The Secret In Their Eyes * * * * 1/2

Director: Juan José Campanella.
Screenplay: Eduardo Sacheri, Juan José Campanella.
Starring: Ricardo Darin, Soledad Villamil, Guillermo Francella, Pablo Rago, Javier Godino, José Luis Gioia, Carla Quevedo.

The 2010 Academy Awards category for Best Foreign Language film contained some strong contenders with the likes of Jacques Audiard’s “A Prophet” and Michael Haneke’s “The White Ribbon“; two films that could easily have laid claim to the award. However, it was this film that crept up from under their noses and took the Oscar. Whether or nor you pay any credence to the Oscars is neither here nor there as there’s no doubt that this is solid and absorbing filmmaking.

In 1999, retired criminal justice officer Benjamin Esposito (Ricardo Darìn) decides to write a novel about a murder case that he investigated in 1974. He decides to visit his old colleague Irene Hastings (Soledad Villamil) to talk it over. The case had repercussions for everyone involved but Benjamin didn’t realise the direct effect it had on him or his deep, suppressed feelings for Irene.

With a title like “The Secret In Their Eyes“, this film states it’s intentions and stands by them. Director Juan José Campanella lingers long on shots and wisely focuses on the eyes of his performers. For a film that’s predominately dialogue driven, the abundance of close-up’s add another dimension where the eyes speak a thousand words. It’s a great technique that conveys a myriad of hidden meanings in the relationship between the two main characters, Benjamin and Irene. However, this relationship is not entirely apparent from the off-set. It’s only when the film’s layers are revealed that this comes to the surface, as in the meantime you’re too preoccupied with it’s murder-mystery plot developments. This mystery progresses into a manhunt, while taking time to explore the judicial system and political corruption that was rife in Argentina in 1970′s. It’s during this, that Campanella takes advantage of the thriller element in the story, delivery an absolutely astounding and very skilfully handled tracking shot through a football stadium, leading to an impressively assembled chase sequence. Just how they managed to do it is beyond me and needs to be seen to be believed. There are many moments of intensity when it matters (including a nerve-racking elevator moment that’s hard to forget) but it also knows how to ground itself and that’s were the performances come in; Ricardo Darin is a charismatic presence who more than holds your interest with unshakable ideals and a strong moral compass, while Soledad Villamil delivers a strong and reserved show. It’s the chemistry between these two wonderful actors that play a big part in the film’s, effortless, tonal shifts. It’s also not without humour or tragedy which is provided by Guillermo Francella as Benjamin’s alcoholic, but loyal and reliable colleague, Pablo.
Quite simply, it’s easy to see why this film took the Oscar, it’s has a bit of everything; a sharp and involving script that pays great attention to detail; skilful direction; rich cinematography and natural, committed performances.

A complex tapestry about life, love and chances rued, that’s built around the constructs of a thriller. It excels in everything it challenges and that’s exactly where it’s strengths lie.

Mark Walker

Amour * * * * *

Director: Michael Haneke.
Screenplay: Michael Haneke.
Starring: Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert, Alexandre Tharaud, William Shimell, Ramón Agirre, Rita Blanco.

Danish director Bille August was the only director to win back-to-back Palme d’Or awards at the Cannes Film Festival (in 1988 & 1992) with his film’s “Pelle The Conqueror” and “The Best Intentions“. That was, until Austrian director Michael Haneke recently equalled that achievement. His first came in 2009 with “The White Ribbon” and he done it again in 2012 with this deeply emotional and profound film that’s been heralded by many as a masterpiece.

Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva) are couple of retired music teachers who have been married a long time and are now enjoying life in their eighties. One morning at breakfast, Anne displays some unusual behaviour and becomes momentarily distant without any memory of doing so. It’s transpires that she has suffered a stroke which leads to symptoms of dementia. Georges takes on her care but the very close relationship this couple once shared, is put to it’s greatest test.

