This lot came from a hodgepodge combination of unwatched movies I had on hand, recommendations from other movie buffs, and my own generalized interests in certain niches. Some of the biggest interests I had on and off throughout the year included exploring the works of certain directors (like Werner Herzog, Terry Gilliam, Agnes Varda, and Aki Kaurismäki), catching up on recent hits, and viewing a few good franchises (like the In The Line of Duty series, and the two Dentist movies). Did view quite a few good noirs during "Noirvember." I made a sporadic effort to watch more Scandinavian films (particularly Finnish films). However, a lot of these I just randomly stumbled across on streaming or from the local library.
Here are 30 of the most valuable experiences I've had while making these discoveries. Strangely, I feel like these are some of the best film experiences I had last year.
This is a pretty straightforward documentary that shines a spotlight on unwelcome neighbors who moved into the town of Leith in 2012. There is plenty of dramatic tension in the story alone, as it shows the growing rivalry between longstanding townspeople and right-wing fanatics encroaching on their territory. The footage speaks for itself really. It's a sobering reminder that freedom comes with a cost.
Didn't expect much out of this cheap-looking Japanese splatter film. You can tell that they just filmed some people in the woods on a shoestring budget. Fortunately, there are a number of flourishes that elevates this as an acceptable fantasy martial arts experience. Part of it is the fight scene choreography, which was purposefully staged to be as cool and over-the-top as possible. Part of it is the snappy editing, which keeps every scene moving. It all works together to deliver an low-key action-packed flick with far-out ideas and plenty of bloody excitement.
I had viewed four of the movies from the In The Line of Duty series, and of them I enjoyed Royal Warriors the most. The film boasts some great action sequences, and Michelle Yeoh flexed incredible, badass moves throughout. The film does venture into some cliched cop-movie territory, leading to sobering moments of melodrama, but I appreciated the added gravitas and personal stakes. It is a consistently entertaining film with moments that made me feel genuinely invested.
A fun and snappy thrill ride. There are definitely uncanny terrors to behold, but the film is unified by its personable cast and snappy execution. There is a good sense of fun behind all the creepy scares--an easy recommendation for horror fans.
A solid drama, plain and simple. Julianne Moore really nails it as a woman experiencing a rapid cognitive downfall caused by Alzheimer's, and the film becomes quite the tear-jerker for it. It's competently-built and guaranteed to elicit sympathy.
I remember this film best for its distinctive African setting and people, but the film's history is best remembered for the explosive rivalry between director Werner Herzog and Klaus Kinski. Kinski in particular had insane rants and raves that affected the cast and crew. For this film, Kinski certainly carries the picture with a fiery angst that makes it intense and memorable (the guy even claimed that he gives "life to the dead scenery"). This effect is counterbalanced by Herzog's calm and composed filming style, which shows all the story's chaos as-is. An interesting watch, if not a little dry in spots.
I'm largely unfamiliar with Ayn Rand's written works, and it seems like I'm always hearing bad things about her objectivist philosophy though. Love it or hate it, The Fountainhead was turned into a rather respectable film in the 40s. It is real looker of a film with fantastic cinematography and wonderful performances from Gary Cooper and Patricia Neal. I enjoyed this film for its superficial aspects--whether or not the themes and ideas are dangerous or not is something I'd have to reflect on some more, but if nothing else I can relate to the creative conflict between individual expression and conformity.
It has been ages since I (partially) watched the 2004 version of this. The 1965 original certainly boasts a fine cast. It might not be as sexy as the remake, given the clunky, dusty nature of the old-fashioned sets and locations. It's also a long, slow-burning affair that emphasizes personal conflict and survivalist tension rather than external threats or style. It's all for the better though, because the original film maintains its tension even through its meaty runtime. It works because of the characters and the skilled performances by its huge ensemble cast.
No relation to the 1986 film also called Something Wild, this experimental thriller has two distinct sides. For the first half, the film follows a young woman whose pain and suffering seems to go ignored, leading up to a brash decision to contemplate suicide. In the last half, however, the film seems to abruptly focus on a single place and situation, seemingly designed to flex the actor's skills rather than progress any kind of story. The story is a little messed-up and it ends in a rather uncomfortable position, but understanding the spirit of the Actor's Studio, I can appreciate the arty thespian approach. Scenes in the city look decent though, there is one unique and bizarre dream sequence worth viewing, and Saul Bass' opening title sequence is amazing.
