"Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles" Review: Nothing Short of a Masterpiece

Written by: Christian Jatar

There is something about watching a person go about their daily routine—in exasperating detail for three hours and twenty minutes, mind you—that presents a weirdly captivating viewing experience. It all feels too real. It is life in all of its mundane afterglow. The warts are front and center, and everything that signals a moment of levity, of calm, is buried under the overwhelming weight of loneliness. This is what makes Chantal Akerman’s feminist classic so special. It cleverly submerges you into the laborious day-to-day of a widow, just so you can recognize how burdensome it all is.  Watching her just exist in this perfectly organized routine only for it to gradually fall apart, is nothing short of impactful. It is the kind of film that lodges itself in your brain, signaling a deeper understanding of what it means to be a mother, a wife, a partner, a woman. 

The film develops at a glacial pace, focusing mostly on the little things that make Jeanne’s day. Each action, be it the brewing of coffee, the brushing of hair, the cleaning of dishes, is left unedited. If it takes Jeanne five minutes to set the table, then as an audience, we will experience those five minutes in their entirety. Yes, it can become quite tedious, boring even. But that is the point. It is supposed to be boring because daily routines are boring. There is nothing wrong with that. It is just a fact of life we sometimes knowingly overlook. Especially when it does not affect us directly. We sometimes take for granted the sacrifices our mothers make for our wellbeing. No matter how big or small, these sacrifices take a toll on them. They might be physically arduous or psychologically taxing. They could even be life-defining. And all they want from us is to acknowledge them. To tell them thanks, to offer a helping hand, to hug and adore them, “Everything you’ve done for us, matters. You are loved.”

Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975)

In the constant clusterfuck that is life, we sometimes let go of the things we take for granted. We forget that waking up and having someone take care of your every need, without asking for anything in return, is a blessing. We forget that love is rare, and the devoted love of a caring mother is even rarer. We forget that life is a series of decisions, of seemingly innocuous moments, that lead to small poignant events. We forget that without women, we are nothing. In the film, Jeanne might eventually decide on giving in to a violent impulse, but in context, it feels wholly justified. She has done everything for everyone she cares about. She has forgone her own wellbeing. She has held on to her routine as a purposeful distraction for so long, that when it begins to implode, it is as if the world has ended. The world has ended and no one cares. 

This is one of the most challenging films I have ever had the pleasure of watching. It was grueling in its length and beyond frustrating in its commitment to showing the mundanity of it all, but goddamn, I will never forget it. It is one of those movies that once you have seen it, you will never be able to shake it. It stays with you, it transforms your perception of what you think is acceptable in this modern world. It makes you truly understand the godlike nature of women. I love you mom, I am calling you right now, just let me wrap this up. If you are willing to give in to the hypnotic trance of Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975), then do so with the understanding that it is a tough pill to swallow.  It will take a toll on you. It will wear you down. But after all that, you will come out devising all sorts of plans to show that person who cares for you, just how much you appreciate their zen-like devotion to your health, happiness, comfort, safety, success. Now if you will excuse me, I have a call to make.

5/5

A Short Analysis of Alex Cameron's Flawed Characters

Written by: Christian Jatar

I might be stating the obvious here, but I feel like deeply flawed characters are some of the most interesting subjects to dissect. There’s something about their indisputable wrongness that makes them so incredibly human. They make mistakes and fail to learn from them, but that doesn’t mean you don’t stand to learn something from their experiences. They live and breathe in ways that their more sanitized, temperate counterparts rarely ever do. Granted, their flaws might sometimes lead to some borderline psychotic, antisocial, or generally harmful behaviors. But there’s still something about how they willfully make the wrong choices that leads to some very interesting learning experiences as an audience. A learning experience that allows us to empathize with people we’d normally never even think about.

In the vast universe that is filmmaking, there’s an obvious choice when thinking of a director who faithfully portrays such characters with a careful degree of empathy: Martin Scorsese. From Travis Bickel in “Taxi Driver” to Jordan Belfort in “The Wolf of Wall Street,” his protagonists all walk a fine line between being unbearably human in their decision-making and truly sociopathic in their actions. Again, and I hate to belabor this point, but the bottom-line is that they’re human. And that undeniable fact is what makes these artistic representations such dark, uncomfortable mirrors for us to ponder upon; for us to learn from.

Alex Cameron by Chris Rhodes

In music, this type of character is rarely the focus of a song. Maybe in some Metal, Hardcore, Punk, or Frank Zappa (yes, I consider him a genre), but never, ever, in the same space as such silky-smooth production like that of Alex Cameron’s discography. This guy understands that sometimes you need to use vibrant, stunning colors to grab people’s attention before hitting them in the head with some cold, hard facts. If that doesn’t make sense, let me elaborate.

Any Alex Cameron song (especially from his last two records, “Forced Witness” and “Miami Memory”) is produced and arranged to stunning results. Saxophones sound as vibrant and heavenly as humanly possible, and every melody is infused with such skill and precision you could be forgiven for thinking you were listening to some long lost David Bowie record. The catch is, that every character in these songs is either a proud idiot, a toxic-bro, a stalker, or some other form of a, let’s say, complicated individual. He invites you into his fun, approachable world, only to then show you the reality of the people that inhabit it. This, believe it or not, makes for some deep, funny, irreverent observations on human nature. Especially if you enjoy some pitch-black comedy and genius, off-the-wall lyricism.

There’s a song on “Forced Witness” about a man who’s cheating on his lover with someone he met online. He’s never seen this person outside of pictures she sends him (of “her eyes,” mind you), but that doesn’t stop him from sending a few dollars her way. He’s obviously being scammed, but he can’t help himself. He’s getting some much-needed attention, and that’s more than enough for his feeble ego. As the song progresses, he starts to realize that maybe he’s not actually talking to a woman, maybe it’s “a Nigerian guy,” but this still doesn’t dissuade him from continuing with this “affair.” Attention is one hell of a drug.

“Yeah there’s this woman on the Internet

Even if she’s some Nigerian guy

Yeah well you should read the poetry he speaks to me

I don’t care if they’re just beautiful lies

(Gonna love him with these beautiful lies)”

— Alex Cameron, “True Lies”

Another song, “Gaslight” from the stellar “Miami Memory,” paints a vivid picture of those insecure souls who unabashedly, you guessed it, gaslight their partners into dependent behaviors out of fear of losing them. What makes this song so interesting is how Alex frames it. It sounds like your typical love-song straight out of the 70s until you inevitably realize that the chorus isn’t exactly something you want to sing at the top of your lungs. The narrator talks about his partner “acting crazy” and that she should “hear [him] out” because he’s a “nice guy,” and ends his poisonous statement with a horrifying “in the night, use my gaslight.” Again, the true genius of what Alex does here is how he skillfully hides, in plain sight, such an uncomfortable take on a very toxic individual by simply surrounding it with some gorgeous, grooving production. This results in a very darkly comedic listening-experience. You find yourself joyously humming the melody and as you begin to focus on the lyrics, it hits you: “Holy crap, this person is horrible.” You might consider this some kind of bait-and-switch, but I consider it the perfect way of bringing important, necessary conversations into the fold. Gaslighting is a very real thing, and I don’t feel like people take it seriously enough. By falling into Alex Cameron’s trick, you end up listening to a story you might normally avoid, and in turn, you learn something new. You, if all goes well, end up empathizing with the situation that’s being portrayed in the song. And that’s one hell of a trick.

