I'm seeing something that was always hidden. I'm in the middle of a mystery and it's all secret.

Catfish
Directed by: Henry Joost and Ariel Schulman
Year: 2010

Not too long ago, I learned something shocking and upsetting about a friend of mine who I'd met on internet. I've belonged to a community of bloggers that review movies for quite a number of years now, and many times found myself talking to members of the group, and occasionally, this said individual.

Around the time the trailer for Catfish came out, I was given the details from another close friend of mine(also from the community) that this person had not only lied about getting into a car accident, but also about a tumor, among other things, all the while evoking sympathy from all of her friends and the people who found her charming and very fun. The fact that they needed to lie to people who had a) already forged close friendships with her and b)just genuinely liked this person, internet or not was both sad and unfortunate. Her friend list on Facebook is dwindling as a result, but she is still actively online.

I thought directly of this individual when I left my screening of Catfish, tying together both the film that I had just seen and the strange fact that the events of the film connected so deeply to my own life and the people who I've met online. Needless to say, it didn't spur a reevaluation of my internet life, nor did it make me second guess the people I've met through the internet, many of whom are wonderful, beautiful people I've had the pleasure of becoming acquainted with over the years. But what stuck out from Catfish is that, for every normal person we meet on the internet, on Facebook, there is always someone who is not who they appear to be, and sometimes, our realization of this simple truth occurs one step too late.

Not to spoil any details, many of which seeped out from the misleading trailer, but what you need to know about Catfish is that it's a documentary that is stranger than fiction, or is the story too perfect to be true? Needless to say, the film could not have been released at a better time, because the film says so much about the internet and its dark undercurrents, and in the end, we are given a disturbing, but also a comical, poignant and even moving film about how easy it is to be duped and how isolating it can be for someone to live entirely online.

A final note, and this is of key importance: No matter how spooky and hype driven the trailer appears to be, do not under any circumstances see it unless you expect to be gravely disappointed. The PR campaign for this film is quite atrocious, considering the actual content of this film, and for some reason, the mystery that lurks within the crevices of the film are now overblown to Saw like proportions. Catfish is truly a film you need to go in and see without knowing too much about the key points of the movie, and even more important, that you do not go in expecting a horrifying and disturbing horror movie. Yes, it's unsettling in parts, and sometimes it's disquieting how frank the film can get, but going in and expecting a horror show just ruins an aspect of the film. While I will say that I enjoyed the film I saw, it was nothing at all like I had expected, which is a disappointment in itself. But alas, the filmmakers clearly wanted their film to be seen, I just believe that their approach to marketing their documentary is going to leave a large number of film goers unhappy.

The Flicks Are All Right: Determining the Best Films of 2010 (So Far)

I'm going to have to admit something:

I don't take pleasure out of the conventional summer blockbuster.

And it's not like I'm such a funsucker that I can't enjoy mind candy every now and then. But summer movies...well, let's just say I'm the kind of film goer who doesn't mind sitting in art house movie theaters and watching good old fashioned indies where people are complicated and sad and things work out the way they do in real life.

But every now and again, I love gazing at Joseph Gordon-Levitt fighting baddies without adhering to the laws of gravity.

We can all agree that until September, October at the latest, the truly noteworthy films of the year are not released. But look deeply into the films that have been released thus far in 2010, and you'll find some stellar films to take note of. Here is a rough list of my personal favorites from the past nine months:

1) Dogtooth(Pictured Above)
I was lucky to see Dogtooth at a horror movie film festival this summer, and having seen the film, I refuse to disclose any information other than the bare bones knowledge one must be aware of before seeing the film and messing with their head. The film centers around a nameless family, controlled by a mother and father who have raised their two daughters and son solely in the comfort of their own home, without any contact from the outside world. The parents give their children incorrect grammar lessons, and create different nightmares that lurk outside of their little house. The end result is an almost documentary-like film that is so full of questions and mystery that are thankfully left to the viewer to decide. Certain scenes will have you laughing out of discomfort, while others will have you recoiling in horror. And the final shot is one of the best I've seen in years.