If nothing else, the production behind this film was rather intense and Klaus Kinski seemed to be the most infuriatingly mad actor to have ever lived. His behavior behind the scenes were so abhorrent that one of the native chiefs at the site offered director Werner Herzog to have him killed. The on-set tension can still be seen in the final product (as Herzog capitalized on the tension for dramatic effect), but the production itself was a grueling, real-life endeavor that resulted in some major injuries and deaths. The full deets on this insane production can be discovered in the documentary Burden of Dreams, which is a worthwhile watch in itself.
As for the film itself, it's a rather long affair with long, dry stretches that feel engaging only in bursts. The sheer realism is worth appreciating, as is Kinski's performance. There is something worthwhile in this story about executing a seemingly-impossible vision of hauling a steamship over land. Both the film and its production are quite incredible to behold.
A strange and sensual slow burn that's equal parts shocking and beautiful. Can't say this film really kept my interest consistently, but the photography is undeniably competent and the story is daring in its approach to the darkest depths of human passion.
For a film with such a melodramatic title, this film noir classic packs a bigger punch than I expected. The narration and dialogue has a lot of snap to it. But halfway through the twisty picture, the picture itself becomes twisted thanks to a wealth of bizarre, surreal effects that elevates this mystery as a dazzling visual experience.
I was on a Terry Gilliam kick last year, so I took the chance to borrow The Fisher King from the library with no prior knowledge of what to expect. How is it that I lived all these years and never knew that this was one of Robin Williams' most endearing performances? The man showcases all his signature energy and wit, but there is a dramatic edge that makes his character a memorable centerpiece. The film overall becomes a charming modern-day fairy tale with a charming romance at its core, but it's elevated quite a bit by the talented cast and Gilliam's signature zaniness.
Here it is, the unholy love child of Singin' in the Rain and Caligula. The grotesque spectacle of excessive debauchery will smack you in the face throughout its insane first act, and the shocks come steadily all the way to the end, even though the trajectory of time suggests that civility eventually settles over the Hollywood business, leaving these wild-west days of filmmaking behind in a seeming dark age. Like it is with Boogie Nights, there is a definite trajectory to the film as it swings from the carefree joys of hedonism to an era where the stars start to fade and there's an increasing longing for the past (especially as certain characters rise and fall over the whole three-hour affair). It's a monster of a movie to take in, and chances are that most viewers will be repulsed by the most disgusting scenes it showcases. However, I was impressed by the quality of the editing, performances, and the jazzy music score. It is as interesting of a narrative as it is ambitious and bold. It's definitely not an easy watch though, given the nasty perversions it openly shows, and I wouldn't recommend it casually.
I don't exactly have a good relationship with New Wave films. It's quite possible that I don't fully understand them, but Cléo From 5 to 7 is a film that brings me closer to connecting with these art forms. There are definitely artistic flexes to Cléo and a seemingly-aimless plotline that should confound me the same ways films like Breathless do, but I have to admit that the theme of existential struggle hits its mark very firmly in this film, and it brings a clarity to a film that would otherwise seem pointless. Cléo's wanderings are the same in all of us, since we all have to live in uncertainty and come to terms with death, no matter what our status in life is. The film is certainly as beautiful as they come, but it has a solid narrative focus that I can relate to and appreciate. At this point, I'd take this over À Bout de Souffle.
Ariel had my curiosity with its focus on a working-class character suffering through a series of misfortunes, but it surprisingly commanded my attention through its tight focus on the characters and the surprising ways they connect. Though it plays out as a kind of low-key crime thriller, Aki Kaurismäki's dry approach lends the film a surprisingly humanist tone that allows us to sympathize with these down-and-out characters. Even though they find themselves being pushed down undesirable paths, it's charming how they find their own unique place in the world, and the ending suggests an eventual escape. I appreciated the journey in the end, and much like True Romance, the relationships turned out to be surprisingly charming.
