to their homes with their charm that eventually wears off as the night goes on, prompting Cassie to drop her facade and take matters into her own hands. It discusses the "he said she said" situation, the avid excuses like "we were drunk",  or "we were young! I've changed now," to which Cassandra mockingly answers, "if I hear that excuse one more time." At the same time, the film doesn't make a show of deliberately pointing their finger to just one specific culprit, but to also shed light on the people that permitted such behaviors. It also discusses those who went silent on such cases, one character going to the point of bullying the victim into dropping the allegations. One of Cassandra's goals is to make sure that her former associates acknowledge that they each had a role in allowing something so vile to happen and have it dismissed without question. It's clear and direct in what it wants to say, but it never feels too on the nose or shoved down your throat. 

Image credit: IMDB

Between all of that, the film manages to keep itself balanced despite the change of tones. Sometimes it's a revenge thriller, then it's a dark comedy, and there's some drama in the next, but none of these feel out of place. Kind of like how Parasite is able to change tones from a dark comedy in the first half, to a thriller in the second half in an instant that subverts the audiences' expectation in a spectacular way. Promising Young Woman does the same, but instead of having the first half set in one genre and change to the next, it continuously changes tones back and forth as the film goes on. But it's so swift in changing tones that you don't realize that you're probably watching three different films, they just mesh together so well into one cohesive film. There's something compelling in a film that knows how to turn what could have been a mess of clashing genres, into a coherent and compelling story. Yet, it never falters nor does it take away from the main subject matter. It is still first and foremost a revenge story centered around the trauma and stigmas of sexual assault. Better yet, it's handled in a thought-provoking and gripping way. And in terms of story, it's not a film that gives information on the get go. It rarely ever focuses on flashbacks and sets its sights on what happens in the present. Cassie's backstory and reasoning are given in snippets that are slowly unraveled in each act. 

I did have one major gripe with this film, which was the last 20 minutes. I've heard from some who feel divisive over the final act, and sadly, I am one of them. Though, hearing Emerald Fennel's reason, I could somewhat understand why she chose to end it that way. I'm obviously not going to give away what happened, but I suspect that a lot of people are going to be divided over it. Other than that, for Fennel's feature directorial debut, Promising Young Woman is a stunner. It's a film that is more than just a reflection of the #MeToo movement. Given that she's written episodes for Killing Eve, it's no wonder that she is able to give so much flair and life to such an engrossing revenge story. Fennel is able to captivate and subvert audiences with her virtuoso piece. It's fascinating when a director's first directorial debut brings new life into the industry. Directors like Ari Aster, Robert Eggers, even Bo Burnham with Eighth Grade; they have a vision for the film they want to make, and they're able to execute their vision in a fine way. With Promising Young Woman, it's safe to say that Emerald Fennel joins the ranks.

Image credit: Variety

Overall verdict: Promising Young Woman is a stellar directorial debut from Emerald Fennel. Carey Mulligan brings another outstanding performance as the film's lead Cassandra, showcasing the many layers of Cassandra's character in impressive fashion, from menacing, lively, and even a little comedic. Bo Burnham was also a surprise favorite, giving a charming performance that grounds the film a little. The first thing you'd probably notice going into Promising Young Woman is the visuals. The film has its fun with striking cinematography and vibrant candy colors. But the themes that it discusses contrasts those visuals. It is a film that touches on serious subject matters regarding sexual assault, and it conveys its message in a very compelling way. It's direct in saying what it wants to say without ever feeling like it's being shoved down your throat. Fennel's script imbues these themes and messages in a thought-provoking and engrossing way, whilst also able to juggle various genres in its run-time. It first starts off as a revenge thriller, then it switches into a dark comedy, and even a drama at times; yet it's so swift in balancing these genres that you don't feel like you're watching several different movies at once. Moreover, Fennel is able to create a story that borders the line between stylistically entertaining and compelling, whilst giving it a reasonable amount of depth, making Promising Young Woman as more than just a typical revenge story. 

Stars: 4.4/5

By Nadia Ranaputri

Image credit: FilmAffinity

Director: Kelly Reichardt
Cast: John Magaro, Orion Lee, Toby Jones, Scott Shepherd, Ewen Bremner, Lily Gladstone.