2) Exit Through the Gift Shop
On the flip side of the film spectrum is the documentary Exit Through the Gift Shop, a film that feels like a mad cap comedy that is too good to be true. Originally started as a documentary about prominent street artists, including figures like Shepard Fairey and the illusive Banksy, the film takes a 180 degree turn and has Banksy himself telling the story of a man with a camera who wanted to honor the underground art movement/public vandalism project of graffiti art, but ultimately bastardized the artists he so looked up to. Narrated with the crass seriousness of Rhys Ifans, Exit feels larger than life, and we aren't sure if some of the art stunts are truly told as they happened, but that's no matter, because it's a joy to watch them get pulled off. More than a film about graffiti art, it is also an excellent film that debates what good art is, and whether something as shady as street art is truly masterful.

3) Inception
Okay, so maybe the film lacks an emotional core, but whatever, Nolan has hit another film out of the park, and beyond anyone's wildest imaginations. The scenes in this film are breathtakingly beautiful, and quite fantastic to say the least. The action is exciting, full of fight scenes that keep your blood boiling and your heart pounding. Conceptually, it's hair brained: a future where information is extracted from our dreams by dream thieves and used for their benefit. So it's all the more intriguing when the thieves are commissioned to plant information into their subjects heads. Is it perfect? Nope. But this film is just so much damn fun, I can forgive it for all of its flaws and take it for what it is, a popcorn flick that deserves the buzz it receives.

4) Winter's Bone
Ree Dolly is a wise beyond her years seventeen year old girl who lives in the dark and unforgiving Ozarks. Due to her father's complete lack of regard for his family, Ree finds herself raising her two younger siblings while her mother wastes away in their modest cottage. However, Ree's role in her family is made all the more important, when the police tell her that her father is on the run and has put their house on collateral. Simply put, she must find her father before her house gets taken away. The film is dark, and instead of creating a convoluted mystery, the filmmakers decide to dive deeper into the life of the people in this town, and their roles in society. Meth is what ties these sick, sad humans together, and makes Ree's quest even more difficult. Fostered by an unflinching realism, and Oscar caliber roles for Jennifer Lawrence and John Hawkes, as Ree's methed out uncle, Winter's Bone is a taut, frightening, and surprisingly feminist film.

5) Toy Story 3
I'll admit: I sobbed for the last fifteen minutes of this film. The raw emotions, the importance these characters had in my childhood, and the natural and perfectly handled transitioning of the story made this final film in the trilogy a triumphant and captivating film. The story surrounds the toys from the previous installments faced with a strong problem, their owner, Andy, has lost interest in them. It's not hard stuff people, yet the film takes a mature and wonderfully poignant route that leads the toys on a dangerous journey, but in the end, everything feels neatly put together, which is what the films deserve. And I could not have asked for anything more.

6) The Kids are All Right
Take that, homophobes! One of the best and most honest films of the summer centers around a closely united lesbian couple who break their backs to give their children a happy and fulfilling life. Only their sense of normalcy is rocked by the appearance of the man who technically fathered the two kids by way of his sperm. Needless to say, it's a touching film that is easy to relate to, and feels more than appropriate for modern day America to tackle. And you just feel so warm when you leave the theater, it's impossible not to adore.

7) The Girl with The Dragon Tattoo
I loved the book when I read it last summer, so naturally, I was shaky as to whether or not the film would be smoothly adapted for the big screen. Thankfully, the Swedes hit the nail right on the head and produced an authentic, taut, frightening, and faithful adaptation of Larsson's novel, making edits where edits are due and casting the right actors for the roles. The crowning joy is Noomi Rapace, whose portrayal of Salander is dead on and full of enough spark and anger to have anyone quake in their boots. It's tough to watch, but thankfully, at least this adaptation doesn't skimp out on the brutality that made the source material so compulsory.