Perhaps one of the most interesting gems I've run across from a production history standpoint. This low-budget schlock was filmed in 1984, and would have likely fallen in line with other ninja-themed films of the time if it wasn't shelved for decades after the distribution company went bankrupt. In the 21st century, the film found new life thanks to the restoration efforts by Vinegar Syndrome, which went on to release a fully-loaded Blu-Ray edition of the film. Naturally, it looks and sounds pristine on the format, but it still retains the grit and lo-fi quality of the 1980s. Kurt M. Spieler turned eight hours of rough footage (without storyboards, actor credits, or even any audio) into an actual movie--the final product is the culmination of some dang fine editing.
The film itself is a bit of a hoot. I certainly appreciated the effort put into pumping the lead up as a vigilante hero worth rooting for, complete with a tragic backstory that substantiates his showy heroics. There are splashes of exploitation amidst the fun and goofy action sequences. It's as fun of a low-budget ninja movie as anybody could ask for, but it helps that it was cut with a good sense of pace, tells an enjoyable and coherent story, and even features a dang fine music score by Voyag3r.
Everything old is new again. I love New York Ninja!
Thanks, Finland!
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30 - Welcome to Leith (2015)
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29 - Versus (2000)
Didn't expect much out of this cheap-looking Japanese splatter film. You can tell that they just filmed some people in the woods on a shoestring budget. Fortunately, there are a number of flourishes that elevates this as an acceptable fantasy martial arts experience. Part of it is the fight scene choreography, which was purposefully staged to be as cool and over-the-top as possible. Part of it is the snappy editing, which keeps every scene moving. It all works together to deliver an low-key action-packed flick with far-out ideas and plenty of bloody excitement.
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28 - Royal Warriors (1986)
Wong ga jin si
I had viewed four of the movies from the In The Line of Duty series, and of them I enjoyed Royal Warriors the most. The film boasts some great action sequences, and Michelle Yeoh flexed incredible, badass moves throughout. The film does venture into some cliched cop-movie territory, leading to sobering moments of melodrama, but I appreciated the added gravitas and personal stakes. It is a consistently entertaining film with moments that made me feel genuinely invested.
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27 - The Dentist (1996)
There is an over-the-top approach to this horrifying thriller that straddles the fine line of camp, but the film genuinely elicits a visceral reaction as it focuses on a dentist losing his mind and taking it out on patients. Indeed, some of the scenes showing damage done to teeth will be the toughest scenes to watch. There are other transgressions that makes this quite an uncomfortable experience. Regardless, I did appreciate the tight focus on the character's perspective, making his psychosis understandable without necessarily glorifying his actions.
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26 - Scary Stories To Tell In The Dark (2019)
A fun and snappy thrill ride. There are definitely uncanny terrors to behold, but the film is unified by its personable cast and snappy execution. There is a good sense of fun behind all the creepy scares--an easy recommendation for horror fans.
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25 - Still Alice (2014)
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24 - Cobra Verde (1987)
I remember this film best for its distinctive African setting and people, but the film's history is best remembered for the explosive rivalry between director Werner Herzog and Klaus Kinski. Kinski in particular had insane rants and raves that affected the cast and crew. For this film, Kinski certainly carries the picture with a fiery angst that makes it intense and memorable (the guy even claimed that he gives "life to the dead scenery"). This effect is counterbalanced by Herzog's calm and composed filming style, which shows all the story's chaos as-is. An interesting watch, if not a little dry in spots.
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23 - The Fountainhead (1949)
I'm largely unfamiliar with Ayn Rand's written works, and it seems like I'm always hearing bad things about her objectivist philosophy though. Love it or hate it, The Fountainhead was turned into a rather respectable film in the 40s. It is real looker of a film with fantastic cinematography and wonderful performances from Gary Cooper and Patricia Neal. I enjoyed this film for its superficial aspects--whether or not the themes and ideas are dangerous or not is something I'd have to reflect on some more, but if nothing else I can relate to the creative conflict between individual expression and conformity.
