Shadows on the Wall | Arthouse Films

Shadows off the beaten path
Indies, foreign, docs and shorts...

On this page: DAAAAAALI! | HANDLING THE UNDEAD | MY FAVOURITE CAKE

< < F O R E I G N > >

See also: SHADOWS FILM FESTIVAL | Last update 29.Sep.24

Daaaaaalí!
Review by Rich Cline | 4/5

dir-scr Quentin Dupieux
prd Thomas Verhaeghe, Mathieu Verhaeghe
with Anais Demoustier, Edouard Baer, Jonathan Cohen, Gilles Lellouche, Pio Marmai, Didier Flamand, Romain Duris, Agnes Hurstel, Jean-Marie Winling, Marie Bunel, Matthias Girbig, Catherine Schaub-Abkarian
release UK Oct.23 lff,
Fr 7.Feb.24, US 4.Oct.24
23/France 1h17

VENICE FILM FEST

Is it streaming?

Cheeky French filmmaker Quentin Dupieux goes gleefully surreal for this salute to iconic Spanish artist Salvador Dali, who is played by five distinct actors cleverly echoing the same florid persona. Meanwhile, the narrative emerges with a bendy sense of time that finds hilarious insight in the way scenes are inverted and sent in absurd directions. It's a wonderfully enjoyable take on the biopic, deliciously offbeat and cleverly pointed.

Barista-turned-journalist Judith (Demoustier) is nervous and excited about interviewing the larger-than-life Salvador Dali. But he's only interested in a cinematographique profile, so she hires Jerome (Duris) to produce a filmed interview. Even this proves elusive, and when various efforts are met with inconceivable obstacles, Jerome becomes frustrated with her. But while Dali seems just out of reach, Judith never doubts that she can make this happen. Meanwhile, Dali is confronting his talent and age. So of course when she's finally able to speak to him, the resulting portrait is somewhat complicated.

Wherever he goes, Dali brings a swirl of surrealism and a flurry of theatrically trilled Rs. There are also seemingly endless hotel corridors, mind-bending paintings come to life, and vice versa. Amusing anachronisms and sight-gags abound, as sequences playfully unfold using dream logic, circling around to create a range of running jokes and surprise punchlines. Plus a hilariously large number of "and then I woke up" moments and witty false endings.

As Dali at various ages but without any proper chronology, actors Baer, Cohen, Lellouche, Marmai and Flamand deploy wide eyes, deliberate physicality and epic moustaches, deliciously portraying an artist who knows he's great and has little time for reality. This adds a mercurial quality to Dali's interaction with Demoustier's hopeful Judith, an intelligent young woman navigating what feels like a perplexing labyrinth. Meanwhile, Duris brings his own kick as the rather pointless Jerome.

Through all of this, there's a knowing exploration of the fragility of self-image, because both Judith and Dali are pondering how they are seen by others, as if they can control it. Along the way, a question emerges about who is interviewing whom here. And Dupieux also makes some wicked observations about the nature of creation and the monetisation of art. But most engaging of all is the question of who has the final word in any depiction of someone's life.

themes, language, violence 29.Sep.24

Handling the Undead Håndtering av Udøde
Review by Rich Cline | 3.5/5

dir Thea Hvistendahl
scr John Ajvide Lindqvist, Thea Hvistendahl
prd Kristin Emblem, Guri Neby
with Renate Reinsve, Anders Danielsen Lie, Bahar Pars, Bjorn Sundquist, Bente Borsum, Olga Damani, Dennis Ostry Ruud, Inesa Dauksta, Kian Hansen, Jan Hrynkiewicz, Hedda Munthe, Anders Dybwad release US Jan.24 sff, Nor 9.Feb.24, UK Jun.24 sfl
24/Norway 1h37

SUNDANCE FILM FEST

Is it streaming?

A meditation on grief and letting go, this gloomy Scandinavian drama couldn't get much bleaker. And filmmaker Thea Hvistendahl certainly tries. Essentially a zombie arthouse movie, the script isolates three families in their singular experiences, dealing with the death and uncanny resurrection of a loved one. The downbeat tone means that this isn't an easy film to watch, and it holds its nerve by never offering much hope.