“Baby talk to me, you’ve been acting strange

I can see in your eye that there’s something wrong

And these texts are all crazy, I’m not surprised

’Cause I’ve seen it before

Don’t go lying now, baby your dates are all hazy

Hear me out, I’m a nice guy

In the night, use my gaslight”

— Alex Cameron, "Gaslight"

“Far From Born Again” delves into the subject of sex-workers and proves to be a scathing takedown on those who judge them. “Marlon Brando” is about toxic masculinity and how it brings out the worst in us. “Candy May” is about a porn-obsessed, lonesome man who is creepily infatuated with the titular character who sees him as a pathetic outcast. And so on…. Every single song, every single line is filled with some level of understanding. He is well aware that these people are far from being perfect, but aren’t we all a little imperfect? What makes Alex Cameron so special is that he’s more than willing to talk about anything or anyone. He wants to be as objective as possible towards every person, every character. And we, as an audience, stand to gain so much from such an ingenious type of artist. An artist that is willing to delve into the darkest depths of our collective psyche to mine some much needed empathy.

It also doesn’t hurt that he’s one hell of a lyricist and a fitting provocateur in an age of sterilized pop. I’m gonna wrap this up by saying: Give Alex a shot. Best-case scenario, you’ll laugh and learn. Worst-case scenario, you’ll be disgusted and learn. Either way, you’ll come out as a more knowledgeable empathetic person. Besides, what else are you gonna do with your spare time? Listen to Bieber’s “Yummy”? No, we both know you won’t.

"Midsommar" Review: All Hail the May Queen

Written by: Christian Jatar

Relationships are hard. Sometimes you can’t agree on a restaurant, and sometimes your feelings differ after watching an elderly couple throw themselves off a cliff towards their gory demise. Sometimes you can’t pick a movie, and sometimes your better half gets involved in a messed-up sexual ritual where a crowd of women moans with you while an old lady uses her hands to thrust your ass back and forth. Ari Aster’s “Midsommar” is a unique, unbearably disturbing, sometimes nervous-laugh-inducing psychological horror movie that deserves all of your attention... and sleepless nights.

Saying that the movie starts off strong is much more than an understatement. The opening minutes are gripping and intense. After its perfect tone-setter of an introduction, we learn about the unstable couple at the center of the drama. Dani (Florence Pugh) and Christian (Jack Reynor) are going through a rough patch in their relationship. Dani recently lost her entire family in a spine-chilling murder-suicide, and Christian doesn’t know how to adequately deal with her overwhelming pain. It’s immediately established that this relationship, even before said tragedy, was already a mess. She’d heavily rely on him, disregarding any red flags, and he would just string her along, feeling unable to make a choice between staying in the relationship out of some sort of misguided obligation, or leaving and facing the possibility that she might have been the one. A grieving Dani eventually finds out that Christian and his pals are planning a trip to Sweden, a trip she is later invited to out of forced obligation. Pelle (Vilhelm Blomgren), a friend and classmate, has invited them to his hometown’s midsummer festival. A guaranteed good time, filled with warmness, empathy, beautiful people, strange traditions and all sorts of psychedelic drugs. Or so they thought. 

“Midsommar” (2019)

One of Christian’s buddies decides to travel to this remote Swedish town out of genuine interest in researching a new, different culture (they’re all anthropology majors after all), and another just goes along in an effort to possibly, maybe find a beautiful, blonde sexual partner. Jack (William Jackson Harper) is the one who’s eager to learn, and Mark (Will Poulter) is the one who just wants to satiate his annoying libido. Christian falls somewhere in between the two extremes. He has yet to decide on a subject for his senior thesis so, who knows, the trip might help with that decision. But at the same time, he seems more than willing to sabotage his relationship with a one-night stand. Dani decides to go along because she doesn’t want to be alone, and Christian reluctantly brings her along because he’s well aware that leaving her behind would make him look like the biggest asshole on earth. 

They arrive at this idyllic location, and for a moment, it seems like everything is going to be just fine. The impossibly green grass and stunning blue sky immediately lull the characters (and the audience) into a false sense of security. It’s not often we get horror movies that take place in the bright, sunny day rather than the stereotypical dark, shadowy night. This is the film’s greatest accomplishment: Creating unforgettable, unsettling imagery in the most comfortable settings. 

The movie takes its time to carefully construct the mythology of the place. Its world-building and the way it slowly drags you into it is, quite honestly, the scariest thing about it. For a moment, you really want to visit the rural town. You want to inhabit the characters. And it is in this complete sense of immersion that it firmly burrows its way into your every thought. When the horror of it all ultimately shows its true face, it feels like a gut-punch in all the best ways.

“Midsommar” (2019)

As the movie serves one nauseating set-piece after another, we get to fully witness the downfall of Dani and Christian’s toxic relationship. The true, honest-to-god feelings they have for one another slowly bubble up, and, as it turns out, none of them are good. While the townsfolk begin to seem more and more like a cult, Dani and Christian’s relationship begins to seem more and more like a lie. A lie propped up by a genuine inability to communicate; To be honest; To be fair and cautious of each other’s feelings. The cult (AKA, townsfolk), on the other hand, are much more understanding and empathetic towards everyone’s feelings, especially Dani’s.

This becomes increasingly apparent in one specific scene towards the end. It’s important to note that earlier in the film, there’s a moment when Dani shies away from her group, from her boyfriend, to cry alone, isolated from it all. She’s carrying the whole weight of her grief. Approaching the climax, she tries to do the same, but the cult doesn’t let her. They follow her, and as she starts to intensely wail away, they mimic the same reaction. They feel what she feels; They share the pain. This scene is key to what makes “Midsommar” really tick: It’s a film about searching for empathy in the wrong people. Dani is looking for something that Christian simply can’t provide, and this pointless pursuit is what keeps their problematic relationship going.

“Midsommar” (2019)

The film hits an insane fever-pitch with its blood-curdling finale. A shocking juxtaposition of its fairy-tale-like aesthetic and some truly horrifying visuals with music that seemingly crescendoes ad infinitum perfectly brings to life Dani’s complete reformation as a character. She finally comes to terms with the fact that she deserves better. Sure, this comes with the caveat that she basically joined a cult that might have murdered a person or two, but at least they’re willing to share the pain. A pain which Christian would just pathetically avoid in an effort to never fully internalize the responsibility inherent to any loving relationship: To be fully empathetic with those you say you love.

Ari Aster burst onto the scene with “Hereditary,” a complex, deeply layered family drama with a tinge of classic horror. Now, with “Midsommar,” Aster has proven himself a true master of the genre. He has brought before us an absolute masterpiece that deserves all the praise it got and will get in the foreseeable future. This is destined to be a horror classic, not only for its disturbing nature but for its earnest, nuanced take on a complex toxic relationship. So, the next time you’re thinking of going to a festival in the middle of nowhere sponsored by a culture unknown to any anthropology major, maybe, think twice? Put the little flower crown back in its box? Cool.