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22 - The Flight of the Phoenix (1965)
It has been ages since I (partially) watched the 2004 version of this. The 1965 original certainly boasts a fine cast. It might not be as sexy as the remake, given the clunky, dusty nature of the old-fashioned sets and locations. It's also a long, slow-burning affair that emphasizes personal conflict and survivalist tension rather than external threats or style. It's all for the better though, because the original film maintains its tension even through its meaty runtime. It works because of the characters and the skilled performances by its huge ensemble cast.
------------------------------------------------
21 - Something Wild (1961)
No relation to the 1986 film also called Something Wild, this experimental thriller has two distinct sides. For the first half, the film follows a young woman whose pain and suffering seems to go ignored, leading up to a brash decision to contemplate suicide. In the last half, however, the film seems to abruptly focus on a single place and situation, seemingly designed to flex the actor's skills rather than progress any kind of story. The story is a little messed-up and it ends in a rather uncomfortable position, but understanding the spirit of the Actor's Studio, I can appreciate the arty thespian approach. Scenes in the city look decent though, there is one unique and bizarre dream sequence worth viewing, and Saul Bass' opening title sequence is amazing.
------------------------------------------------
20 - Fitzcarraldo (1982)
If nothing else, the production behind this film was rather intense and Klaus Kinski seemed to be the most infuriatingly mad actor to have ever lived. His behavior behind the scenes were so abhorrent that one of the native chiefs at the site offered director Werner Herzog to have him killed. The on-set tension can still be seen in the final product (as Herzog capitalized on the tension for dramatic effect), but the production itself was a grueling, real-life endeavor that resulted in some major injuries and deaths. The full deets on this insane production can be discovered in the documentary Burden of Dreams, which is a worthwhile watch in itself.
As for the film itself, it's a rather long affair with long, dry stretches that feel engaging only in bursts. The sheer realism is worth appreciating, as is Kinski's performance. There is something worthwhile in this story about executing a seemingly-impossible vision of hauling a steamship over land. Both the film and its production are quite incredible to behold.
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19 - Nightmare Alley (1947)
Pretty novel to find a film noir taking place in a carnival setting. There are some plodding moments in the film, but the focus on pulling back the illusions and trickery of the carnival makes this interesting grounds for a story focusing on a conman. There are visually striking moments, but it's largely a good story that's told fairly well. The recent remake by Guillermo Del Toro has its moments too, but the 1947 original remains a clear and original vision.
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18 - Empire of Passion (1978)
Ai no bôrei
A strange and sensual slow burn that's equal parts shocking and beautiful. Can't say this film really kept my interest consistently, but the photography is undeniably competent and the story is daring in its approach to the darkest depths of human passion.
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17 - Vesper (2022)
Probably one of the best recent sci-fi movies I've seen that I've seen no hype for whatsoever. There is a literary quality to the way the film handles its plot and characters, set against a unique backdrop that emphasizes biohacking and bizarre ecological concepts. It's pretty unique, but the tone and characterization keeps it compelling.
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16 - Murder, My Sweet (1944)
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15 - The Fisher King (1991)
I was on a Terry Gilliam kick last year, so I took the chance to borrow The Fisher King from the library with no prior knowledge of what to expect. How is it that I lived all these years and never knew that this was one of Robin Williams' most endearing performances? The man showcases all his signature energy and wit, but there is a dramatic edge that makes his character a memorable centerpiece. The film overall becomes a charming modern-day fairy tale with a charming romance at its core, but it's elevated quite a bit by the talented cast and Gilliam's signature zaniness.
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14 - Babylon (2022)
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13 - Cléo from 5 to 7 (1962)
Cléo de 5 à 7
I don't exactly have a good relationship with New Wave films. It's quite possible that I don't fully understand them, but Cléo From 5 to 7 is a film that brings me closer to connecting with these art forms. There are definitely artistic flexes to Cléo and a seemingly-aimless plotline that should confound me the same ways films like Breathless do, but I have to admit that the theme of existential struggle hits its mark very firmly in this film, and it brings a clarity to a film that would otherwise seem pointless. Cléo's wanderings are the same in all of us, since we all have to live in uncertainty and come to terms with death, no matter what our status in life is. The film is certainly as beautiful as they come, but it has a solid narrative focus that I can relate to and appreciate. At this point, I'd take this over À Bout de Souffle.