And the Rest of the Films I've Seen: Greenberg(3.5/5), Iron Man 2 (3/5), Howl (4/5), The Girl Who Played with Fire (4.5/5)

Films I'm Looking Forward To (In Order): Catfish, Somewhere, The Social Network, Black Swan, Blue Valentine, True Grit, Hereafte, The Town, Never Let Me Go, and Jack Goes Boating.

Antichrist on a Bicycle: or How I Stopped Worrying and Leanred to Tolerate 'Antichrist'

Antichrist
Directed by: Lars Von Trier
Year: 2009
Starring: Willem Defoe, Charlotte Gainsbourg.

Editors Note: This is not so much a formal analysis or write up as it is a quasi review/think piece/diatribe where I wonder what the hell I just witnessed.

Try digesting this little nugget of knowledge: To concretely describe Lars Von Trier's 2009 film, Antichrist, is like trying to describe a painting by Dali. We may love it, we may be repulsed by it, or we may just look at it without any clue what to say about it. Concerning Antichrist, I find myself in a cinematic purgatory, and a state of slight confusion, because twenty four hours after watching Antichrist, after taking in the lengthy scenes, the cringe worthy gore and mayhem, the heavy handed symbolism, I can't really tell you if I liked it or not. It's far from enjoyable, those who have seen it can agree with me, but we can all agree that it's very artistic, visually stunning, and well acted.

That being said, a fox tries to eat itself.

Don't be fooled, he really looking to gnaw off an arm

Yes, folks, Von Trier is back and returns with another one of his dark, moody, and otherwise audience unfriendly projects, so prepare yourself for another agonizing, unsettling, and positively bleak foray into the lives of people who should know better before being in a Lars Von Trier film. To those who are unfamiliar with Von Trier, I do not blame you. His name is less recognizable than say, Spielberg or Scorsese, but he has drawn up quite a reputation as being one of World Cinema's most twisted and controversial minds. Both praised and reviled, Von Trier directs films that rarely seem to have a 'happy' ending, and often, the pain one feels while watching a film of his becomes so excruciating that no matter how outstanding the film itself may be, watching it a second time is simply too painful.

With his latest venture into the realm of unhappiness, Von Trier constructs, or at least tries to construct a revenge story, a tale about a dysfunctional married couple, human nature, and a portrayal of violence overcoming a mother who is filled with guilt and rage. Willem Defoe and Charlotte Gainsbourg portray a nameless married couple, struck with the tragedy of a dead child. Through an exquisite and slightly pornographic slow motioned prologue, the viewer is given a wordless scene of unrelenting horror. The young boy, unnoticed by his copulating parents, ventures out of his crib and out of the nearby window, falling to his death while the strains of an aria fill the void of silence. Were Antichrist to have kept its story as pure and chilling as its opening scene, you would have an artistic masterpiece, nearly flawless and indisputably well made. And in some regards, it does feel like a masterpiece, the cinematography is seamless and combines cooky symbols of terror with the seemingly tranquil woods that encombers the couple. It's just unfortunate that Von Trier decides to create what feels more like an artsy exploitation film than a psychological mind game.

Now where was I? Oh, back to the story.

So we have this depressed couple, and in their grief and agony, the wife slowly unravels and her inner demons are exposed in their entirety. The therapist husband, sensing his wife's discontentment, decides to study and treat her, as if she were one of his patients. After learning what she fears most, the obviously ominous woods called 'Eden', he ventures with her to these freaky woods, intent on studying her but also freeing her from her nightmares.

This is where the story takes an already weird turn for the strange. In 'Eden', we find a pot pourri of symbols that resemble an apparent mythology/astrology/whatever weird ass study is covered in the film. A doe with a stillborn baby hanging out of its womb, a self cannibalistic talking fox, and a crow that annoys the ever loving hell out of Defoe and will not die. Seriously, this film is just that abstract. For the most part, the film is just tension and the two characters commiserating and working through their grief. And having sex, lots and lots of sex. In fact, the sexual aspect of the film serves as a warning sign of just how exploitative it may be. Seeing the daughter of the late singer Serge Gainsbourg knocking boots with the Green Goblin got to be a little too much, and a little too freaky. And because the film does not want to appear soft and cuddly, it gets very freaky, very fast.