5/5

"Joker" Review: Joaquin Phoenix Shines in Drab and Confused Take on the Iconic Villain

Written by: Christian Jatar

There’s a scene in “Joker” that you’ve probably seen many, many times by now. It’s featured in different trailers and TV spots and has, quite predictably, made its way into meme culture. It’s that scene where he dances in a very odd manner down an unusually long set of stairs. He is covered in his iconic makeup; He is wearing his bright red suit, and his moves are different, to say the least. He seems liberated, in a disturbing kind of way. The creepy strings and loud crashes of percussion that score all these previews bring his damaged interiority clearly to light: He has descended into madness, and he is sadly enjoying every second of it. In the movie, though, the scene is flipped on its head. In an act of baffling incompetence, writer/director, Todd Phillips, decides to use Gary Glitter’s “Rock and Roll Part 2,” a song that is most commonly associated with a football team entering the field for one last glorious hoorah, or the bros all back together and ready to party like there is no tomorrow. The scene, which in trailers was quite horrifying, is now a confused little piece of seemingly triumphant character development: The joker has descended into madness, but is it a bad thing that he’s enjoying it?  This kind of unfortunate decision is what, in the end, best characterizes “Joker.” A series of bad decisions by an immature, wholly irresponsible director who has no idea how to tackle such an iconic villainous character with any sort of subtlety.

Joaquin Phoenix plays Arthur Fleck in what’s surely the third-best performance of his career (Freddie Quell at number one, and Doc Sportello at number two. Fight me). He’s a lonely, repressed white-male desperately trying to live a happy life in a society that always finds a way to knock him down (At times, quite literally). He works as a hired-clown, but his dream is to bring laughter to the world as a stand-up comic. Arthur lives with his mom in a run-down apartment. She’s his only true friend and the last beacon of hope in what he views as a world ruled by chaos. He suffers from a condition referred to as “pseudobulbar affect,” which makes him laugh uncontrollably during the most unfortunate situations. When he laughs, he feels pain. As if every “haha” carries with it a small dagger that tears his insides apart. He keeps a laminated card in his pocket that explains his condition. He uses it when the hurtful laughter impedes him from talking. It genuinely makes you feel for the guy. He’s hurting, and no one cares. It’s by far the most compelling aspect of the entire film. Sadly, it is so overused, so obviously relied upon to generate empathy, that it ends up losing its emotional pull by the end.

“Joker” (2019)

The most egregious mistake the movie commits is confusing “dark” with “interesting.” It thinks that by just being aesthetically gloomy, that’s somehow enough to garner a serious and thoughtful meditation of its character. The meandering script never says anything interesting about its chosen theme of mental health and how the system fails all of those who lack the means to afford much-needed help. It dedicates all of two scenes to this subject and then, predictably enough, spends most of its runtime going over a ridiculous, burned-out comic-book subplot. And worst of all, even when it’s staying true to its comic-book roots, it still manages to rob The Joker of one of his most entertaining characteristics: His theatricality.  He’s always been a villain well aware of the expectations set by his name. He has fun with the macabre, and it shows. He is twisted but always up for a dumb one-liner or a needlessly mean punch-line: He’s a joker who’s gone off the deep end. In Todd Phillips’ interpretation of the character, he’s just sad and lonely. He never enjoys anything, and when he does, it’s just plain concerning: He’s a joker who’s never known anything but the deep end. It betrays the character in order to appear more serious, more lifelike. As a result, the movie spends its entire length locked in a constant tug-of-war between its two very distinct sides: The “Taxi Driver” character-study it so desperately wants to be, and the comic-book origin story it needs to be to attract a big, box-office friendly crowd. It ends up failing on both fronts. The character-study is vacuous and as deep as a kids’ pool and the typical origin story is as entertaining as watching cement dry on a cold winter night. 

It does have one other redeeming quality besides Joaquin’s wasted performance: Lawrence Sher’s cinematography. He does his absolute best to elevate the script, and Phillips’ admittedly, uninteresting direction, with outstanding camera-work and despondently beautiful use of light and color. He single-handedly makes the movie all that more serious and, dare I say, art-house friendly. The most impressive scene in the entire film is one that, funny enough, was completely improvised by both Joaquin and Lawrence. It involves Arthur dancing his worries away in a ruined bathroom. Lights are flickering, the color tone is an appropriate disgusting green, and the camera sways and careens around as disoriented as Fleck is in the moment. It generates unease like no other moment in the movie. It’s earned and it’s special. Unfortunately, this is the only truly interesting moment in a film bursting at the seams with mediocre filmmaking, mostly because of Phillips' inability to take risks. He’s just too damn comfortable being derivative of other, better movies.

“Joker” (2019)

Now onto the real reason, people are flocking to theaters: The controversy. Is the film dangerous? Well, I can’t say for sure. I think it’s childish, overlong and, above all, tactless. I think it doesn’t do a good job of communicating its message. It’s purposely muddled in an attempt to be “high-minded” and that ends up complicating its thematic nature. This is not to say I think it’s high-minded. In fact, quite the opposite. But it really likes to think it is. The fact of the matter is, it’s two hours of watching a man go insane because of “society” and then not suffering any sort of consequence. He acts violently, gets everything he’s been looking for and doesn’t pay for his horrid deeds. I think it invites more people to follow in his steps rather than denounce him. Is it going to cause something horrible? I hope not. But I simply don’t like the ease with which it empathizes with its character, literally, every step of his sad, broken journey. It doesn’t depict him as a villain, it makes him look like a martyr. A martyr for a cause rooted in one of the most human needs: Attention. And who doesn’t want attention?

“Joker” might be a lot of things but thoughtful meditation on mental health, it is not. It’s missing the depth and nuance required to accurately portray its mentally ill character. It’s simply not interested in fully acknowledging the intricacies of Arthur Fleck. It just glosses over them, like crossing off a set of bullet-points and then proceeds to blame it on society. The film might think that it’s a dark tale of injustice and moral vacancy, but it betrays that thinking with a weak script and aimless direction. At its best, it’s a simple, joyless, by-the-numbers wet dream for any idolizing fan who just wanted to see the Joker do something twisted and cool while being edgy and R-rated. At its worst, it’s an immature, irresponsible character study of a man who gets what he wants, but only when he fully throws himself into murder and chaos.

2/5

"Once Upon a Time... In Hollywood" Review: A Time Machine of a Movie

Written by: Christian Jatar

In the interest of full-disclosure, I’ll admit I saw this movie three times already. I love it so, so much. I could have gone a fourth time if not for my dwindling bank account, and my human need to, you know, eat food. It’s just so effective in its world-building, in its characterization that it begs to be seen multiple times, as big and loud as possible. During its runtime of two hours and some forty-odd minutes, it manages to build up a vision of 1969, Hollywood, in such a nuanced manner you could swear that you just stepped into a time machine and are now living among the stars. It’s that good. 