When First Cow opens, we're taken to a nice, quiet forest. A woman walks along the forest with her dog. Then her dog comes across something that leads him to start digging. What could it be? Has he found a treasure? Leftover food, perhaps? The woman stops him before he could continue his dig, only to continue digging the ground herself. So what does she find? It's a remnant of the past, and one that leads us to the bygone era of the Oregon County in the 1800s. 

First Cow centers around fellow traveler and chef Otis "Cookie" Figowitz (John Magaro), who's travelling with some rowdy hunters. Along the way, he meets Lu (Orion Lee), a Chinese immigrant who is on the run from the Russians after killing one of their own. Cookie eventually allows him to come along with him, sparking an eventual friendship. Realizing their shared dreams of seeking opportunities, Cookie and Lu set their sights on a lone cow sent to the Oregon Territory for the wealthy Chief Factor (Toby Jones), devising a plan to use the cow's milk to make and sell batches of oily cakes as a means to make a living.

First Cow won't be for everyone. It's incredibly slow, and it very much remains that way for most of the film's runtime. Think Blade Runner 2049 levels of slow. But this is one of those films where it justifies its slow pacing. It allows you so much time to familiarize yourself with this era and its characters. It boasts some similar styles as The Revenant, but First Cow is much more contained, whereas a film like The Revenant feels much bigger in scale. The brutal Oregon Territory in the 1800s is portrayed in a simplistically gritty way. It lets you explore this deranged world where many had to fight for their own survival, whether it is against the harsh weather or the threat of other men. Many of the scenes linger towards the ones trying to make a living. There are even aspects of colonialism and socialism, and capitalism; how money is one of the vital commodities of this era, but it's discussed in a very subtle way, through both the writing and the visual storytelling. Yet, despite its reliance on visual storytelling, much of the film's dialogue is sparse. It tells what it needs to tell. In other words, it gets straight to the point. A character can say a certain revelation about who they are, but rarely ever explains it any further.

Image credit: WBUR/ A24

As mentioned earlier, one of the central heroes of the film is the emphasis on visual storytelling. I love films that are able to tell the story in a visual way, and lets the audience figure the answers on their own. The majority of First Cow is relied on visuals, and the way it executes this is near perfect. A lot of the scenes linger on particular images, person, or object, that later become significant. Take Bong Joon-Ho's Parasite in comparison. In the beginning, the scholar's rock that Ki-woo is given with by his friend has heavy implications towards symbolism and as an object that Ki-woo is attached to. Yet, these implications are drawn from both visual and dialogue. Ki-woo and his family sees it as a sign of wealth because his friend says it is, and Ki-woo keeps the rock close to him in the film's third act, even to the point of it being used against him as a weapon at the very end. First Cow does the complete opposite of this. Instead of relying on both the visuals and the dialogue, the film mostly chooses to focus on the former. At first, you might start to wonder why such a particular person or object is being shown, because there isn't much explanation or context to it. But the more the film goes on, the more you understand the intention behind every visual emphasis. There are many visual hints that feel like trinkets or pieces of a puzzle being left behind, all we have to do is pick up on them and piece it together ourselves.

However, First Cow doesn't always lean towards ambiguity, regardless of its visual storytelling, more towards subtlety. It may even seem as if the film ended on an ambiguous note, but if you've picked up on one particular scene, you might have already guessed that there's more to it, and it isn't all that ambiguous. Yet at the same time, the presentation itself has an intimate feel to it, a sort of tenderness that contrasts the themes discussed in the film. You'll notice that despite the grim atmosphere and later tension, much of the violence is rarely ever shown on screen. Sure, there are fights here and there, but they're always in the background rather than being placed in the center of the film. Perhaps this decision was to maintain the simplicity and intimate element to it. This wasn't intended to be a gritty Western in the first place, and it stays that way throughout the film. At the center of the deeper themes, it's about the development of an unlikely friendship of two men trying to make their way in the world. The first half of the film is dedicated to their first encounter and eventually, the evolving bond between Cookie and Lu, which are elevated by the nuanced performances from John Magaro and Orion Lee. It gives this a slightly lively atmosphere that though heavily restrained, is fairly visible. By giving time to the smaller scenes, the film allows the audience to get a sense of who the characters are in general, as well as their relationship and what roles they play in society. You buy into their struggles and why they would end up doing things they normally wouldn't to make a living. In the film's case, it's stealing milk from a wealthy man's cow to make Cookie's oily cakes.