Speaking of which, there is a pretty neat movie-within-the-movie where Jean-Luc Goddard, Ana Karina, Eddie Constantine, and Jean-Claude Brialy enact a silent movie pastiche. This can be viewed independently as its own short film, and it is quite a hoot.
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12 - Ariel (1988)
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11 - New York Ninja (1984 / 2021)
Perhaps one of the most interesting gems I've run across from a production history standpoint. This low-budget schlock was filmed in 1984, and would have likely fallen in line with other ninja-themed films of the time if it wasn't shelved for decades after the distribution company went bankrupt. In the 21st century, the film found new life thanks to the restoration efforts by Vinegar Syndrome, which went on to release a fully-loaded Blu-Ray edition of the film. Naturally, it looks and sounds pristine on the format, but it still retains the grit and lo-fi quality of the 1980s. Kurt M. Spieler turned eight hours of rough footage (without storyboards, actor credits, or even any audio) into an actual movie--the final product is the culmination of some dang fine editing.
The film itself is a bit of a hoot. I certainly appreciated the effort put into pumping the lead up as a vigilante hero worth rooting for, complete with a tragic backstory that substantiates his showy heroics. There are splashes of exploitation amidst the fun and goofy action sequences. It's as fun of a low-budget ninja movie as anybody could ask for, but it helps that it was cut with a good sense of pace, tells an enjoyable and coherent story, and even features a dang fine music score by Voyag3r.
Everything old is new again. I love New York Ninja!
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10 - Sampo (1959)
Chances are you might know this by its bastardized American release, stupidly entitled The Day The Earth Froze. I had the good fortune to see the complete cut thanks to the Blu-Ray by Vinegar Syndrome. In its truest form, Sampo is a solid fantasy epic. No clue as to how accurate it is to its roots in Finnish mythology, but the film boasts wonderful-looking locations and plenty of unique effects that brings its magic to life in an imaginative way. Like it is with Jason and the Argonauts or the Sinbad movies, myth and magic are infused with the adventurous spirit, making Sampo quite the enjoyable fantasy experience.
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9 - Putney Swope (1969)
I didn't know what to make of this just looking at the poster art and such, but the film turned out to be pretty dang funny. Beneath 60s new-wave veneer, the film indulges in absurdity from the first scene onward. The fake commercials might elicit the biggest laughs ("you can't eat an air conditioner!"), but the comedy does cut deep often, achieving a level of satire that's simultaneously smart and nonsensical. It's a lot more than I expected out of this movie.
Whether real or fake, the coming-of-age story that Steven Spielberg weaves through The Fabelmans did succeed in holding my interest. It was entertaining to watch the shenanigans involved with making student films, but it became a heartwarming story of achieving dreams amidst familial hardship. I have no doubt that many of these scenes stem from Spielberg's real-life experiences (and likely his own real-life emotions), but they are brought to life with a strong cinematic flourish. Heck, the guy's lucky that he's able to tell a fable about his life through the medium he loves. He won me over with the storytelling and the art of cinema--having David Lynch appear at the end though, in the shoes of John Ford, is icing on the cake.
Just when I thought I had seen enough horror in war movies, I went and borrowed Kanal from the library and beheld an entirely new level of terror. The film's last act is an absolute gut-punch, expressing the uncompromising hopelessness and cruelty of wartime. Most of the film is a small-scale thriller in which soldiers navigate a labyrinthine sewer, and it's shot with an exquisite eye for composition and texture. This is the first Andrzej Wajda film I've seen, and the quality alone is undeniable.
It is pretty clever for the film's structure to mimic the quilt, with each block becoming a window into individual backstories that collectively build up a mosaic view of the human beings affected by AIDS. Interviews from victims, doctors, politicians, and other figures gives the film a broad sweep that elicits sympathy for all the lives affected. The level of human interest alone makes the film a worthwhile effort. The quilt is an expression, but the human faces behind it gives it life.