Fun Fact: One of these Actors was a Voice in Finding Nemo

But I digress. Antichrist, from what I have described, sounds either like a Lynchian adaptation of Snow White or an ego stroking tribute to free reign film making. But none of this can really describe the intensity and excessive nature of the last half hour of the film. Before, it was a strange and sad movie about loss, add in Gynocide and a pair of scissors, and you have yourselves a bloodbath worthy of the next Saw movie. I will not disclose the gory details, but trust me, it will seriously do a number on to both your sex drive and your sense of safety.

The main gripe I have with Antichrist is less so the acts of violence themselves, more so the fact that Von Trier has created a film that is only slightly above the par of your gratuitous torture porn fare. Its acting and how it's filmed should be commended highly, as for the story, the symbols, all of the different components, so much could have come out of this that would make it even more effective if Von Trier did not feel compelled to show every violent detail as if it were a slice of meat on a deli counter. The fox and the deer, both very bizarre, but when stacked up against their human counterparts, it fazes you less when violence is so prevalent that by the end of the film, every character has done quite a number on themselves.

The exact opposite can be said for one of Von Trier's contemporaries, Michael Haneke. Haneke also directs films that are tough to stomach and feature some agonizing scenes, but whereas violence fuels much of Von Trier's work, Haneke's sparse use of blood truly shakes the viewer, leaving them with a haunting image that won't leave their brain. Even in his highly disturbing but altogether beautiful film, The White Ribbon, the one scene in which the violent aftermath of a beating is shown to the audience, that few second splice of a child in total fear and desperation manages to effectively speak for the rest of the film's unseen violent nature.

Another quibble I have with this particular Von Trier project is that unlike his other efforts, Dancer in the Dark and Dogville are two excellent examples, the female characters have clearer motives and appear justified in their actions, whereas the nameless female in Antichrist is convinced after her own lengthy studies that women are inherently evil and thus, must be punished and harmed. Her husband refuses to believe her misogynistic notions, but soon learns the hard way that his wife is not a force to be reckoned with. The two arguments on this aspect of the film seem to indicate that either yes, the film is sexist and depicts women as violent beings who are just horrible demons, or that the actions of the wife reflect a darker side of the woman's personal self, and merely serve as vengeance for the husband's passionless way of handling her sorrow. Both sides I see and agree with to some degree, but the film, in comparison to other works by the same director, boils down to a nicely shot but weaker story than prior films.

In conclusion, as a reviewer, I urge you to see Antichrist and make your own opinions. Not first, though, watch Dogville instead, knowing that this film is both beautiful but flawed. It's something that will garner great discussion, but when it comes down to the wire, it's freaky shit with a nice lens. And in some ways, for a film, that's actually pretty decent.

Break Like the Wind: Oscar Nominated Directors Cash in on the Twilight Craze

Well, it has happened.

Hollywood has recruited some of its most well respected directors to helm the forth and final film in the Twilight Saga abortion. Directors who, judging by the fact that all have been nominated and/or won Oscars in the past. Then again, that kind of prestige doesn't really mean a damn thing anymore. Hell, Robert Zemeckis beat out Tarantino the year of Pulp Fiction for what amounted to Tom Hanks playing Rain Man with a Southern drawl. In short, the system is rubbish, but the Twilight books, four thickly bound novels that have consumed popular culture for the past 3-4 years and have inspired a fanbase that has Trekkies begging them to get a life, are painful. And any directors at the helm of the ubiquitious 'Saga' are subject to scrutiny.