The movie follows the day-to-day of Rick Dalton (Leonardo DiCaprio) and Cliff Booth (Brad Pitt) as they traverse the rapidly evolving landscape that was Hollywood, 1969. Rick is an actor who’s going through the decline of a once truly prospective career. He was the former star of an extremely successful TV show called “Bounty Law,” where he played the titular bounty hunter, Jake Cahill. One of the shiniest gems in this treasure chest of a movie is the opening. We get to watch a few minutes of “Bounty Law” in action, and it’s as faithful a recreation of that era of TV as you can probably imagine coming from cinema’s (and TV’s) number one biggest fan, Quentin Tarantino. After Jake Cahill reaches the end of his character arc and is swiftly cancelled, which in reality is stemmed from Rick’s inherent need for bigger more career-defining roles, he hits a wall and slowly realizes that his best years might be behind him. Leonardo is stellar as the aging, sensible actor. He is vulnerable, introspective, and in one particular scene, very dangerous. 

Cliff is Rick’s stunt double and, more importantly, his best friend. They bonded after filming several episodes of “Bounty Law” and express a very genuine fondness for each other. Cliff, as he states in the film, is Rick's gofer. He fixes stuff. He drives Rick around. Plain and simple, he’s the errand boy. You see, Cliff is unemployed. The stunt-double gig has seen better days. So Rick keeps him around, pays him a decent wage, and whenever possible, shares a drink or two. Their chemistry is palpable, especially in a very sweet scene where they both watch an episode of “FBI” in which Dalton is starring as the big baddie. They comment on the show as they enjoy it and make snappy remarks that feel entirely too real. It really is a bromance for the ages. 

“Once Upon a Time… In Hollywood” (2019)

Back to Cliff, though. He’s a complex and incredibly problematic character. He may or may not have done something truly horrific some years back that, worryingly, only seems to haunt his work opportunities; Conscious unscathed. But the way Brad plays him just makes him so endearing and effortlessly cool, it ends up being hard not to root for the guy. This might honestly be one of the most memorable performances of Pitt’s career. He’s not playing Cliff Booth. He is Cliff Booth. 

Sharon Tate (Margot Robbie), who’s essentially the beating heart of the film, may not have as much screen-time as her cohorts, but what she lacks in minutes she makes up in downright impact. She’s Rick’s neighbor on Cielo Drive and the vessel with which Tarantino injects some added suspense to the entire proceedings. If you know of her, then you know her tragic story. You know that she was taken from this world far too young and under truly horrifying circumstances. So horrifying and quite seriously single-handedly changed America forever. This knowingness is always in the back of your head as the movie confidently makes its way towards its conclusion. Much like Tarantino explained in a Today Show interview some months ago: the film always has this feeling of there being an iceberg on the horizon and the sense of dread knowing that the path leads straight to it is palpable all the way through to its fully unexpected finale. Margot plays Sharon with grace. She’s an angel that blesses every single scene in the movie. She dances; she listens to music; she buys books; she snores; she giddily observes herself on the silver screen: Her dreams coming to fruition. The most important, tender quality of “Once Upon a Time… In Hollywood” is seeing Sharon, in the simplest of terms, just live her life. It’s a loving, timeless portrayal of an actress who deserves to be remembered for much more than just her untimely demise. Quentin unquestionably does everything in his power to make it right. And boy, is it a sight to behold.

“Once Upon a Time… In Hollywood” (2019)

The film, unsurprisingly but fittingly so, boasts one of the most impressive soundtracks of the year. The sheer diversity and obscure song selection on display is mesmerizing. Tarantino even goes as far as to include archival radio jingles that blow most of today’s Billboard Top 100 out of the water. The use of “Out of Time” by The Rolling Stones is a perfect example of this meticulous use of music. The song, with its all too real lyrics, set to the backdrop of different neon signs lighting up on Hollywood Boulevard as the climax veers its ugly head, is the pure definition of an iconic scene. It generates a very tangible sense of nostalgia. Of a time long-past but never forgotten. It’s in the use of music and outstanding production design that Tarantino and company fully sell their honest-to-god appreciation for such a colorful, yet turbulent time in U.S. history. And none of it would really work without cinematographer Robert Richardson firing on all cylinders. Each and every single shot is beautifully brought to life. It really sells the vision of the ‘60s in a way few movies can. 

There is one scene in particular that most benefits from the unique qualities of the huge silver screen. In it, Cliff is heading back home after dropping Rick back at his place. He leaves his boss's car behind and finally enjoys the freedom of driving is own beat-up Volkswagen. In the hands of literally any other director, this could have been a simple transitional moment. One or two shots of him driving and then cut to Booth opening the door to his trailer home. But, no. Tarantino wants to revel in the moment. He wants the audience to feel like they are driving back home with renowned stuntman Cliff Booth. We get multiple highly stylized shots of him driving to the tune of three or four different rock songs blasting on the radio. We see cars fly by as Cliff displays his prowess behind the wheel through the busy streets of LA. The sound of the 1964 Volkswagen Karmann Ghia overwhelming the senses. It is, by al means, a simple scene. But the sound design, the shot selection and the sheer amount of colors popping on every inch of the frame, elevates the entire sequence to a much more special plane of existence: “You just took a ride with Cliff Booth, man! Right on!” 

When all is said and done, the film doesn’t really have a plot, but that’s the point. It’s not interested in entangling you into an elaborate tale of murder and horror. It wants you to lose yourself for a moment and give in to the fantasy of a Hollywood of old, a former America. It wants you to consider for a moment what it would have been like to live in 1969 in the city of stars. Where tensions were slowly getting higher and higher and people were also pretty high. It wants you to step into its time-machine, and just take it all in. Tarantino may still have one last movie before retiring, but it’s hard to imagine a more fitting conclusion to such a consistently remarkable career. You have probably heard this one before, but this is a love letter to Hollywood, through and through. And in being so, it’s also a love letter to every single person who treasures the movie-going experience. So, if you have you to watch it, do yourself a favor and run to your nearest theater. Now, where did I leave that acid-laced cigarette?

5/5

The Mala Noche Recommends: “Where Chaos Reigns,” an Uncompromising Look at the Venezuelan Humanitarian Crisis and the Anti-Government Protests of 2017

Written by: Miguel Torrellas

In the spirit of full transparency, I will disclose the fact that I know some of the people who made this documentary. My response to it might be affected by my proximity to the subject at hand and the people examining it. But I doubt that any compassionate person will be able to watch “Where Chaos Reigns” without some form of visceral or emotional reaction and a desire to answer its urgent call to action.

It is impossible to cram over 15 years of Venezuelan social and political unrest in a ten-minute piece. Instead, directors Braulio Jatar and Anais Michel chose to focus on one of its most gruesome parts, the anti-government Protests of 2017, through the eyes of the Green Cross, an organization of doctors and medical students that assists anyone afflicted during the conflict.

Narrated by Daniella Liendo Bouquet, one of the directors of the Green Cross, the film features the unnerving scenes of repression and violence in contrast with her humanitarian mission. In one of the earliest scenes, we see the team of medical professionals saying a prayer before entering the urban battlefield, and the moments of brutality that arrive later prove how necessary this is. By framing the story through Bouquet’s experience, the documentary allows for a somewhat hopeful and active voice to provide context and guide us through an endless cycle of pain.