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8 - The Fabelmans (2022)
Whether real or fake, the coming-of-age story that Steven Spielberg weaves through The Fabelmans did succeed in holding my interest. It was entertaining to watch the shenanigans involved with making student films, but it became a heartwarming story of achieving dreams amidst familial hardship. I have no doubt that many of these scenes stem from Spielberg's real-life experiences (and likely his own real-life emotions), but they are brought to life with a strong cinematic flourish. Heck, the guy's lucky that he's able to tell a fable about his life through the medium he loves. He won me over with the storytelling and the art of cinema--having David Lynch appear at the end though, in the shoes of John Ford, is icing on the cake.
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7 - Kanal (1957)
Just when I thought I had seen enough horror in war movies, I went and borrowed Kanal from the library and beheld an entirely new level of terror. The film's last act is an absolute gut-punch, expressing the uncompromising hopelessness and cruelty of wartime. Most of the film is a small-scale thriller in which soldiers navigate a labyrinthine sewer, and it's shot with an exquisite eye for composition and texture. This is the first Andrzej Wajda film I've seen, and the quality alone is undeniable.
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6 - The Fabulous Baron Munchausen (1962)
Baron Prásil
I recently fell in love with Terry Gilliam's The Adventures of Baron Munchausen, but I have to admit that Karel Zeman put an even more charming spin on the Baron Munchausen's classic yarns. The style alone is a marvelous effort, with the costumes, sets, and camera effects animating the experience as a live-action storybook. It suits the outlandish nature of the baron's crazy adventures, and between the exotic palace of Constantinople or the barren wastelands of the moon, they remain consistently entertaining. Easily the most inventive picture I've seen all year, and also one of the best adventure experiences (although the Gilliam film is a hoot too).
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5 - Common Threads: Stories From The Quilt (1989)
Well, that is one big quilt.
It is pretty clever for the film's structure to mimic the quilt, with each block becoming a window into individual backstories that collectively build up a mosaic view of the human beings affected by AIDS. Interviews from victims, doctors, politicians, and other figures gives the film a broad sweep that elicits sympathy for all the lives affected. The level of human interest alone makes the film a worthwhile effort. The quilt is an expression, but the human faces behind it gives it life.
I just found out that Kino Lorber put the whole movie on YT for free.
My mother introduced me to this film (which, I didn't even realize was the basis for A Man Called Otto, much less that both were based on a novel, which I have started reading). While there is a heavy helping of dark humor and emotional weight, it is a heartfelt story full of personality and humanity. While the American remake tells the same story with a good eye for style and detail, the original Swedish film remains straightforward, allowing the story to speak for itself. It projects its unique personality through Rolf Lassgård's convincing performance. It's ultimately worth seeing for the merits carried over from Fredrik Backman's original text, which dives into emotional themes concerning life's purpose and tolerance, among other messages. Of all the movies I've seen last year, this is probably the one with he biggest heart.
Thanks Denmark, I hate it.
Easily one of the best originals I've seen on Netflix, which I watched with my parents, and we all agreed that this was very touching. Even on superficial merits, the films is gorgeous, with fantastic landscape and underwater photography brimming with lush color and life. The beauty of nature alone makes the film a worthwhile watch. But the core narrative, in which a filmmaker befriends an octopus, is surprisingly heartfelt. It works because the film underscores the encounters as a budding relationship, which grows into a learning experience that cuts across the boundaries of human flesh. It ultimately suggests that some things (like love) can be universal to all life. While this could have fallen flat in lesser hands, the film propels its emotional roller coaster ride with a compelling and relatable narrative.
My latest foray into Finnish cinema, still just scratching the surface of Aki Kaurismäki's filmography, brought me to the end of the Proletariat Trilogy. Of the three (and of all the Kaurismäki's films I've seen so far), The Match Factory Girl comes out as the one that's stuck with me the deepest, and might come out as the greatest gem I've uncovered last year.