The announcement came earlier in the week, and, in time, I'm sure plenty more directors will be asked to film this super emo vampire flick. In an age where the teenage demographic craves kinder, gentler vampires who are emotionally abusive and toy around with their human gal pals, it's disheartening to think that now the pool of people in line to make a quick buck will most surely double.

So, who have been chosen? Spielberg? Spike Lee? Anyone? Surprisingly, the people in the loop thus far are Sofia Coppola, Bill Condon, and Gus Van Sant. Seriously, I am not making any of this up. Why pick any of these three for effing vampires and teenage angst? The answer lies herein. Take these mini 'reviews' to be a prospective future, knowing what each director is capable of, I'm sure we can pin point all three, along with their artistic directions. In short, god help us all.
Sofia Coppola
Going along with her typical themes of isolation and friction among a mostly negative space, Coppola's forth film still maintains the moody and bittersweet tone that has garnered her copious amounts of acclaim in art house cinema. Keeping Twilight's angsty lead, Kristen Stewart, who is no stranger to bored expressions and vancant gazes, feels like a Coppola natural. Armed with enough eye rolls and pouts to put Scarlet Johansson to shame, Stewart takes the already lackadaisical Bella Swann and treads new(yet relatively similar) grounds. Bella feels like an outcast in her hometown of Forks, a problem that is not helped by her ever absent boyfriend, the sparkly vampire, Edward. Spending the bulk of her time lying in bed, listening to her dad's My Bloody Valentine records in her underpants, Bella so desperately craves the happiness and attention she currently lacks. Enter Jacob, the kind, and also isolated, man who she encounters and has a beyond platonic, but not quite carnal, friendship with. After the orignal Jacob, the wooden Taylor Lautner, was kicked out pre-production, Coppola smartly made a quick casting decision, letting Bill Murray fill in the role instead. Murray is captivating as always, going beyond the teen wolf persona, his face filled with enough bittersweet emotion to make any woman swoon. Allowing The Jesus and Mary Chain to score this mood piece was a smart move on Ms. Coppola's behalf, for their guitar strains evoke a strong feeling for displacement and teenage fury. And when Jacob leaves to fight the werewolf war, he whispers nothingness into Bella's ear, leaving the audience with stuff to ponder for weeks.

Gus Van Sant
Boldy foregoing the typical Hollywood Blockbuster route, Van Sant takes the teen franchise and goes completely independent on the film. Using teenage non actors, and working with a mostly improvised script, Van Sant lingers strongly on the voyeuristic and unflinching aspect of Breaking Dawn. The film is shot on a handheld camera, and features shots and scenes that go on longer than seven minutes(trust me, I counted), ultimately exposing the underbelly of the seemingly calm Forks, WA. The result mixes Van Sant's film, Elephant, with Elvira: Mistrss of the Dark, and in all aspects, it feels painful to watch. As Bella and Edward walk aimlessly around together, playing vampire baseball at an abandoned playground while discussing Leo Tolstoy, we are shown snapshots of their lives, and we pinpoint the displeasure and distance between the two leads. Slowly, Edward becomes obsessed with Jacob, a young but streetsmart hustler who just so happens to be a werewolf. Decidedly more homoerotic than Meyer's novel, Van Sant's film pits the naive Edward with the sexually manipulative Jacob, who isn't afraid to shoot up or kiss boys or die slowly. Instead of bulky and hunky, Van Sant's Jacob Black is needy, tragic, and an egotistical teenager who feels stronger than he actually is. Slowly, reality unfurls, leading all three players into dire circumstances. Instead of using loud action packed music to fill dramatic gaps, Rachmaninov instead blows through the tension, leading the viewer down a disturbing, but pretty divide.

