Shadows on the Wall | Arthouse Films

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On this page: GRAND THEFT HAMLET | LUTHER: NEVER TOO MUCH | SUGARCANE

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See also: SHADOWS FILM FESTIVAL | Last update 25.Jan.25

Grand Theft Hamlet
Review by Rich Cline | 3.5/5

dir-scr Sam Crane, Pinny Grylls
prd Julia Ton, Rebecca Wolff
with Sam Crane, Mark Oosterveen, Pinny Grylls, Jen Cohn, Tilly Steele, Dipo Ola, Lizzie Wofford, Gareth Turkington, Jeremiah O'Connor, Sam Forster, Nemonie Craven Roderick, Philip Jones
release UK 6.Dec.24,
US 17.Jan.25
24/UK 1h29

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Shot entirely inside the virtual world of the videogame Grand Theft Auto, this animated documentary is an inventive response to the bleak situation for actors during the pandemic. The way this plays out is riotously ridiculous, especially as colourful characters turn up unexpectedly to do outrageous things. The quality of the imagery makes this unusually involving, although deeper thoughts and feelings only rarely emerge through the voices.

Looking for something to do during lockdown, actors Sam and Mark roam around inside the world of the murderous videogame, playing slot machines at a casino and crashing their cars. Then they discover a huge empty outdoor amphitheatre and come up with the idea of staging Hamlet there. When they invite other players to come along, figures begin to turn up. The trick is getting the audience members to stop killing the actors. Then Sam's partner Pinny decides to join the game, playing a filmmaker documenting the production. And more actors join their cast.

Hilariously, the film captures the mindless grisly violence that is the whole point of Grand Theft Auto, and for some reason blowing stuff up and shooting people feels appropriate for Hamlet. Although as one person notes, there aren't many Grand Theft Auto players who also like Shakespeare. Indeed, they're genuinely surprised when talented actors turn up to audition.

Aside from the brutal killings, mounting a virtual show here isn't much easier than in the real world, with issues including pressures from the outside, such as leading man Dipo getting an actual job. And they also have to get to grips with Hamlet in this environment, with its life-and-death themes. This involves considerable irony, including finding an appropriate setting for the Shakespeare's most famous soliloquy.

The odd juxtaposition in settings are strikingly visual, from grubby back streets to a hot tub on a fabulous yacht. And placing Hamlet's harshest violence in such oddly beautiful locations creates some new ideas. Unsurprisingly, Sam and Mark become a bit obsessed with creating this show in the coolest way possible, and they start to miss real-world events. But as they persevere through it, they definitely deserve their epic after party.

themes, language, violence 29.Dec.24

Luther: Never Too Much
Review by Rich Cline | 3.5/5

dir Dawn Porter
prd Trish D Chetty, Ged Doherty, Jamie Foxx, Leah Smith, Datari Turner
with Luther Vandross, Fonzi Thornton, Carlos Alomar, Robin Clark, Dionne Warwick, Roberta Flack, Patti LaBelle, Mariah Carey, Nile Rodgers, Richard Marx, Valerie Simpson, Jamie Foxx
release US 1.Nov.24,
UK 31.Jan.25
24/US Sony 1h41

SUNDANCE FILM FEST

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Beautifully assembled from terrific archival footage and new interviews, this documentary explores Luther Vandross from a fan's point of view, focussing his considerable musical achievements. There's a brief glimpse into his private life near the end, but director Dawn Porter maintains a respectful distance that feels somewhat frustrating. Still, the chronologically assembled narrative becomes involving as it traces Vandross' extraordinary talent as a vocalist, composer, arranger and performer.

Growing up in New York, Vandross was a musical prodigy who idolised singers like Aretha Franklin and Dionne Warwick, determined to evoke those kinds of emotions for an audience. As a teen, he founded Listen My Brother with friends Fonzi Thornton, Carlos Alomar and Robin Clark, performing at festivals and on Sesame Street's first season. With his skills in demand, he provided arrangements and backing vocals for the likes of David Bowie, Roberta Flack and Nile Rodgers' Chic. A solo career brought success on the Black charts before his 2003 crossover triumph Dance With My Father.

Sadly, Vandross had a stroke just before that single was released, and while he was able to enjoy its success both in the pop charts and at the Grammys, he never fully recovered and died two years later at age 54. The film cleverly uses interviews he did throughout his career to narrate the story, along with talking head moments with his fellow musicians, the idols who became his collaborators and exuberant superfan Jamie Foxx, who produced the film. His career is documented in order, then near the end finally takes a moment to touch on his personal life as a man who never had a partner and was clearly closeted, but never spoke about it in public.

Along the way, the film adeptly highlights Vandross' considerable impact on the music industry, from his own songs to his indelible contributions to advertising jingles, The Wiz and classic hits like Young Americans and Le Freak. His voice is still considered one of the smoothest, most romantic ever recorded. And it's wonderful to watch him in colourful performance footage throughout his career, including some iconic duets. So while the film could have been bolder in its depiction of Vandross himself, it is a wonderful celebration of his unmatched talent.

themes, language 23.Jan.25

Sugarcane
Review by Rich Cline | 4/5

MUST SEE

dir Julian Brave NoiseCat, Emily Kassie
prd Emily Kassie, Kellen Quinn
with Julian Brave NoiseCat, Charlene Belleau, Rick Gilbert, Willie Sellar, Ed Archie Noisecat, Whitney Spearing, Kye7e, Jean William, Rosalin Sam, Larry Emile, Louis Lougen, Justin Trudeau
release US 9.Aug.24,
UK 20.Sep.24
24/Canada 1h47

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Taking on a topic that's difficult to discuss let alone watch a film about, documentarians Julian Brave NoiseCat and Emily Kassie never flinch from either the facts of the story or the emotions that remain. Intimately shot and beautifully assembled, the film skilfully captures the mix of traditions and modern realities for North America's indigenous peoples. This is a stunner of a documentary; it's urgent, moving and essential.

To "get rid of the Indian problem" in 1894, Canada's government started sending indigenous children to special schools, mostly run by the Catholic Church. Horrific abuse were rife for more than a century, but were almost entirely ignored. Mysterious deaths went uninvestigated and infant bodies disappeared, covered up by politicians, the church and even the families themselves. On the Sugarcane reservation, Julian's father Ed was born in one of these schools, and is reluctant to revisit his experience. Working with local chiefs Rick and Willie, investigators Charlene and Whitney find some unexpected answers.

Julian's grandmother Kye7e recalls how the school forced children to speak English rather than their own languages. Jean remembers young girls having priests' babies that were taken away immediately. Rosalin, told everyone what was going on, but no one listened. Her father beat her, so she ultimately turned to alcohol. Meanwhile, Ed is startled to learn some unthinkable details about his own background.

By so honestly following this story, the filmmakers report the chilling truth while maintaining a balance of earthy emotion in the deeply personal reactions of survivors and their families. Sp when Julian confronts his father about abandoning him as a child, their conversation is intense and brutally frank. Each scene, each discovery, each conversation is revelatory because of the film's internalised approach.

It was never lost on these children that the people preaching to them about sin were the worst offenders, people designated as "guardians of the children's morals". The generational fallout of their evil actions is deeply upsetting to see so painfully remembered on-camera (thankfully without detail). But this truthfulness also has a cathartic effect in their lives. There is no simple solution to these kinds of crimes, but an apology is at least a start.

themes, language 29.Dec.24

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See also: SHADOWS FILM FESTIVAL