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Pogostemon
Reviews
Yellow Is Forbidden (2018)
Captivating visuals, ambiguous message
Part tone-poem, part documentary, this film sweepingly captures the anima behind the designer's couture work, rather than the minutiae of its creation, although you get a view of that as well. We are introduced to a creator who is at times petulant and child-like, yet also portrayed as being charged with passion & emotional sensitivity. I see that, in her synopsis, the director has described Guo as 'brave', but the designer is also shown as vulnerable and insecure, with a sizable dose of materialistic hauteur.
In keeping with China's capitalist transformation, her work is naturally preoccupied with signs of wealth and status (and the specter of aristocracy/nobility). It is fascinating to watch her recruit clientele for her 'club' of VIP and VVIP customers by flattering their egos and leveraging their fears of being 'less than' (especially, less than their Western counterparts). The ultimate is to be seen as queenly. In the case of her couture work, this could perhaps mean being burdened under a garment weighing as much as 50kg (said to symbolize responsibility) while walking precariously on elevated footwear.
The production process is presented as both workman-like (300+ overworked embroiderers; periods of up to two and a half years for a single piece) and mysterious (an intriguing sequence that might have been biofeedback training in Switzerland). We see her sketching and selecting materials, but her role in the whole process almost seems to occur at a slight remove.
Are these efforts and opulent creations *sublime* or *ridiculous*? With its hands-off storytelling, the film does not appear to argue for one or the other, but surely you can't help feeling that there are elements of both. Besides the film's detached, intelligent, and impressionistic presentation, the fantastic music and visual poetry make this a captivating view.
Seven Stages to Achieve Eternal Bliss by Passing Through the Gateway Chosen by the Holy Storsh (2018)
Laughed till I cried
I just have to stand up for this movie, in light of some bad reviews I'm seeing on here.
There were at least three points in this film when I laughed till I cried. Believe me, that doesn't happen often. (The first time involved the talent of tap dancing.)
It can be tricky in black comedy to maintain a tone that doesn't try too hard, but the director managed this feat admirably. The actors also largely maintained just the right balance, especially Kate Micucci, whose presence and sometimes subtle changes in expression were spot on. The pace of the storytelling and the editing were quite good. Fantastic commitment to absurdism by all; I can't wait to see more from the writers.
A Free Man (2017)
Meditative and satisfying
This is an up-close portrait of an unusual young man who has freed himself from what some might call the artificial demands of contemporary society. He sleeps under a bridge in Kyoto, sometimes enjoying the impromptu companionship of others he encounters in the city, other times just walking, observing, or resting in nature--one shot that resonated with me shows him sprawled on his back on a patch of grassy earth, absorbing some serious 'qi'. Seemingly always dressed in military fatigues, he also has a child-like passion for "playing army" which he demonstrates in a very funny scene. He frequents a record cafe where he listens deeply to classical music and enjoys coffee from a nice china cup, developing a warm relationship with the owner, who strikes me as a sort of serendipitous psychotherapist. To pay for his simple needs, he does some part-time manual labor. (And also, the director informed us after the screening I attended at the Busan International Film Festival, he was treated to meals by the filmmaker, who spent a substantial amount of time with him off and on over the course of about two years, I think he said, starting in 2014.)
As someone who believes it is only natural to sharply question the way humans live their lives in modern times, I felt much empathy for Kei. I want to cheer him on in finding a way of life that does not go against his strong natural instinct about what is meaningful. Is it feasible to keep living the way he does, existing completely in the moment?
This was a very satisfying viewing experience, not least because it is technically immaculate. The crisp, saturated images are beautifully composed, maybe with a slightly Asian aesthetic. The pacing is steady, thoughtful, and never tedious. The sound is masterfully done. (I really wanted to ask the director about his equipment, which presumably was pretty compact, as he shot it all himself.) But most of all, the subject matter and the powerful character at its center offer us a chance to meditate on how we live.
8.5 or 9
Originally posted 22 October 2017
The Gulf (2019)
Stultifyingly dull
Not only is this series stultifyingly dull so far (after just 2 episodes), it is also: inane, insipid, incoherent, vague, poorly written and acted, and just plain dumb. As far as police procedurals go, it is ridiculously full of holes, lapses in judgment, bad choices, and sheer stupidity. Attempts to reflect human nature are embarrassingly shallow--to wit, the episode 2 embrace between father-and-son (whose story is supposed to be all wrapped up, I assume, judging from previews for the next episode?), any pointless existential screams or yells emitted by characters young or old or in-between.
The main character has survived a vehicular accident and near-drowning. Her short-on-details partner Alex was not so lucky. For some presumably-still-to-be-revealed reason, he had been liked by no one--to the extent that murder may have been in the cards? After this event, she demonstrates her post-accident malaise by stomping around in her little boots, showing the depths of her soul by taking stiff drinks and exploding in one-word obscenities, and demonstrating a troubling shortness of breath that could be emphysema. (Is it supposed to be an after-effect of her accident, or just a quirky character choice?) Sorry to be so blunt, but she is incredibly unpleasant to watch and listen to.