Bill Condon
Nominated for Nine Academy Awards, Breaking Dawn reinvents the musical genre, taking it two new heights! In her second Oscar nominated role, Jennifer Hudson is especially noteworthy as the dumpy underdog, Bella Swann, contrasting the dull and vacant Bella the series has grown accustomed to. But this Bella has a dream, a dream to sing in a music group along with her two other gal pals. And boy, can she sing! Managed by the cold and charismatic Edward Cullen, a vampire with a slick eye for talent, Bella propels her rag tag group to the top. Trouble is, Edward is now pursuing the prettier(Read: Skinnier) Jessica, an also noteworthy Anna Kendrick. Dumped by the man she loved, the one whose child she is carrying, Bella pleas in a moment of drama that will cause audiences to weep while their hairs stand on ends. Think "And I Am Telling You..." but with fangs. Meanwhile, the band rises to the top with a freshfaced new member, although Jessica feels like she has cheated her once good friend, Bella, out of the fame she so clearly deserved. But with the help of Jacob, Bella's old friend who plays the piano, Bella decides that her true calling is to sing out, no matter what her weight or popularity may be! Condon teams up with Death Cab for Cutie's frontman, Ben Gibbard, to write and compose twenty whopping songs that bring Breaking Dawn beyond the vampire genre. Here is a loud and fun, and quite stellar film that encompasses everything a musical should include. Is there substance? Well...it's colorful!

And the Dinner is...:A Guide to What to Eat on Oscar Night

The way I view the Oscars is as if they are a more formal version of the Super Bowl. Instead of playing football and tackling sweaty men in pads, you have occasionally humorous comedy from the host and you get to hear the exact same people who have already won numerous awards for portraying a minority or a famous figure. The Oscars are a ritual I watch every year and will get excited about come November when the Oscar worthy movies are generally released. Do I always get angry when they ignore my favorite films of the year from Romania, as they have done in the past? Yes. Will I heavily criticize the actors up for the awards? Of course. Since I so value the Oscars, and since they are on Sunday, what better way to celebrate ten movies in the running for Best Picture than by the thing that unites us all, food.

For my list, I've taken all ten nominees and given each film a food item that the characters would eat or food that represents the movie in a fun and creative way. Enjoy, and hopefully, my meals will inspire you to create your own Oscar experience.

The Hurt Locker
To start the list, I'm going with the film that will most likely win the Best Picture Oscar. As an Army stand by, a recipe for some Shit on a Shingle(In polite culinary terms, chipped beef on toast) would help take you to the lines of enemy territory. As a fun, added bonus, you might want to get some Pop Rocks as a cute dessert item. Sandstorms and bomb dismantling not included.
Up in the Air
Once poised to win Best Picture and a slew of other awards, now most likely stuck with the Best Adapted Screenplay, this film deals a lot with flying the friendly skies and the life of a man who has spent his life on planes. To authenticate the in flight experience, go for some Rold Gold Mini Pretzels and a microwavable TV dinner, perhaps food from Stouffer's or other frozen food companies. Though I'd advise not to rent Norbit as your in flight movie.

An Education
Cute in parts, but ultimately unsettling, An Education has an authentic olde timey British feel to it. Not my favorite of the year, but its strong performances carry the flawed and somewhat cute movie to great heights. As cliche as it may be, Tea and Crumpets and some sweet and milky Cadbury chocolate buttons to complete the meal. Not so much a dinner as it is a most excellent snack for tea time.

Inglourious Basterds
Tarantino must have had lots of fun with this movie, because his creative flair is most evident in Basterds. A Spaghetti Western at heart, what better way to follow its genre than to make...spaghetti?! And since Basterds is all about Nazi scalping, why not add some German sausage on top of a nice bed of Angel Hair? Arguably the oddest meal on the list, but one that will improve with rich red sauce to match the pretty reds in the film.

Up
The most whimsical film of 2009, Up relies on colors and a strong heart to move and affect the viewers. Since the film is childlike and very pretty to look at, might I suggest some brightly colored cupcakes, adorned with Skittles or Gumdrops, hell, even baloons or something fun to decorate the cupcakes with. Use bright colors in everything you use to enhance your meal, and to pay tribute to Russell, some Worms in Mud would bring out the kid in you.