I’m not one for giving away spoilers but that decision is taken out of my hands straight away by Michael Haneke. He gives us an opening scene of firemen breaking down an apartment door to find the deceased body of an elderly woman lying on her bed with flower arrangements around her. Following this – in bold letters – the seemingly contradictory title of the film is displayed; “Amour” – or the English translation; “Love“. It’s a powerful opening and from the off-set Haneke shows his confidence by delivering the ending at the very beginning. However, it’s the journey up to this point that’s the real story behind this film.
When we are introduced to our protagonists, Georges and Anne, we are given a glimpse into their daily lives and how familiar and comfortable they are in each others company. It’s obvious that they’ve shared a lot of time together but it’s also this sense of realism that packs the real punch, when the health of Anne rapidly deteriorates.
Set, almost entirely, within the couples’ household, Haneke uses the space and setting masterfully. It’s subtly done but on slightly closer inspection you can see that the house is in slight disrepair much like the failing health of this elderly couple. Despite time being against these people in their twilight years, time also seems to slow right down in their home. Haneke builds slowly and refuses to be rushed. He lingers long on shots and reactions and refuses to use any form of a music score to manipulate or force you to feel. What you witness is raw and uncompromising and rarely is such reality and authenticity captured on screen.
This a profound and honest exploration of mortality and the nature of ageing; the loneliness involved and the humiliation and inability to maintain dignity. It’s heartbreaking to witness the deterioration of an individual and the performance of the Oscar nominated, veteran French actress, Emmanuelle Riva is an astounding piece of acting. Trintignant also puts in some very fine work as the loving husband who finds himself out of his depth and his frustration begins to show in his level of care and compassion.
As is normally the case in Haneke’s film’s, all is not plain sailing. There’s a depth and ambiguity involved. The couples’ relationship with their daughter seems distant and strained and there’s a recurring, symbolic, appearance of a pigeon that keeps entering the household. On the surface, it would seem that this film is simply an honest commentary of flailing health and fading memories but it also operates at a depth beyond this.

A deserved Oscar winner for Best Foreign Language Film. This is sensitive, emotional and deeply involving filmmaking which tackles a part of life that’s rarely touched upon. It’s a beautiful piece of work but also the most devastating love story you’re likely to see.

Mark Walker

Goodbye Lenin! * * * * *

Director: Wolfgang Becker.
Screenplay: Wolfgang Becker, Bernd Lichtenberg.
Starring: Daniel Brühl, Katrin Sass, Chulpan Khamatova, Maria Simon, Florian Lukas, Alexander Beyer, Burghart Klaussner.

Directors Lars von Trier from Denmark, Pedro Almodovar from Spain, Michael Haneke from Germany, Guillermo del Toro from Mexico and most recently Tomas Alfredson from Sweden are a handful of director’s from across the globe that have cemented a fervent following worldwide. These are a notable bunch (and there are many others), so why is it then, that after this little gem of a film from 2003 that German director Wolfgang Becker hasn’t made more of name for himself? If this film is anything to go by, he certainly deserves more recognition.

In 1989, East German teenager Alex (Daniel Brühl) feels liberated when the Berlin Wall comes down. His mother, however, is a staunch Communist, who would balk at the thought of westernisation. Just before the collapse of the wall, she has a heart attack and falls into a coma. When she awakens 8 month later and Germany now reunited as a country, Alex along with his older sister are advised by doctors to protect her fragile condition from any form of stress. As a result, they fabricate news bulletins and information to dupe their recuperating mother into believing German reunification never actually happened.

With a music score by Yann Tiersen, who done the wonderful soundtrack to the 2001 French film “Amelie“, you’d be forgiven for having similar feelings to that film while watching this. It’s not just the music that they have in common though. They also share an inventive and highly original approach. This may not contain the fantasy elements of “Amelie” but it’s delivered with such an offbeat creativity that it could hold it’s own against (another notable director) Jean-Pierre Juenet’s aforementioned delight. It has a great mix of humour and pathos with scenes of such tragic sadness combined with a wonderful lightness of touch and sharp observational humour. Despite the title of the film and the political setting of the story, this is essentially a coming-of-tale and less of a commentary on the demise of communism in East Germany. The fall of the Berlin wall serves only as a backdrop to the maturing of the young protagonist. So as not to ostracise his audience writer/director Becker wisely and cleverly, doesn’t side with either East German communism or West German capitalism but instead, skilfully crafts a bittersweet satire and nostalgic tale of life from both sides of the country. He’s also helped immeasurably by two emotionally understated performances from his lead actors; Daniel Bruhl and Katrin Saas.

I was aware of this film when it was released but it should never have taken me as long as it has to get around to viewing it. Now, I’m just glad and hope that others don’t make the same mistake of ignoring this profound and poignant pleasure.

Mark Walker

Amelie * * * * *

Director: Jean-Pierre Juenet.
Screenplay: Guillame Laurant.
Starring: Audrey Tautou, Mathieu Kassovitz, Rufus, Yolande Moreau, Artus de Penguern, Urbain Cancelier, Dominique Pinon, Maurice Benichou, Jamel Debbouze.