The show tries to be atmospheric and moody so as to evoke richer material like "Top of the Lake" and "The Killing," but falls desperately flat with amateurish acting and writing, despite nice scenery and sometimes interesting photography. I didn't think I would watch episode 2, but decided to give it another go, and it was a big mistake. Every now and then, a show is so bad that you become enraged at the wastefulness. You can't even enjoy it for its badness. This could be that show.
The Great Maiden's Blush (2016)
Fearful symmetry
I don't want to discuss the story itself in this review, but rather its structure, as that was the more impressive element of the film, and a very interesting achievement of the writer-directors.
It is a cat's cradle of a story, with complex symmetrical and interlocking lines leading between the two characters, Bunni and Aila. It is also a rounded yin-yang of a tale, as the two halves fit together with equal strength and balance, with bits of each seeping into the other's persona and story, inducing odd resonances. One is motherless, the other is fatherless; one bears a baby girl and the other a boy; one is dark and one is fair (one Maori, one Pakeha); one is masculine, skilled with driving and automotives, the other more feminine, a talented pianist with a penchant for gardening. Both have key encounters with father-son pairs who touch them on a very deep level; both have kept secret the identity of their babies' fathers. One rides a bus (passively) and the other drives a taxi (actively). At one point, the vertex of the yin yang is manifested as the two characters actually cross paths in the past.
In a less immediate, more echo-y way, the series of symmetries and resonances carries through to the supporting characters. And while their stories remain untold, they are made to come across as fairly complete people. For instance, one seemingly despicable character is given a chance to show his humanity in a 'throwaway' moment, fondly brushing an infant's cheek.
On the surface, the elements of the story suggest an old-timey melodrama of the Douglas Sirk ilk, but the narrative is revealed in small, impressionistic dribs and drabs, with multiple key aspects existing in vague outline. One way of looking at this is to acknowledge that, in the tradition of literary fiction, the power of a story comes from what is NOT said. On the other hand, the withholding of clarity and information feels like a bit of a gimmick. I reckon it is intended to keep you hungry. And thinking.
The low-key realism of the film-making also belies the melodramatic tradition. The present day scenes in the hospital maternity and neo-natal ward are shot in crisp ultra-realist high def, while the theme of memory and past is intoned, at least for Aila's part, in an impressionistic sunlit palette of Chopin and lush roses, along with speckled super-8 home movies. Bunni's past is largely seen in interior and nighttime shots, lacking color and expansiveness. Her character remains something of a puzzle, but an intriguing one.
Still, some of the Sirkian melodrama is maintained, at least in the acting of one secondary character. If you have seen the film, I wonder if you know who I mean.
I record these observations as a way of trying to open up the filmmakers' intentions for myself, and maybe for others. After having watched it last night, I woke up dwelling on the work and its structure, which is always a good sign. All in all, a very engaging film, and quite visually stunning. Plus, Chopin.
Freier Mensch (2016)
Meditative and satisfying
This is an up-close portrait of an unusual young man who has freed himself from what some might call the artificial demands of contemporary society. He sleeps under a bridge in Kyoto, sometimes enjoying the impromptu companionship of others he encounters in the city, other times just walking, observing, or resting in nature--one shot that resonated with me shows him sprawled on his back on a patch of grassy earth, absorbing some serious 'qi'. Seemingly always dressed in military fatigues, he also has a child-like passion for "playing army" which he demonstrates in a very funny scene. He frequents a record cafe where he listens deeply to classical music and enjoys coffee from a nice china cup, developing a warm relationship with the owner, who strikes me as a sort of serendipitous psychotherapist. To pay for his simple needs, he does some part-time manual labor. (And also, the director informed us after the screening I attended at the Busan International Film Festival, he was treated to meals by the filmmaker, who spent a substantial amount of time with him off and on over the course of about two years, I think he said, starting in 2014.)
As someone who believes it is only natural to sharply question the way humans live their lives in modern times, I felt much empathy for Kei. I want to cheer him on in finding a way of life that does not go against his strong natural instinct about what is meaningful. Is it feasible to keep living the way he does, existing completely in the moment?
This was a very satisfying viewing experience, not least because it is technically immaculate. The crisp, saturated images are beautifully composed, maybe with a slightly Asian aesthetic. The pacing is steady, thoughtful, and never tedious. The sound is masterfully done. (I really wanted to ask the director about his equipment, which presumably was pretty compact, as he shot it all himself.) But most of all, the subject matter and the powerful character at its center offer us a chance to meditate on how we live.
8.5 or 9
Other People (2016)
Fantastically honest slice of life
A comedy writer returns from NYC to his childhood home in Sacramento for an indefinite period, at a time when his Mom is undergoing treatment for cancer and when he has just ended a five-year relationship. Presented in episodic, "slice-of-life" scenes titled with every month in what is unavoidably a really terrible year for this guy, the story is economically told yet beautifully cohesive.