Precious
Tragic, hard to watch at times, but ultimately uplifting, Precious is a strong and unique film amid a bunch of cookie cutter Hollywood fare. Though in the film, the characters pig out of junk food like Cheetos and Fried Chicken, it would also help if you were to add a strong and robust food entry to finish up the dining experience. Add some spice to a thick and powerful Sirloin steak to give it the flavor and spice of life.
Avatar
Personally, I felt that Avatar was an eye popping treat that delivered every dollar you paid for. Its gorgeous visuals are breathtaking, and the film, though flawed, is just plain fun. Going with the fun aspect of Avatar, I'd suggest scoring some blue cotton candy and popcorn, almost like what you'd get at a fun fair. And for the health food nut, blueberries relate to the blue characters and the natural aspect of the film. Not everyone's favorite, but it's worth giving a look.


The Blind Side
I haven't seen The Blind Side, but from what I gather, it's Sandra Bullock playing a nice white lady and doing what Julia Roberts did ten years ago. As empowering as Precious was, The Blind Side is just another case of Hollywood celebrating boring inspirational biopics. White bread with white mayo and American cheese brings out the boring and very white aspect of the film, and some pork rhinds to scarf down while watching some good ol' football.
A Serious Man
I loved A Serious Man, as I love the Coen bros. It was very well thought out, very Jewish and just plain compelling. Taking the 1960's and looking at it from a perspective of a man who is slowly losing it all. A Rheuben sandwich and anything typically Jewish from a deli would satisfy the characters in the film, Latkes are also good enough to bring together Jews and Gentiles alike.


District-9
I quite liked District-9, having spent the previous year learning about the Aparthied in S. Africa, which allowed me to understand better the subject matter and the importance of the film overall. Nothing very edible in this movie, unfortunately, apart from cat food of course, but to get nice and creative with the meal/movie is to ponder what your last meal would be were the end of the world to happen tomorrow. Because in District-9, everyone is on the brink of destruction.

Melancholy and Infinite Sadness

A Single Man
Directed by: Tom Ford
Year: 2009
Starring, Colin Firth, Julianne Moore,
Nicholas Hoult and Matthew Goode.

He was my North, my South, my East, my West,
My Morning week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last forever, I was wrong
W.H Auden: Funeral Blues

By far, A Single Man is one of the most gorgeously shot films I've ever seen(The visionary Wong-Kar Wei stands as the champion of lushly beautiful cinema). It's a film whose true feeling is perfectly depicted in its cinematography, its down to a T reproduction of the early sixties, and, thankfully, in its brave, heartbreaking, and utterly spellbinding story.

And that is a gift from god in itself, for too often is a paper thin story masked by an intricate and ornate environment we forget is created for the film and only the film. No, A Single Man aptly balances the fine line between style and substance, dream and reality. And it's a reflection of sheer stupidity on behalf of the Academy for snubbing and leaving this uniquely wonderful film out of the running for Best Picture in favor of ham fisted biopics that capitalize on the emotions of its audience and mistakes schmaltz for substance.

Ranting aside, A Single Man is a very simple, yet well developed story centered around George, a closeted gay English professor in the early 1960's. His lover, Jim, was killed in a car accident the day prior, and George loses his faith in living. Throughout the day, George is chased after by an eager student, quietly annoyed by his picture perfect neighbors, and invited to dinner with an old friend, all the while planning his imminent demise.

George is played by Colin Firth, and his understated emotions carry the weight of his performance. Portraying a deeply saddened character, Firth erases the permeters of sexuality, for the pain he feels of losing his only love is universal. It's tragic, and often quite painful to watch George as he plans out his death, yet we the viewer are unable to sway him from doing anything else. Less voyeuristic than it is encompassing, A Single Man reflects not only a man in mourning, but a changing era in American history. The Beatles are on the verge of becoming world famous, J.F.K's death is only a few months away, and by the end of this diverse decade, our nation will be at war, fighting for something no solder truly believes in. When George interacts with his surroundings, we see how truly polarized he is from the rest of the world. His old friend, and ex-wife, played by a cruelly ignored Julianne Moore lives in an apartment that might be a drag queen's dream come true and has fun by doing 'The Twist'. Moore's scenes with Firth give off a beautiful chemistry that is truly alluring. To consider the life both characters have had to deal with, it's wonderful to see how amid sexual identity and loves gone astray, the two are still thicker than thieves.