First Cow is an interesting film to come back to, but it's also a film where if you put your full attention to it, you might have already pieced together a lot of the foreshadowing and visual hints in the first viewing. First Cow could be a very divisive film. There will be ones that love the film for its simple presentation and a slow film that leads to a rewarding third act. But there will also be the side that will ultimately dislike how it moves at a snail's pace. If you're familiar with most of the films from A24, you won't be surprised at how the film presents itself. It's something among the lines of films like A Ghost Story, a fantastic A24 entry, but the film itself is nothing like a horror film, as the title may suggest. It's instead a slow exploration of a deceased man watching the people in his life as a ghost. First Cow, on the other hand, is not the typical action-filled Western that you would expect, but rather a contained look at the friendship of two men and a scheme that could put them in danger. Even so, violence was never used as a way to create tension, the atmosphere and the story itself does. It's used in a very subtle way and even leaves some of the interpretation to the audience. Though, to be fair, it's not the most exciting film from A24, but it's still a welcome addition and a very fine film overall. 

Image credit: Film at Lincoln Center

Overall verdict: First Cow is quite an odd film, but it's nothing new if you're familiar with A24 films. It's a slow moving film that really takes its time in fleshing out its world and its two main characters. This films explores many themes, yet discusses them in a subtle way, mainly through visual storytelling. And that's the thing, visuals are the film's focal point of conveying its themes and story. It lingers a lot on visual hints and cues that might seem insignificant at first, but would later play a vital role in the film. It's also very subtle and low-key, even when it comes to the tension, but it's still there. Such example could be found in a scene where the Chief Factor, the owner of the only cow in the land, tries one of Cookie's oily cakes. It's a slow methodical scene, and you start to wonder if the Chief Factor would immediately realize that milk must be the hero ingredient based on the taste. Some of the key elements of the story even felt as if they were left to the audiences' interpretation. It doesn't always give information directly, it's being left somewhere for us to find ourselves. But the core of the story is really a growing friendship between two men making a living in a grim world, which explains the more grounded and intimate feel of the film. First Cow isn't going to be for everyone, but for the ones patient enough to tread through its deliberately slow pacing, you might just find yourself rewarded on how it all comes together.

Stars: 4.2/5

First Cow is available to watch in select streaming services

By Nadia Ranaputri

Image credit: IMDB

Director: Darius Marder
Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff, Matthieu Amalric.

Independent films are really getting the spotlight this time. With many blockbusters and big budget films being pushed back, many indie films have soared their way to the top, as streaming services like Amazon Prime, Netflix, Hulu, and HBO Max become the most practical way to watch new releases. Films on Amazon Prime specifically always seem overlooked. Despite some being critically acclaimed, I rarely ever hear a lot of people talk about them, which is a shame, because they've got plenty of standouts on their hands, like The Assistant that came out in 2020, or even 2019's The Report starring Adam Driver. But it looks like one film has gotten a reasonable amount of attention. Enter Sound of Metal.

Sound of Metal begins with Ruben (Riz Ahmed), a drummer of Blackgammon, a metal band duo that consists of him and his girlfriend Lou (Olivia Cooke), the singer and guitarist of the band. The two travel around the country in an RV in between gigs, basically living the best live possible. This all comes crashing down when Ruben is faced with sudden hearing loss, which he first dismisses, but ultimately realizes that much of his hearing was gone when he wakes up to nothing but complete silence. What was once a significant part of his career no longer becomes a part of his life, forcing him to face an inescapable situation.

If The Night of and Nightcrawler has taught us anything, it's that Riz Ahmed is an incredibly talented actor that should be appreciated more. He's capable of disappearing into any type of role, and this is perhaps his best performance yet. Ahmed perfectly captures Ruben's denial, rage, and despair, without making it feel like an overreaction. He is able to really captivate the screen, and you're absolutely glued to his character.  As so much of the film relies on communicating through visuals, especially the second act, Ahmed is able to convey Ruben's conflicted feelings incredibly well. Watching him be constantly in denial about his condition is heartbreaking, you can see his genuine frustration and eventual acceptance, but it never seems drastic or forced, rather like a natural progression and character growth that feels justified. Olivia Cooke also shines as Ruben's girlfriend, becoming the heart that grounds Ruben. When Ruben's condition makes him vulnerable, she is the one that steps in, she tries to get him to assess the situation and find what's best for him. Though her screen-time isn't fairly long, the script and Cooke's performance allow the character to make a vital impact to both Ruben and the progression of the story.  