You might think a story dealing with a parent's serious illness and impending death would necessarily flirt with sentimentality, but writer-director Chris Kelly (whose own experiences are the obvious source material) is so truthful and self-aware that he almost completely manages to avoid every pitfall. Instead, we get an honest picture of the struggle to find or 'feel' meaning in this year spent, with somewhat mixed feelings, in the bosom of a fairly loving but realistic family--living in his childhood bedroom, sleeping in his old twin bed, and struggling with writer's block at his childhood mahogany desk (his greatest heart's desire as a 2nd-grader).
As Kelly's unlikely stand-in, David, Jesse Plemons gives a fantastically honest & fearless performance. (As with Season 2 of the FX series "Fargo," I kept thinking, "Who is this guy?? How does he have the guts to be so exposed?") Plemons does addled, understated angst like nobody else. As his ex, Zach Woods (only familiar to me from "Silicon Valley" and "The Office") is a revelation of sweetness and adorability. (I sort of hope they get back together...)
Many people will find Molly Shannon's performance as the Mom with cancer extremely powerful and brave. Yes, she was very good... skirting the threat of sentimentality and managing to avoid it in almost every scene. The Dad's and sisters' roles are not as prominent, which is probably part of the point. But I wouldn't have minded seeing them beefed up a bit. The conflict between David and his Dad over his sexual orientation might have better served as fodder for another story and another movie. Its presence in this movie sometimes seemed a bit off-topic, needlessly shifting the focus.
In a sort-of-gratuitous but very enjoyable role, J.J. Totah appears as a campy tween drag queen, the adopted younger brother of an old high school friend. At the Busan film festival screening full of Koreans that I attended, he was a clear audience favorite.
Sacramento is depicted as a provincial no-man's land, and the scene in a local gay bar was definitely non-PC. It might bother some viewers, but illustrates the writer-director's commitment to total honesty, even at the cost of losing a little respect from adherents of social justice.
Does David ever find the meaning and connection he is hoping for? I recommend that you see the film and decide for yourself.
8.5 -- possibly 9
Twinsters (2015)
Cannot praise it enough
This documentary was possibly the most emotionally involving film I've seen in years. As the protagonist becomes immersed in the totally surreal experience of discovering and meeting her doppelgänger on another continent, the viewer can completely empathize with every twinge of emotion, euphoria, stupefaction, and deep, deep feeling. It also provides some good insights into the Korean international adoption phenomenon and the large number of adoptees hoping to meet their birth mothers. By turns hilarious and heartrending, it really gives you the whole roller-coaster experience. Bring a hanky and be prepared to fall in love.
The skill and immediacy of the story-telling are phenomenal--well-conceived and beautifully executed. The music and animation are effectively and judiciously used, and the editing was genius.
Of course it is an amazing story, so that helps. It left me wanting to stay involved in the story, caring so much about these endearing, creative, hilarious, true-hearted people. Brava! (pop)
The Wolfman (2010)
I didn't get drawn into their mind.
(My partner's review): It looked really cool when they showed the trailer of it on TV.
I thought, or I was hoping that it will be one of those movies that is a blockbuster type of movie, yet it would have human aspects, too. The kind of movie I like. Maybe I was thinking it was gonna be something like Spiderman 1, or Hulk (by Ang Lee). Movies with big budgets and famous actors, based on legends or comic books, yet, containing humans' feelings. The movies in which I feel empathy for the characters-- those movies are a success. This movie could have been a success if I had felt, or understood the feelings of the characters, but it didn't convey that. For example, Anthony Hopkins' character doesn't appeal to me. If his twisted unethical feelings for his son's fiancée had felt real to me, then it would have been OK. If I had felt the feelings of Benicio's and the woman's for each other were real, it would have been OK. If Benicio's frustration of being a monster came across as real, it would have been OK. Basically, I didn't feel like I was feeling what they were going through inside of the mind and head. I was left out. I didn't get drawn into their mind. Once again, it's very important who's the director, or a combination of a lot of things, or just pure luck.
The plot was all right, I guess. At least I wanted to know how this disaster, caused by monsters, would end. I sort of was hoping there would be some interesting end. I don't think anything was original, e.g., camera work, action, computer graphics. Benicio is one of the few positive things about the movie. He's good looking, stylish, and very cool. He makes me think that it'd be cool to be him.
I have seen so many bad movies lately, I didn't feel like this movie was too bad in comparison. 6 stars out of 10.
Wonderful World (2009)
Sore disappointment
The lack of craft,wit, and authenticity of this film were sore disappointments. I won't even denigrate Afterschool Specials by comparing them to this tripe. I was looking forward to something, anything that would ring true, but it never came (except the face of Jodelle Ferland, the young daughter, who should get lots more roles in the future.) This cheese-fest is not the fault of the actors. (But I wonder, wasn't the director able to locate any first-generation Africans, preferably from the cultural group being depicted, to play those key leading characters? These performances were a bit jarring.) If you like being hit on the head with a plastic inflatable hammer decorated with cartoon drawings of cultural stereotypes, this movie is for you.