Also ignored by the Academy is the luminous scenery, as directed by long time fashion designer, first time film director, Tom Ford. Seeing how much he put of himself into the film makes me only the more eager to see what other films, if any, he will come up with. When Ford plays with the cinematography, letting colors fade or pop, depending on the mood of the scene, it's exciting, and you can tell Ford is clearly thinking abstractly.

Ultimately, A Single Man is a bittersweet orchid, blooming life in the most unexpected of places, adding dabs of color to its devestating story, and mixing beauty and art to create a powerful and affecting film. Better than Brokeback in my opinion, and less uplifiting than Milk, A Single Man looks to be the future of gay cinema, I only hope that America, and the Academy, is willing to embrace such an out of the box type of moviemaking.

The Children Are Watching Us

The White Ribbon
Directed by: Michael Haneke
Year: 2009
Starring: Christian Friedel, Leonie Benesch,
Burghurt Klassner and Susanne Lothar

It's pure coincidence that two of cinema's most sadistic living directors both had films released in 2009. First, Lars Von Trier infuriates the world and film critics alike with his excruciatingly gory, yet compelling Antichrist, and then Michael Haneke, whose films include Cache, Funny Games, and the utterly devastating The Seventh Continent, adds to his list of moody and mysterious masterworks The White Ribbon, a taut drama/thriller that is set in pre-World War I Germany.

Operating like an Ingmar Bergman film set in Germany, The White Ribbon is a film that examines the mounting violence, fear, and uncertainty that invades a seemingly calm village like a virus. Right from the first scene, in which a doctor, riding on horseback, is tripped by a wire tied between two trees, Haneke sets up the story and piques the interest of the audience. At first, the town is curious, because anyone and everyone could be a suspect. However, as more acts of violence occur, and as their graveness intensifies, it becomes clear to both the audience and the villagers that something is not right. Even more unsettling is the looming possibility that the children of the village know more than they are leading on.

Giving no clear answers, Haneke weaves together several other storylines that intercept the central story, starting with the innocent and truly good hearted school teacher, who falls in love with Eva, a young peasant who is hired to watch over the Baroness' children. Also crucial to the story is Martin, the son of the pastor who wants with all his heart to do good and be seen as morally correct in his father's eyes. The doctor is also noteworthy, and his dark side is exposed in snippets throughout the course of the film. He is cruel, domineering, and unable of showing genuine human emotion.

Morality and redemption are two key themes in The White Ribbon, both even tie into the title itself, the ribbon being a reminder for children that while wearing the ribbon, one must be good and moral. Religion also plays into this, for it clouds the judgement and influences characters left and right. It's a film that gives its audience much to ponder and question, and leaves enough room for individual interpretation.

Of the Michael Haneke films I've seen, albeit still unsettling, The White Ribbon represents a less critical and angry Haneke, without television and the media to serve as an influence for destruction, the film works on simplicity and the minimal actions that overall set the course for the rest of its characters. Not overly violent, like Funny Games, but the violence we view is positively cruel and harrowing. Not as soul crushing as The Seventh Continent, but the fates of the characters are universally dark. Overall, The White Ribbon has silent suspense pulsating through its veins, evil is on the horizon, the children we see before us could and would evolve into the Hitler Youth/Nazi party, the stubbornness and the foibles of the characters make them prone to horrors unforeseen. In the end, the violence isn't what shakes us, it's the normalcy overall that does us in. And boy, is it jarring.