Nowhere in Africa (2001)
When I heard about The Home Sweet Home Blogathon, I knew I had to participate. Homes and families have always been such an important theme in films, and it is one of my favourite topics. I previously talked about the meaning of homes in my post “Housing Films: 99 Homes (2014) and House of Sand and Fog (2003)”, and this is another opportunity to focus on families in films, the loyalty that binds them together despite hardships they endure. Directed by Caroline Link, Nowhere in Africa is a German-language film and a winner of the Academy Award for Best Foreign Language Film. It is perfect for this blogathon because it focuses on a family reunion and separation, on familial misunderstandings and hope, as well as on finding home in a new place. It is based on a memoir by Stefanie Zweig that tells of a life of one Jewish family that had to emigrate to Kenya in 1938 because of Nazi persecutions in their native Germany. The family, mother Jettel (Juliane Kohler), father Walter (Merab Ninidze) and their small daughter Regina (Lea Kurka), settle on a farm and soon make friends with their cook Owuor (Sidede Onyulo). They initially have very few ideas of what really lies in store for them on the new soil. This film, which has beautiful production design and a feel of a real life lived daily, is something much more than one’s usual story of a new settler or a story of the WWII told from a perspective of someone living in Africa. The adaptation is a touching tale of a family enduring frightful separations and hopeful reunions through the years, staying true to their family bond despite immense hardships. It is a film about the meaning of home and identity, an important story to tell about the need to welcome and to cherish people’s differences.
Continue reading ““Nowhere in Africa” Review”
The Oscars have again surprised the world, and, this time, thankfully, not because they gave an award to the wrong film. Parasite, a South Korean movie, has officially become the first foreign-language film to win the most prestigious award – Best Picture, a fact that is especially remarkable given that it was also nominated in the Best Foreign Language Film category and won there too. The Oscars have also been overly “white” this year, did not recognise some (more art-house) films and acting which are also deserving of praise and nominations (that acting in “The Lighthouse“!), and, for the year that is supposed to celebrate women in cinema-making and acting, did not acknowledge great acting and films made by women (for example, no women nominees in the category of Best Director). I will only very briefly comment on the 2020 wins in the following categories: Best Picture, Best Actor, Best Actor in the Supporting Role and Best Cinematography.
Continue reading “The Academy Awards 2020: Some Commentary”
Parasite or Gisaengchung is a South Korean dark comedy-thriller from Bong Joon-ho (Okja ((2017)) that won the grandest award at the Cannes Film Festival 2019 – Palme d’Or. I can now happily report that this was a much deserved win and Parasite will be my best film of the year. This film must be seen to be believed – it has been a long time since I enjoyed a movie that much. In Parasite, a Kim family, consisting of a mother, father, daughter and son, is unemployed, poor and living in a basement of one derelict building. Their son, Kim Ki-woo, meets with his old friend and the latter offers him a chance to tutor for awhile one girl of a rich Park family. Kim Ki-woo successfully “infiltrates” the rich Park family, presenting himself as a knowledgeable and strict teacher, and, while doing so, does not forget about his family at home, trying to also secure for them employment positions in the Park family. What follows is the unbelievable chain of events with twists along the way. Director Bong Joon-ho is both subtle and outrageous in his direction and writing, as he tries to satirise a situation whereby two opposite segments of society (the rich and the poor) make a contact that leads to unexpected reactions and a delightful whirlpool of the funny and the macabre. Exquisitely and stylishly presented, Parasite is both darkly hilarious and delightfully shocking, setting a new sky-high standard for black comedy – the style of Bong Joon-ho. Continue reading ““Parasite” Review”
This is my list of five favourite films of 2018, and most of those below I also consider to be the best films of 2018. Please note that I have not yet seen Alfonso Cuarón’s “Roma”, Nadine Labaki’s “Capernaum” or Peter Farrelly’s “Green Book”. There is a big chance I would have equally enjoyed either or all of them.
I. The Favourite (2018)
Yorgos Lanthimos (“The Lobster” (2015), “The Killing of A Sacred Deer” (2017)) is one director who does not shy away from shocking film displays or enigmatic and displeasing film content. This time he is not a screenwriter and is rendering a period drama in his own style. “The Favourite“, which was nominated for 10 Academy Awards, subverts one’s expectations about what a period drama should be, while it also makes one think deeply about the kind of characters that could exist in the world governed through ruthless power and self-interest. The unbelievably powerful performances from three leading ladies (Colman, Weisz and Stone) ensure the film’s high quality, while its unusual, curious camerawork has all the trademarks of its experimentally-minded director. Everything revolves around Queen Anne (Colman) here, and the story just loves to ridicule the excesses and extravagance of the royal court, as well as the fierce competition for one kind of “power” among the ladies closest to the Queen. The film works brilliantly as this exaggerated satire, which sometimes slides into deliciously-morbid and fascinatingly-obsessive character portrayals. I would have preferred the ending to be clearer in its message, but otherwise this film was just great as it is. My score: 9/10
Continue reading “My 5 Favourite Films of 2018”
Modern era and in no particular order:
1. La Haine (Hate) (1995)
Continue reading “My 10 Favourite French-Language Films”