Director Jean-Pierre Jeunet’s collaboration with co-writer/director Marc Caro resulted in a couple of marvellous and inventive films in “Delicatessan” and “The City of Lost Children”. Those two had a dark element to them but now that Jeunet has went his own way, “Amelie” shows that he is the one that possesses the lighter side of the duo.

In the heart of Paris, Amelie (Audrey Tautou) brings joy to her friends, secretly sorting out the sad little problems in their lives. But when she discovers a strange photo album belonging to Nino (Mathieu Kassovitz) she realises that she is in love and has problems of her own to sort out.

I struggle to think of a contemporary film that boasts such richness in detail and creative, infectious enthusiasm as ‘Amelie’ does. It’s playfulness, poetry and emotion are rarely touched upon these days in film and director Jean-Pierre Jeunet deserves applause for his uplifting achievements here. It’s also stunningly shot by cinematographer Bruno Delbonnel (inspired by the paintings of Brazilian artist Juarez Machado) lending an artistic look to the highly creative and artistic content. Without being overly elaborate though, it finds its art in the simple things in life, observing people’s individual pleasures and pains. Quite simply, the whole film is a complete joy to behold. The performances are also delightful. As much as I’m an admirer of actress Emily Watson (whom the role of Amelie was originally intended) I’m glad the relatively unknown Audrey Tautou got the part. She is absolutely adorable and captures the essence of this wonderful character perfectly. With flair and originality that’s hard to come by these days, ‘Amelie’ is one of the most beautiful pieces of cinema I have seen and will always be one of my favourites.

The humour; the look; the characters and performances; the delightful and fitting music by Yann Tiersen all culminate into the ultimate feel-good film and confirmation of the creativity and inventiveness of French cinema. A heartwarming modern classic.

Included in My Top Ten films.

Mark Walker

A Town Called Panic * * * * 1/2

Directors: Stephane Aubier, Vincent Patar.
Screenplay: Stephane Aubier, Vincent Patar.
Voices: Stephane Aubier, Bruce Ellison, Benoit Poelvoorde, Jeanne Balibar.

Stop-motion animation still has a place in film today despite the computer generated brilliance of Pixar and Dreamwork etc. “Wallace and Gromit” are still a success and with the arrival of this inventive adventure, it shows that there’s still some mileage left in the old stop-motion style yet.

Papier mache toys Cowboy and Indian’s plan to surprise Horse with a homemade birthday gift backfires when they accidently destroy his house. No sooner have they built a new home only for it to be stolen from beneath their noses by a stealthy and cunning assailant. Strange adventures ensue as the trio travel to the centre of the earth, trek across frozen tundra and discover a parrallel underwater universe where dishonest subaquatic creatures live.

As long as there’s still imagination and creativity in the world, there will still be works of art produced regardless of being at a disadvantage. This little animation is proof that millions of money isn’t necessary to produce something that works. Stop-motion animation is probably the most difficult and painstaking of techniques, making you wonder why they even bother in the first place. Fortunately they do bother and we are treated to this fantastic little gem. It’s basic in it’s setup and characters, with second rate little toys brought to life, injected with hilarity, detail and crammed full of creativity and imagination that it’s hard to resist. An absolutely wonderful little treat and very unlike most animation today. Yes, “Wallace and Gromit” are famous stop-motion characters but they are still miles from this surreal Belgian adventure from Stephane Aubier and Vincent Patar.

It’s a pure joy that will shamefully be overlooked by many and deserves a wider audience for it’s originality alone. Added to which, it unashamedly boasts…”shown in glorious 2D.” Superb!

Mark Walker

The Girl With The Dragon Tattoo * * * * 1/2

Director: Niels Arden Oplev.
Screenplay: Nikolaj Arcel, Rasmus Heisterberg.
Starring: Michael Nyqvist, Noomi Rapace, Lena Endre, Sven-Bertil Taube, Peter Haber, Peter Andersson, Ingvar Hirdwall, Marika Lagercrantz.

Swedish Cinema seems to have hit a new high note of late with the successful adaptations of “Let the Right One In” (as well as it’s American remake “Let Me In”) and now novelist Stieg Larsson’s “Millenium Trilogy” (also remade in America). This is the first of the trilogy and proof that Sweden are delivering top quality material at the moment.