“Where Chaos Reigns” (2019)

The draining nature of their plight and that of everyone involved in the struggle is evoked with a selection of instrumental pieces by French musician Monplaisir. The songs may feel meditative at times, bringing a subdued moment of reflection while also producing a disheartening repetition. At the most horrendous segments, the dissonance of the music increases as the veneer of civilization falls apart.

While the music is certainly entrancing, it is the unprecedented on-site footage captured by Jatar what commands the attention of the viewer. Displays of panic and bravery abound almost as much as tear-gas grenades and Molotov cocktails. The menacing presence of the policing bodies is threatening, but the glimpses into the Green Cross’ work are almost unbearable to watch. Fueled by the weight of history, these images channel the agony and passion of its subjects.

“Where Chaos Reigns” (2018)

Because of this, it’s not hard to see to see the value of “Where Chaos Reigns” as a text worthy of examination in the effort to understand the convoluted analysis of contemporary Venezuela. There’s no doubt of the filmmakers’ profound sympathy for the cause of the protesters, but because of their commitment to the story of the Green Cross, they have managed to avoid the issues that come with editorialization. Instead, by soberingly present the facts of the ongoing humanitarian crisis and the evident madness of 2017, they crafted the fiercest of attacks to the oppressing regime, one that is as eloquent as it is undeniable.

Among all of the misinformation surrounding the country’s political turmoil, it is heartening to see such a well-thought-out project cut through all of the clouds of confusion with a clear moral plea: Venezuela needs help.  

Watch Ezra Koenig Make Pancakes in New Music Video for Vampire Weekend’s “Harmony Hall”

Written by: Miguel Torrellas

In anticipation of the release of their fourth album “Father Of The Bride,” Vampire Weekend has dropped the music video for the amazing single “Harmony Hall.” Directed by Emmett Malloy, who previously collaborated with the band in videos for songs such as “Holiday” as well as “Giving Up the Gun,” the short film is a celebration of all of the tropes found in a production from the ‘90s.

With front man Ezra Koenig fixing up some pancakes with a spirograph, the video features everything from the decade, including the vintage clothes, the candlelit ballad, and, of course, the slow-motion dance-off. All of this makes for a playful send off to a not-so-far-away period that continues the food-and-feast theme found in previous Vampire Weekend videos such as “Diane Young” from their last album “Modern Vampires of the City.”

Also worth noting is the presence of a green reptile that references the lyric “Wicked snakes inside a place you thought was dignified” as well as the cameos from actor/director Jonah Hill, music producer Ariel Rechtshaid, and Blood Orange’s Dev Hynes.

As the wait for “Father Of The Bride” keeps going, we can only hope for more singles in the coming weeks as promised by Koenig. In the meantime, watch the video below and leave us your thoughts in the comments.  

“Veep,” HBO's Best Comedy, Returns for a Seventh and Final Season in New Trailer

Written by: Miguel Torrellas

After dominating the “Outstanding Lead Actress in a Comedy Series” category at the Primetime Emmy Awards for the better part of the last decade, the wonderful Julia Louis-Dreyfus returns as Selina Meyer for one last time.  

“Veep,” Armando Iannucci’s American baby that started as an adaptation of his own beloved take on the British Parliament “The Thick of It,” is undoubtedly one of the funniest shows on HBO as well as one of the network’s sharpest political satires. With six successful seasons under its belt, it is hard to think of a world without the series’ virtuoso dispatch of insults and continuous ballet of incompetence to help us survive our own dumpster-fire reality.

Nonetheless, we’ll be treated to a final batch of ten episodes about Selina’s second shot at the presidency as well as Jonah Ryan’s own misguided campaign for the top job. With showrunner David Mandel, who took over after Iannucci decided to leave at the end of season four, the show has gone into higher spectacles and even more experimental episodes like the season five’s excellent “Kissing Your Sister,” so we are confident that audiences will receive a bombastic and appropriate conclusion for this saga of governmental idiocy.

Watch the trailer for the seventh and final season of “Veep” bellow and leave us your thoughts in the comments.

Taika Waititi’s “What We Do in the Shadows” Returns as a Wickedly Silly Series for Fx

Written by: Miguel Torrellas

Back in 2014, New Zealand gave us one of the most original and hilarious comedies in years with “What We Do in the Shadows.” Written and directed by Jemaine Clement and Taika Waititi, the film offered a look into the dark world of vampirism and cohabitation that brought fresh new blood to the often overused mockumentary style. And since we couldn’t get enough of such a unique premise, the whole thing has been adapted into an FX series.

Set to premiere on March 27 of this year, the show features an excellent cast that includes “Toast of London’s” Matt Berry, Kayvan Novak, Natasia Demetriou, and Harvey Guillen. In addition to this, “The Shape of Water’s” Doug Jones and the wonderful Mark Proksch will make appearances.

While it’s always healthy to keep a reasonable doubt about a project translated from the big to the small screen, we can find comfort knowing that the same creative duo of Clement and Waititi is writing and producing the show. The original film has all the elements as well as all the charm to become a cult classic, so if the series manages to bring a tenth of the movie’s magic, we are in for a treat.

Watch the trailer below and let us know what you think in the comments.

Chucky Is Back in First Trailer for the Highly Anticipated "Child's Play" Reboot

Written by: Christian Jatar

The most notorious doll in all of cinema history is back in new “Child’s Play” trailer. Starring Aubrey Plaza (“Parks and Rec”), Brian Tyree Henry (“Atlanta”, “Widows”) and Gabriel Bateman, this horror remake aims to bring back the horror shenanigans of Chucky, the red-headed doll from hell (well, possessed, but you know, same difference). It’s produced by the same people who brought you 2017’s “It”, so here’s to hoping it’s in the same level of pure awesome, gory fun. Look for it in cinemas on June 21st and be sure to check out the trailer below:

The wait is over, your best friend has arrived. From the producers of IT comes Child's Play, in theaters June 21. #ChildsPlayMovie

For Your Listening Pleasure: Ariana Grande, LCD Soundsystem, Panda Bear, Xiu Xiu, and More

Written by: Christian Jatar

We got another FYLP for Y'all! Yes, it’s been a (internet-less) couple of weeks, but, guys, there were rarely any albums worth talking about, so really, don’t worry about it.

thank u next

Ariana Grande

Ariana is back with a new album minus a Pete Davidson. thank u next follows the very recent success and release of Sweetener. An album as sweet and hopeful as it title suggested. If you need a new dose of Miss Grande’s towering vocals,  well, what are you waiting for?

Electric Lady Sessions

LCD Soundsystem

New LCD Soundsystem alert! Yes, it’s just live recordings of songs, mostly, from their latest album American Dream, but there are some covers: “Seconds”, “(We Don’t Need This) Fascist Groove Thang” and “I Want Your Love” and a few LCD classics (“You Wanted a Hit” anybody?). Don’t miss out on this lil’gem, ‘cause, honestly, any new LCD Soundsystem is cause for celebration, especially if it’s some live performances.

Buoys

Panda Bear

Panda Bear, of Animal Collective fame, brings us some more of his trademark beautiful melodies with new album, Buoys. If you don’t know Panda Bear, you really gotta start off with Person Pitch, one of the oddest, most unique listening experiences of the past decade. After you do so, just put on Buoys for a slim, and quick, 37-minutes of Panda Bear doing what he does best: Lulling you into a deep state of comfort (or sleep? You decide).