In Oslo, Mahler (Sundquist) cares for his daughter Anna (Reinsve), who has been stunned into silence by the death of her young son (Ruud). Meanwhile, aspiring standup David (Danielsen Lie) is shaken when his wife Eva (Pars) dies in a car crash, and even more-so when she kind of wakes up. What does he tell their teen kids (Dauksta and Hansen)? And Tora (Borsum) has just painfully buried her soulmate Elisabet (Damani), who mysteriously turns up in the kitchen. But the deceased don't speak; they move slowly and stare. And they seem to be hungry.

Even the summertime setting is grim, with sudden rain showers and deep shadows. And while there are some blackly humorous elements, the film remains bone dry, with minimal dialog and an overpowering sense of sadness oozing from the pores of these bereft people, complicated by the inexpressive and quietly menacing return of their loved ones. Thankfully the script, which is based on screenwriter Ajvide Lindqvist's novel, doesn't attempt to explain the cause of all of this, other than a freak power cut.

The eerily calm tone is matched by the actors, who move slowly and speak softly with emotions reflecting powerfully in their eyes as they contemplate these awkward reunions. Reinsve establishes Anna's steely resolve in her early silent scenes, then breaks our hearts as she is confronted with the return of her son. And Danielson Lie's emotional resonance is just as strong, as he tries to look out for his children even though he can't fathom what's happening. Both Dauksta and Hansen have strong scenes of their own. While Borsum and Damani deliver a wonderfully near-wordless acting masterclass.

Rather than comment on the notion of mortality, the film instead presents it in all its aching sadness, then allows us to experience a mind-breaking experience with a group of already fragile people. Watching their resilience emerge is compelling, even in the face of some astonishingly awful situations. And it's the power of the living that remains to offer the tiniest glimmer of a future.

themes, language, violence 4.Jun.24

My Favourite Cake
Review by Rich Cline | 4/5

My Favourite Cake
dir-scr Maryam Moghadam, Behtash Sanaeeha
prd Gholamreza Moosavi, Behtash Sanaeeha, Etienne de Ricaud, Peter Krupenin, Christopher Zitterbart
with Lili Farhadpour, Esmaeel Mehrabi, Mansoureh Ilkhani, Soraya Orang, Homa Mottahedin, Mehdi Pilehvari Melika Pazouki, Effat Rasoulinezhad, Mohammad Heidari
release UK 13.Sep.24
24/Iran 1h37

BERLIN FILM FEST

Is it streaming?

Unfolding at a gently authentic pace, this Iranian romantic comedy is charming as it observes the birth of an unexpected relationship. And while much of the film is warm and funny, there's also a bittersweet undercurrent of emotion that becomes stronger in the final act. Filmmakers Maryam Moghadam and Behtash Sanaeeha have a wonderfully observant style, catching telling details in the performances and settings that create strong resonance.

Now 70, retired nurse Mahin (Farhadpour) misses her children and grandchildren, who live outside Iran while she has stayed in the family home. She doesn't see friends as often as she'd like anymore, and when one (Ilkhani) urges her to get back out there, she disrupts her daily routine to meet strangers. In a cafe she overhears that sparky taxi driver Faramarz (Mehrabi) is also single, so she gets him to drive her home, then illicitly invites him in. Their connection is strong, reminiscing about the olden days before the revolution and the morality police.

As Mahin bakes her favourite cake for Faramarz, it's wonderful to see her emerge from her shell, no longer feeling like a lonely old lady. And Faramarz is also delighted by this surprising encounter, having abandoned hope after serving as a soldier and divorcing his wife. Their evening together is cheeky and often hilarious as they indulge in nostalgia while learning things about each other. Shot in lovely long takes, their flirtation is simply adorable.

In the central role, Farhadpour keeps Mahin wonderfully internalised, from her grumpiness someone calling her before noon to her joy at getting dressed up and scandalously putting on makeup. Her feelings ripple across her face, mixed with determination to not let her solitary life get her down. And Ilkhani adds an impish smile as Faramarz, who had quietly given up on any hope of meeting a woman and quickly sees Mahin's depth of character, which brings out his own.

This is a beautiful story of later-in-life love, and the filmmakers also want to remind us where it is set: in a nation controlled by religious dogma that locals don't necessarily believe. At one point, Mahin spots a young woman (Pazouki) being arrested by the morality police because her hair is showing from under her hijab, and without hesitating she leaps to argue with the cop. It's a small scene that carries a strong kick, revealing common feelings between generations of women who know how it feels to maintain dignity while being controlled by men.

strong themes 9.Jul.24

< < F O R E I G N > >
See also: SHADOWS FILM FESTIVAL