Journalist Mikael Blomkvist (Michael Nyqvist) is hired by aged tycoon Henrik Vanger (Sven-Bertil Taube) to look into the 40 year-old disappearance of a favourite niece. Computer hacker Lisbeth Salander (Noomi Rapace) checks out Mikael as a preliminary to his hiring, and is intrigued by the old mystery. The two investigators team up and find themselves pursuing several serial killers.

Former journalist turned novelist Stieg Larsson’s books were released after his untimely death, to remarkable success. Due to such success, they were always likely to be adapted into films. Well, here is the first and it’s a very faithful adaptation. A tightly structured and gripping whodunnit that takes it’s time in revealing the pieces to it’s elaborate puzzle. This film is in no rush and plays out in a way that respects the audience’s intelligence and patience.
Mikael Blomkvist is an endearing character, the moral male to Lisbeth Salander’s feral female. Both genders acting against type in Stieg Larsson’s misogynist world and both Michael Nyqvist and especially, Noomi Rapace are excellent in their roles. Rapace getting the part of a lifetime as one of the best heroine’s to hit our screens for a very long time. She takes no shit and turns the tables on the depraved men of society, who have nothing more on their minds than abuse and rape. Misogyny is a strong theme throughout. Even reflected in the original title of the film ‘Man Som Hatar Kvinnor’, which literally translates as “Men Who hate Women”. It’s a very dark and graphic film that has an escalating sense of foreboding from the get go. The only gripe I have is that, being a major part of the story, the Vanger family are a little on the underdeveloped side. It can often be confusing as to who is who and when the big reveal is made, it doesn’t quite have the surprise or impact it should. However, this is a minor fault in an otherwise taut and well structured thriller.

Murder mysteries don’t come much better than this. Thoroughly rewarding stuff.

Mark Walker

The Girl Who Played With Fire * * * *

Director: Daniel Alfredson.
Screenplay: Jonas Frykberg.
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre, Peter Andersson, Yohan Kylén, Yasmine Garbi, Paolo Roberto, Georgi Staykov, Mikael Spreitz, Per Oscarsson, Hans-Christian Thulin.

Second installments of a trilogy have a history of being just the midriff of the story. They tend to lack the essential elements of coherence. No real beginning and no real end is the common problem. This has a few snags like that but it’s still a solid enough follow up.

Lisbeth Salander (Noomi Rapace) returns to Sweden, becomes a suspect in three murders and goes on the run. Journalist Mikael Blomkvist (Michael Nyqvist) is sure Lisbeth is innocent, but realises she is being pursued by dangerous criminals who have a connection to her troubled past.

Not as gripping as the first, (which is mainly down to the investigation, it doesn’t have the hook the first one had). What it does have in it’s favour though, is the backstory of Lisbeth. We learn a bit more of her motivation and what her history has done to shape her character. Blomkvist doesn’t really contribute very much this time around, mainly just providing support and keeping the flag flying as a decent male character. This second installment is not afforded the same time as the first. It doesn’t develop the characters or story in the same way and as a result it seems rushed, as if director Daniel Alfredson was eager to get onto the third part. Like all middle segments, it’s stutters. Having a change of director can sometimes be a hindrance also, as is, the lack of any proper conclusion. However, it still grips and a major plus is having Lisbeth as the main focus this time, with Noomi Rapace once again a joy to watch, when handing out her form of tough justice on some unsavoury menfolk.

It was always going to be a hard task to emulate the first part, but the additional interesting characters add much more to the story in terms of Lisbeth’s history, preventing it from being just another mid-section.

Mark Walker

The Girl Who Kicked The Hornet’s Nest * * * *

Director: Daniel Alfredson.
Screenplay: Ulf Ryberg.
Starring: Michael Nyqvist, Noomi Rapace, Lena Endre, Annika Hallin, Jacob Ericksson, Sofia Ledarp, Anders Ahlbom Rosendahl, Mikael Spreitz, Georgi Staykov.

Stieg Larsson’s “Millenium trilogy” draws to a close with this third and final installment and after amassing a collective running time of nearly 7 hours, it still grips like a vice.

Outlaw hacker Lisbeth Salander (Noomi Rapace) awaits trial for attempted murder. Journalist Mikael Blomkvist (Michael Nyqvist) gathers evidence about her tragic past to help her case. A Swedish intelligence agency wants her silenced and her maniacal half-brother (Mikael Spreitz) wants her dead.