Girl with Basket of Fruit

Xiu Xiu

Xiu Xiu are an odd bunch. A really, really odd bunch. They are tough to explain and are, honestly, at times, tough to listen to. If you’re into very, very left-field punk music, then this band is for you. If not, then maybe steer away. Xiu Xiu once made a cover album of the iconic soundtrack for one of the best shows ever made, “Twin Peaks.” That cover album was nothing short of amazing, but at the same time, it was easily one of the darkest, most haunting collection of covers ever assembled. Then, in 2017, they returned with FORGET. A beautifully weird album that featured some of the more pop-leaning songs to date. Now, in 2019, they’re back it again, and honestly, I really don’t know what to expect. But, without a glimmer of doubt: Count. Me. In.

Quiet Signs

Jessica Pratt

If you’re in need of some acoustic folk or some chamber pop, here’s your fix. Quiet Signs is only nine songs, 28-minutes long and is already garnering rave reviews all across the board. This would be me first Pratt album so, I really can’t say much besides, hope it’s as good as it appears to be!

Spanish Auteur Almodovar Is Back with the Trailer for “Dolor Y Gloria” Starring Antonio Banderas and Penelope Cruz

Written by: Christian Jatar

Spanish Auteur Pedro Almodovar is back with his, seemingly, “8 ½” inspired film, “Dolor y Gloria” (“Pain & Glory”). It stars Almodovar regular Antonio Banderas as Salvador Mallo, a film director who “reflects on the choices he's made in life as past and present come crashing down around him.” Penelope Cruz, another Almodovar mainstay, also has a role in this achingly beautiful film, which is yet unclear. The film is set to release in Spain on March 22nd. Pedro Almodovar is best know for his unconventional dramas such as “All About My Mother,” “Talk to Her,” “Bad Education,” and most recently, “Julieta.” He also made the horrifying, nightmare-inducing, Antonio Banderas staring, “The Skin I Live In” (a Mala Noche favorite), and the soapish comedy drama, “Women on the Verge of a Nervous Breakdown” (which also had a role for the then up-and-comer, Antonio Banderas). “Dolor y Gloria” looks absolutely stunning, even without uttering a single word. The visual aesthetic is so breathtaking, that this Mala Noche writer has already half fallen in love with it. Check out the full trailer below:

"Dolor y Gloria" narra una serie de reencuentros de Salvador Mallo, un director de cine en su ocaso.

Mitski’s “A Pearl” Gets the Music Video Treatment with Amazing Results

Written by: Miguel Torrellas

The incomparable Mitski Miyawaki continues her victory lap after the release of the amazing “Be the Cowboy,” a project that among many distinctions was recognized as the best album of the year by both Pitchfork and Consequence of Sound, with the release of the music video for the song “A Pearl.”

Directed by Saad Moosajee, Art Camp, and Danae Gosset and made in collaboration with Spotify, the video is a pastel-colored dive into the unnerving emotions conjured by the track. Once the energy kicks in, the protagonist, possibly one the many personas embodied by Mitski in “Be the Cowboy,” is thrown into a free-fall of shifting dimensions illustrated by hundreds of independently crafted frames.

“A Pearl” is the fourth song of the album to receive the music video treatment, after “Nobody,” “Geyser,” and “Washing Machine Heart” respectively, but we certainly hope that more of these amazing short films keep coming as she returns for her “Solo Tour of Beautiful Places” later this year.

I leave you with the video below, be sure to let us know in the comments what you think of it.

And for good measure, here’s the video of my favorite track of the album, “Washing Machine Heart.” Enjoy!

The Mala Noche Recommends: “The Driver,” One of the Smartest and Slickest Thrillers of the ‘70s

Written by: Miguel Torrellas

Few films are as deceptively simple as 1978’s “The Driver.” Made by the genre mastermind of Walter Hill at the height of his powers and a year before his box-office hit “The Warriors,” the movie is the perfect example of a story whose creator understands its functioning parts so well that he is able to do something remarkable with very little apparently at play.

There’s no fat to trim in this slick production, and that is precisely what separates it from most of the other thrillers of its era. The eponymous driver played by the criminally underrated Ryan O'Neal speaks only 350 words in the entire runtime. How great is that? This economy of dialogue gives the film a certain elegance and moodiness that one could only qualify as European. Nonetheless, O’Neal’s Driver is a distinctively American archetype, reminiscent of the western heroes echoed in the cowboy tunes that he plays in his transistor radio mixed together with the dread and impossible coolness of the Noir protagonist.

Opposite O’Neal is the great energy of Bruce Dern, whose “Detective” gives away the complete philosophy of the story when he says “You know what you do first thing every morning? Read the sports page. You know why? Best part of the newspaper. Winners, losers, how it happened, score. And we got a much better game than the one they give the players.” His enthusiasm for catching what he calls the “cowboy desperado” is the perfect tone to contrast his prey’s stoic nature.

It’s also worth mentioning the excellent work of the famous French Actress Isabelle Adjani in one of her first Hollywood productions. Credited as “The Player,” she is the force that saves O’Neal’s character and brings a mysterious world of new possibilities for him.

Despite of the fantastic work of the actors, the true stars of the show are obviously the chase sequences. From a gorgeous Ford Galaxie 500 to the wonderfully weird choice of a Chevy C10, the cars are precisely used and shot with an unparalleled level of care. Much like the rest of the movie, they are smart rather than flashy. The movements of the vehicles, while always exciting, highlight the cleverness of the artist behind the wheel rather than his appetite for mayhem and destruction.

This combination of detached acting and astute action was quite innovative during its time, and its influence can be found in several other works. Michael Mann’s outstanding debut “Thief” arrived in theaters a few years later and featured a similar use of neon-lights and chiaroscuro look to the crime-filled streets. The film’s approach to movement and speed is deeply implanted in 2017’s “Baby Driver,” with director Edgar Wright citing Hill as a major influence. Ultimately, Nicolas Winding Refn’s “Drive” owes to the most to “The Driver” for its stylish worldview and higher aspirations.

Hundreds of other filmmakers have tried to recreate its wonders, and the results have been considerably less successful or impactful. Hill’s film lies in the crossroads between auteur sensibilities and genre expectations and will continue to live on as the perfect marriage of smart and entertaining moviemaking.  

The Mala Noche Recommends: Sleater-Kinney's "The Woods," One of the All-Time Best Rock Albums

Written by: Christian Jatar

Sleater-Kinney, one of the most closely associated bands of the Riot grrrl movement which originated in Washington D.C., is quite the unconventional trio. Mostly because of Corin Tucker’s wailing exclamation point of a voice and their often thematically heavy songwriting. They started off as a purely fuck-you punk band and slowly began to accept more pop-focused melodies into their generally obtuse song structures. Tucker’s unique voice served as the ultimate calling card for all their albums and, as they got better and better, Carrie Brownstein’s accompanying, and at times leading voice, began to infuse their sound with a welcome dose of enticing and, at times, beautiful harmonies. With each new album, the band became more ingrained in the cultural zeitgeist and in the vast rock’n’roll spectrum of highly respected musicians. By 2002, Sleater-Kinney had already made it but they were missing their masterpiece.