That being said, I'm not sure I'd call it an easy recommendation. Like the other Kaurismäki films, The Match Factory Girl carries a dry tone, with long periods of silence that dampens any sense of emotion. For this movie, it's a perfect fit for a story that follows a woman's struggles in a working-class environment, seemingly entrapped by her loveless parents, in a loveless society, with little chance of finding actual love in the community. Subtle pressures eventually build up to scenes of cruel vengeance, and we are made to understand the match factory girl's motivations by nature of the low-key way the film documents her entire ordeal. It is a perfect case where showing, and not telling, can create a knockout story (and even with all the dead space padding out the pacing, this movie manages to keep it trim at a mere 69 minutes long).
I always appreciate a movie that can get you to sympathize with a struggling character, even if she becomes a villainess, although the film leaves you to question whether her crimes are really her own volition, or if she was driven to desperate ends by the cruelty of others. These questions, combined with the focus on the working-class environment and the way it shows us as victims of a sterile, mechanical world, elevates the film as a more compelling journey. It's funny how so many other Kaurismäki films play out with all the same elements (even to the point of reusing common motifs like music and tango scenes), but they all achieve different ends. So far, The Match Factory Girl engaged me the most with its simple, understated approach, and chances are strong it could emerge on a rewatch as a new favorite.
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4 - A Man Called Ove (2015)
En man som heter Ove
My mother introduced me to this film (which, I didn't even realize was the basis for A Man Called Otto, much less that both were based on a novel, which I have started reading). While there is a heavy helping of dark humor and emotional weight, it is a heartfelt story full of personality and humanity. While the American remake tells the same story with a good eye for style and detail, the original Swedish film remains straightforward, allowing the story to speak for itself. It projects its unique personality through Rolf Lassgård's convincing performance. It's ultimately worth seeing for the merits carried over from Fredrik Backman's original text, which dives into emotional themes concerning life's purpose and tolerance, among other messages. Of all the movies I've seen last year, this is probably the one with he biggest heart.
Thanks Sweden, I love it.
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3 - The Hunt (2012)
Jagten
It takes a lot for a movie to make me angry. This is the second film I've seen that's elicited a feeling of outrage (the first being Eden Lake for obvious reasons). Much to the film's credit, this means that it successfully connected me with the main character, whose suffering through unwarranted judgement and scorn makes this such a heart-wrenching watch. Sadly though, this was based on at least one real-life story, and in reality, people are often quick to jump to conclusions and ostracize community members based on cruel judgements. The film underscores this aspect of human nature, and beyond merely being upsetting, it's a poignant, emotional roller-coaster ride that ends with more unease than catharsis. Anybody could be the victim of a witch hunt, maybe more so now than ever. Thomas Vinterberg was never one to shy away from putting a spotlight on humanity's intolerance, but the whole ordeal is given a personal touch through Mads Mikkelsen's expert performance.
Thanks Denmark, I hate it.
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2 - My Octopus Teacher (2020)
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1 - The Match Factory Girl (1990)
Tulitikkutehtaan Tyttö
That being said, I'm not sure I'd call it an easy recommendation. Like the other Kaurismäki films, The Match Factory Girl carries a dry tone, with long periods of silence that dampens any sense of emotion. For this movie, it's a perfect fit for a story that follows a woman's struggles in a working-class environment, seemingly entrapped by her loveless parents, in a loveless society, with little chance of finding actual love in the community. Subtle pressures eventually build up to scenes of cruel vengeance, and we are made to understand the match factory girl's motivations by nature of the low-key way the film documents her entire ordeal. It is a perfect case where showing, and not telling, can create a knockout story (and even with all the dead space padding out the pacing, this movie manages to keep it trim at a mere 69 minutes long).
I always appreciate a movie that can get you to sympathize with a struggling character, even if she becomes a villainess, although the film leaves you to question whether her crimes are really her own volition, or if she was driven to desperate ends by the cruelty of others. These questions, combined with the focus on the working-class environment and the way it shows us as victims of a sterile, mechanical world, elevates the film as a more compelling journey. It's funny how so many other Kaurismäki films play out with all the same elements (even to the point of reusing common motifs like music and tango scenes), but they all achieve different ends. So far, The Match Factory Girl engaged me the most with its simple, understated approach, and chances are strong it could emerge on a rewatch as a new favorite.
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