Image credit: IMDB

 
One major aspect that must be appreciated is the sound design. It is of course, a major element of the story, and the film utilizes it so well. In the beginning of the film, most of the mundane sounds like a blender, the closing of a cupboard, and the music from the stereo are emphasized. There's a reason to this, because once those sounds are immediately replaced by a muffled buzz, it's sudden but very effective, it really feels like you're experiencing the loss of sound just as Ruben does. It's fascinating, yet horrifying in terms of having something so pivotal in your daily life taken away in an instant. Most of the sound design in the film can often switch according to what Ruben hears. An example of this is when Ruben takes a hearing test. As the doctor speaks through the microphone, all we hear are muffled sounds that don't even sound like words. Once the camera pans to a wide shot, we get to hear those sounds normally, and see what the doctor is actually saying. It's scenes like this that makes you realize that being able to hear is something we can take for granted. The film often does this technique, but it never feels repetitive, every change of sound is an experience of its own. Sound is used as an immersive tool and lets the audience be a part of the journey. Ultimately, the sound design becomes a part of the storytelling

Sound of Metal explores the acceptance of the inevitable. If one major thing gets in the way of your passion, what are you going to do? This is what makes Sound of Metal so interesting. It isn't just about metal music itself, but more of a deep journey into something unexpected. It's a film about recovery, rehabilitation, and acceptance. Throughout the film, Ruben is forced to accept his situation, and it isn't easy. To have something you value taken away from you in an instant makes you realize that you might have taken it for granted. It's really about self-exploration in the context of trying to find a different path when the one you've traveled on all this time has been completely cut off. Ruben goes through certain stages of denial before slowly coming in to terms with his condition. And it doesn't glorify nor treat deafness as something negative. The deafness aspect of the story is not only used as an obstacle for the character to overcome, but it's also used as a means of moving forward, something that Ruben has to go alongside with. The film's inclusive casting of supporting characters played by deaf actors add to the film's authenticity, with most of these characters even having vital contributions to Ruben's journey. They become a significant part of Ruben's life, and they add to the film's heart. 

There's some sort of simplicity in Sound of Metal. Be it from its presentation or its storytelling, it has a fairly simple plot. It relishes on silence and simplicity. It doesn't try to over-complicate or over-generalize the situation, but it's enough to to really tie the audience over and empathize with what the characters are going through. It even manages to create a universal story that many can appeal to. It isn't just about deafness, it's about learning to accept the inevitability and one's journey to recovery. On paper, Sound of Metal might not look like the most appealing film, and it might have fallen into the trap of either greatly exaggerating or even dismissing the subject matter and situation of the film, but it never did any of that. Instead, it executed its subject matter in a subtle yet impactful way, and that's what made it a riveting film. Much of Sound of Metal is pretty bleak, perhaps a little depressing, but it doesn't stop it from being as compelling as it turns out to be. It's a film that relies on the impeccable performances and some visual storytelling, particularly in the second act, which consists mainly of sign language and elevated sound design. I certainly did not expect to be so enticed, the film just knows how to execute its story so well, which is why Sound of Metal is one of the standout films of 2020, and is definitely worth a watch.

Image credit: IMDB

Overall verdict: Sound of Metal is no doubt one of the standout films of 2020. It's a film that's driven by the strong performances and visual execution. Riz Ahmed is a revelation in this role, able to convey Ruben's conflicting emotions and slow process to acceptance without making it feel like an over exaggeration. Olivia Cooke is just as impressive, and despite her limited screen-time, she becomes the very heart that grounds Ruben at his most vulnerable. The sound design is also worth mentioning, as it becomes a significant part of the storytelling. Once Ruben loses his hearing, we get to experience it along with him. It makes the film much more visceral and entertaining. Sound of Metal may not sound like the most appealing film at the surface, but its execution is what makes it worth watching. It never treats deafness as a negative, rather as a means for moving forward. And even then, the film isn't solely about deafness itself, there's so much more to that. It's a film about recovery, about learning to accept everything that has happened, regardless of how one reacts to it. Yet the presentation is also fairly simple without being underwhelming. It doesn't make the subject matter complex, nor does it underestimate the situation. In the end, Sound of Metal is able to execute such a simple story and turn it into something impactful and poignant.

Stars: 4.4/5

Sound of Metal is available to watch on Amazon Prime