Enter, The Woods. A rock album so carefully produced, so meticulously constructed, it absolutely begs for repeated listens. It’s a classic rock inspired masterpiece that flows from track to track with the confidence of a band way past their, then current, age. From opening track, “The Fox,” which features some of Tucker’s most infectious howls, you’re immediately transported to a world filled with pounding drums and riff-heavy guitars that put to shame the more avid of self-proclaimed torch-bearers of classic rock (I’m looking at you, Greta Van Fleet). Carrie Brownstein’s guitar work throughout the swift 53 minutes is awe-inspiring. And her vocal contributions, especially her lead in “Entertain,” one of the album's highlights, is aggressive, energetic and undeniably fun, all at the same time. A tough balance that is constantly held in all of The Woods’ 10 tracks. A balance that most bands wish they could pull-off so smoothly. Janet Weiss’ drums are always loud and absolutely arresting. They demand close examination and are easily the driving force of the entire album experience, as they should. And again, Corin Tucker absolutely steals the show every time she lets her ear-piercing vocal cords take center stage. Vocals, that before The Woods came to be, might have been a bit too much, are now more subdued, more controlled, more precise in their effort to absolutely strike you like the hammer of Thor whenever possible. All of these elements come together in the most interesting of ways on the 11-minute long, “Let’s Call It Love.” A Led Zeppelin-type jam sesh that further demonstrates the sheer talent wielded by all three members.

Sleater-Kinney seems to be having at a lot of angry fun on this album, and that’s what makes it such an interesting, ultimately unforgettable experience. If you’ve never heard of Sleater-Kinney before, well, maybe it’s time that you should. And there’s no better way to start off on such an eclectic discography than with The Woods.

Also worth noting, they’re currently producing their new album with Annie Clark of St. Vincent fame, so get on this wild, energetic train before it’s too late!

Favorite Tracks: “The Fox,” “What’s Mine Is Yours,” “Jumpers,” “Entertain,” “Rollercoaster,” “Let’s Call It Love.”

The Woods is the seventh and final studio album by the indie rock trio Sleater-Kinney. Released in 2005, the album was released to widespread critical acclaim. The album was produced by Dave Fridmann, whose earlier work includes collaborations with The Flaming Lips and Mercury Rev.

As an added bonus, I’m leaving you guys with one of my favorite live performance of theirs. It’s so fucking good, I watch it every night before I sleep. Ok, maybe I’m exaggerating a bit, but I truly do love this performance so much, it’s a bit scary and, honestly, worrisome. Anyways, have fun!

Sleater-Kinney perform "Entertain" at Pitchfork Music Festival 2015 ------ SUBSCRIBE to Pitchfork.tv: http://bit.ly/yK2Fbp ------ Follow Pitchfork.tv on Twitter: http://bit.ly/KJ2PhP ------ For more videos from Pitchfork TV: http://bit.ly/M1lvs8 Like Pitchfork on Facebook: http://www.facebook.com/pitchforkmedia Check out Pitchfork on Tumblr: http://pitchfork.tumblr.com/

FOAL’s Beautiful Music Video Featuring “Game of Thrones” Star is a Gem With A Killer Tune

Written by: Christian Jatar

FOAL is back with a new song, “Exits,” and the music video is yet another CANADA produced beauty. If you don’t know them yet, CANADA is a film collective stationed in Barcelona that makes some of the most visually arresting music videos of the past decade, including the fun surrealism of Tame Impala’s “The Less I Know The Better” and ROSALIA’s unconventional stunner “Malamente.” In FOAL’s case, Director Albert Moya crafts a dreamy world filled with snowy landscapes, dangerous individuals, blindfolded high-school teens, a kid in a boat pointing an imaginary gun at no one in particular, and some good ol’ fencing. The video also features Isaac Hempstead Wright (Bran Stark of “Game of Thrones”) whose contribution might not be the most essential, but it certainly does add a layer of “I can write ‘Game of Thrones’ in my headline!” that is more than welcome here at the up-and-coming The Mala Noche. FOAL’s tune is a catchy melody wrapped in a reverb-heavy instrumental and I love it.  If you, like me, enjoy enigmatic music videos that make you say “what?” at the sight of any new abstract development, you’re gonna love this video and any other CANADA produced masterpiece. Check out the full video below!

"Everything Not Saved Will Be Lost Part 1" is available to pre-order now: https://foals.me/enswbl1 Listen to Exits here: https://foals.me/exits Connect with Foals: http://foals.co.uk https://instagram.com/foals https://twitter.com/foals https://facebook.com/foals FOALS - EXITS A film by Albert Moya Produced by CANADA Starring Christa Théret Isaac Hempstead Wright Producer Karen Saurí Roman Pichón Herrera Executive

Celebrate Vampire Weekend Return with Singles “Harmony Hall” and “2021”

Written by: Miguel Torrellas

It appears that after six long years of absence, the beloved indie giants of Vampire Weekend are finally back with a new release. After far too much speculation and yearning, Front Man Ezra Koenig announced on Instagram that their fourth album “Father Of The Bride” will be released at some point during the spring of this year.

According to Koenig, the project is a double album that consists of 18 tracks and it’s about an hour long. After his departure in 2016, “FOTB” will be the first Vampire Weekend release without Rostam Batmanglij as an official band member. Nonetheless, he is credited as a producer in the lead single “Harmony Hall” and worked in an additional song that has not been released yet.

As excruciating as it is to wait for “FOTB” to arrive, we can find comfort in Koenig’s promise of “three 2-song drops every month until the record is out.” Listen to the first two, “Harmony Hall” and “2021,” below and let us know in the comments what you think of them.

And here’s “2021”

Matthew McConaughey, Snoop Dogg and Zac Effron Star in Harmony Korine’s Latest Drugged-Out Raunch Fest “The Beach Bum”

Written by: Christian Jatar

Harmony Korine is famous for his eccentric voyeuristic, artsy antics in films like “Spring Breakers” and “Gummo.” The former being a personal favorite of The Mala Noche staff for its unwavering satirical take on the youthful decadence of spring break in America. “The Beach Bum” seems like a movie that just by existing, proves there truly are such things as miracles in the film world.  The synopsis plainly states: “A rebellious stoner named Moondog lives life by his own rules.” And after watching the trailer, several times, I really can’t come up with a better way of explaining what I saw. It seems like the strangest, most non-sensical film in years, and I am fucking here for it. McConaughey stars as the titular Beach Bum, Moondog, and is accompanied by the one and only Snoop Dog, Zac Effron, Jonah Hill and Isla Fisher. Check out the full red-band trailer below! And if for any reason you guys are able to make out what the fuck this movie is really about, don’t hesitate to let us know!

Check out the official The Beach Bum trailer starring Matthew McConaughey! Let us know what you think in the comments below. ► Buy Tickets to The Beach Bum: https://www.fandango.com/the-beach-bum-213429/movie-overview?cmp=MCYT_YouTube_Desc US Release Date: March 22, 2019 Starring: Matthew McConaughey, Snoop Dogg, Zac Efron Directed By: Harmony Korine Synopsis: A rebellious stoner named Moondog lives life by his own rules.