What with the mystery of the first installment and the action of the second, now we are given the talky final act. The cover-up of all the past scandals and indescretions and justice handed out in legal forms. Daniel Alfredson once again takes the directorial reins after the Second film. This time though, he’s learned his lesson about pace. It’s not as rushed, preferring instead, the slow investigative pace from the first film. Once again, the hook isn’t as good but the tension builds slowly and assuredly as we learn the eventual fate of Lisbeth. Like the second also, Lisbeth and Blomkvist’s relationship is very distant. They share very little screen time and whenever they do, it is strained and awkward. Blomkvist’s love unrequited. Lisbeth is less active this time. She is mainly bed ridden and displays very little in her communication with everyone around her. This however, proves to be just another master stroke in her battle for survival. On the surface, it seems that Noomi Rapace has less to work with, now that her strong-willed character has been seriously wounded. Nevertheless, when you watch the ever so subtle facial expressions from her, as she tries to remain stoic, you realise how much of a wonderfully reserved performance she puts in. With less dialogue, it’s probably her finest display from all three films. Although this is an altogether more solid narrative than the second, some parts feel rushed and some questions are left unanswered. Still, it’s a very fine trilogy and the characters inhabit a world – although not altogether pleasant – that’s been a gruelling yet rewarding experience.

If the Americans (or director David Fincher to be precise) can capture half of the spirit of these films with his version of the trilogy, then hopefully, mature writing and exstensive filmmaking will become the norm.

Mark Walker

Broken Embraces * * * 1/2

Director: Pedro Almodovar.
Screenplay: Pedro Almodovar.
Starring: Lluis Homar, Penelope Cruz, Blanco Portillo, Jose Luis Gomez, Tamar Novas, Angela Molina.

Director Pedro Almodovar yet again delivers what he does best. Another portrayal of human nature and the complexities of relationships.

Harry Caine (Lluis Homar) is a blind writer who, while being supported with his daily duties, agrees to help a young man with his idea for a book. In the process of helping him, he is forced to look back at his own life. Revealing that 14 years ago, he was in fact, renowned film director ‘Mateo Blanco’, who shared a passionate relationship with his leading actress ‘Lena’ (Penelope Cruz) that put both their lives in danger, and lead to tragedy and Harry’s blindness.

Almodovar returns with his muse, Penelope Cruz and his usual convoluted story arches as well as his eye for beautiful imagery. As ever, his direction is methodical and visually splendid and draws another fine performance from Cruz – who really seems to raise her game when working with him. It’s Lluis Homar who impresses most though. At just over two hours, it demands a level of commitment but, as ever, it’s rewarding. Teasingly, releasing pieces of the story bit by bit and delivering his usual dramatic revelations with ease.

It’s by no means his best but it’s another fine addition to Almodovar’s catalogue of high quality film making.

Mark Walker

Micmacs * * * 1/2

Director: Jean-Pierre Juenet.
Screenplay: Jean-Pierre Juenet, Guillaume Laurant.
Starring: Dany Boon, Andre Dussollier, Domonique Pinon, Nicolas Marie, Jean-Pierre Marielle, Yolande Moreau, Julie Ferrier, Omar Sy, Michel Cremades.

Director Jean-Pierre Juenet certainly has an idiosyncratic style and if your familiar with, and enjoyed, his other films “Delicatessen” and “Amelie” then you will find plenty to enjoy here. As it’s – in his own words – a cross between the two.

Bazil (Dany Boon) is film buff who luckily works as a video store clerk. Unluckily though, he witnesses a shooting one evening which leaves him with a stray bullet lodged in his head. After surviving the incident and learning that the symbol on the bullet is also the same symbol that was on the landmine that killed his father years ago, he sets about to bring down the arms dealers responsible and enlists the help of a group of former circus performers, inventors and all round social misfits to aide his revenge.

Jeunet’s usual visual flair and eccentric oddball characters are ever present as is, his knack for finding art in the every-day. There are very few directors working today with the vision and inventiveness that Juenet consistantly shows (the Coens being notable others). As close as your likely to get to a live-action cartoon, ranging from human cannonballs to a bowl full of wasps dangling precariously above it’s target with an alarm clock ticking, waiting to send it on it’s way. Very inventive and creative throughout but it suffers from being poorly paced and not entirely keeping you engaged and as Juenet would like to claim that it’s a mix of both “Delicatessen” and “Amelie”, it unfortunately lacks the surreal darkness of the former and the beauty and charm of the latter.

However, if you view this on it’s own merit, without comparison, you may well be less critical, as it’s still a fine addition to Juenet’s wonderful work and a very enjoyable and entertaining watch.

Mark Walker