Here’s the Full List of 2019 Oscar Nominations

Written by: Miguel Torrellas

Award shows can be a lot of things. At their worst, they are a self-congratulatory parade to mediocrity. At their best, they are a genuine recognition of outstanding work in the craft of filmmaking. They can reaffirm all of the fears about the decay of the industry, or they can launch the careers of exciting new voices. Some of us watch earnestly and others tune in indifferent of the results. Whatever your level of engagement may be, the big one is right around the corner. So get ready to watch the 91st Academy Awards on February 24 on ABC, below we have the full list of nominees:

Best Picture
“Black Panther”
“BlacKkKlansman”
“Bohemian Rhapsody”
“The Favourite”
“Green Book”
“Roma”
“A Star Is Born”
“Vice”

Best Director
Spike Lee (“BlacKkKlansman”)
Pawel Pawlikowski (“Cold War”)
Yorgos Lanthimos (“The Favourite”)
Alfonso Cuaron (“Roma”)
Adam McKay (“Vice”)

Best Actor 
Christian Bale (“Vice”)
Bradley Cooper (“A Star Is Born”) Rami Malek (“Bohemian Rhapsody”)
Willem Defoe (“At Eternity’s Gate”)
Viggo Mortensen (“Green Book”)

Best Actress
Yalitza Aparicio (“Roma”)
Glenn Close (“The Wife”)
Olivia Colman (“The Favourite”)
Lady Gaga (“A Star Is Born”)
Melissa McCarthy (“Can You Ever Forgive Me?”)

Supporting Actor
Mahershala Ali (“Green Book”)
Richard E. Grant (“Can You Ever Forgive Me?”)
Sam Elliott (“A Star Is Born”)
Sam Rockwell (“Vice”)
Adam Driver (“BlacKkKlansman”)

Supporting Actress
Regina King (“If Beale Street Could Talk”)
Amy Adams (“Vice”)
Marina De Tavira (“Roma”)
Rachel Weisz (“The Favourite”)
Emma Stone (“The Favourite”)

Adapted Screenplay
“The Ballad of Buster Scruggs”
“BlacKkKlansman”
“Can You Ever Forgive Me?”
“If Beale Street Could Talk”
“A Star Is Born”

Best Original Screenplay
“The Favourite”
“First Reformed”
“Green Book”
“Roma”
“Vice”

Animated Feature
“Incredibles 2”
“Isle of Dogs”
“Mirai”
“Ralph Breaks the Internet”
“Spider-Man: Into the Spiderverse

Foreign Language Film
“Capernaum” (Lebanon)
“Cold War” (Poland)
“Never Look Away” (Germany)
“Roma” (Mexico)
“Shoplifters” (Japan)

Best Documentary
“Free Solo”
“Hail County This Morning This Evening”
“Minding the Gap”
“Of Fathers and Sons”
“RBG”

Best Cinematography 
“Cold War”
“The Favourite”
“Never Look Away”
“Roma”
“A Star Is Born”

Best Costume Design
“The Ballad of Buster Scruggs”
“Black Panther”
“Mary Poppins Returns”
“The Favourite”
“Mary Queen of Scots”

Film Editing
“BlacKkklansman”
“Bohemian Rhapsody”
“The Favourite”
“Green Book”
“Vice”

Makeup and Hairstyling
“Border”
“Mary Queen of Scots”
“Vice”

Original Score
“Black Panther”
“BlacKkKlansman”
“If Beale Street Could Talk”
“Isle of Dogs”
“Mary Poppins Returns”

Original Song
“All the Stars” (“Black Panther”)
“I’ll Fight” (“RBG”)
“The Place Where Lost Things Go” (“Mary Poppins Returns”)
“Shallow” (“A Star Is Born”)
“When a Cowboy Trades His Spurs for Wings” (“The Ballad of Buster Scruggs”)

Production Design
“Black Panther”
“The Favourite”
“First Man”
“Mary Poppins Returns”
“Roma”

Sound Editing
“Black Panther”
“Bohemian Rhapsody”
“First Man”
“A Quiet Place”
“Roma”

Sound Mixing
“Black Panther”
“A Star Is Born”
“Bohemian Rhapsody”
“Roma”
“First Man”

Visual Effects
“Avengers: Infinity War”
“Christopher Robin”
“First Man”
“Ready Player One”
“Solo: A Star Wars Story”

Documentary (Short Subject)
“Black Sheep”
“End Game”
“Lifeboat”
“A Night at the Garden”
“Period. End of Sentence.”

Short Film (Animated)
“Animal Behavior”
“Bao”
“Late Afternoon”
“One Small Step”
“Weekends”

Short Film (Live Action)
“Detainment”
“Skin”
“Marguerite”
“Fauve”
“Mother”

The Mala Noche Recommends: “The Sisters Brothers,” an Unconventional Western That Is As Sentimental As It Is Gruesome

Written by: Miguel Torrellas

“The Sisters Brothers” is a western that you’ll want to hug. Director Jacques Audiard first English-language film succeeds at one the hardest balancing-acts in movies, it manages to be sentimental without being overly sweet. Adapted from a novel of the same name by Canadian author Patrick deWitt, the story takes place in the California Gold Rush. The titular brothers Charlie and Eli Sisters are hired by the mysterious figure of “the Commodore” to retrieve, by any means necessary, something a man named Hermann Warm supposedly stole from him. But what begins as a conventional frontier tale quickly transforms into something more meaningful and unusual.

Audiard script, which he co-wrote with frequent collaborator Thomas Bidegain, manages to explore the relationships between brothers and the shifting dynamics that come with partnerships of any form. In a setting traditionally used to depict the harshness of the world, “The Sisters Brothers” decides to examine ideas of camaraderie and the pleasures that can arise from mutual trust and cooperation. These themes particularly shine when they are contrasted with a moral parable about the greed of men that enters during the second half of the movie and carries an almost fairytale-like quality.

Such description might make the film sound a bit too saccharine for most viewers but bear in mind that together in the mix are some of the most gruesome and fatalistic images found in a western since the exceptional “Bone Tomahawk” was released back in 2015. It is this willingness by Audiard to not shy away from the violence and desperation of the American West what makes the more pacific moments in the film that much more joyful.

The production comes with a stellar cast that includes Riz Ahmed and Jake Gyllenhaal as supportive players accompanying John C. Reilly and Joaquin Phoenix as the eponymous hitmen siblings. While Phoenix brings a fantastic energy to the psychopathic nature of the younger brother, it is the work of Reilly what ties together the film, with a grounded performance that’s equal parts repentance and hopefulness. In his hands, small actions like discovering how to use the revolutionary new invention of the toothbrush or caring for a sick horse can feel wistful and sympathetic.

Some oddball moments in the narrative may bring to mind the work of American masters Joel and Ethan Coen, especially since the release of their hilarious western “The Ballad of Buster Scruggs” came so close to this one, but Audiard’s blends his own unique lyricism and subtleness into a distinctive vision of gunslingers manifesting their destiny.

So saddle up confidently into this disarmingly sweet story and enjoy the pleasure of seeing one of the oldest movie genres being illuminated with tender new light.