Wednesday, June 21, 2017

100 Words on Trey Edward Shults' It Comes at Night
By Thomas Puhr
Trey Edward Shults’ follow-up to his fantastic Krisha (2015) is less a horror film (as it has been advertised) and more a stripped-down survival story, following the unsteady dynamics of two families sharing an isolated home during a mysterious, unexplained epidemic. Shults slightly changes the film’s aspect ratio whenever the young Travis (Kelvin Harrison Jr.) has a foreboding dream; later, the writer-director alters this pattern in order to blur the line between reality and nightmare. Otherwise, the aural and visual experimentalism that made his first feature feel so exhilarating are largely absent. The performances, though effective, often feel stiflingly muted.

Saturday, May 20, 2017

Cannes Short Films Roundup: 2017

100 Words on Jo Southwell's Deirdre (2016)
In her Cannes-bound short film, Deirdre (2016), writer-director Jo Southwell provides a glimpse into her gestating feature-length adaptation of an Irish folktale. Within a crisp 15-minute runtime, Southwell introduces the titular heroine (India Mullen), her fanatically-religious mother (Elaine Fox), and her absent, mysterious father (Zeb Moore). In addition to its mythological roots, the short makes some intriguing allusions to classic genre films; the violent mother locking her “sinful” daughter in a closet, as well as a disturbing bath scene, call to mind DePalma’s Carrie (1976). The film ends with a tantalizing cliffhanger, leaving much room for exploration in the feature.,w_620/v1480417071/knmrk1boio6blf7nuruv.jpg

 100 Words on Patricia Chica's Morning After (2017)
Patricia Chica’s 2017 Cannes short, Morning After, unflinchingly charts the evaporating notion of concrete gender dichotomies. Returning to Montreal from a trip abroad, Michael (Thomas Vallieres) finds himself redefining his sexuality over the course of an increasingly-erotic welcome home party. Other than some off-the-cuff philosophical observations (if the universe is constantly changing, why shouldn’t humans?), Kristian Hodko’s script is light on its feet; the actors, both male and female, inhabit their characters with a laid-back ease. Dop Martin Bouchard’s cinematography, reminiscent of Aguirresarobe’s work in Vicky Cristina Barcelona, bathes both the characters and their home city in a sensual glow.
By Thomas Puhr

Wednesday, March 1, 2017

100 Words on M. Night Shyamalan's Split (2016)
By Thomas Puhr
In his best film since 2002’s Signs, Shyamalan takes a conceit that is excessively used as a twist ending (a main character having multiple personality disorder) and instead makes it the foundation for his tale of three girls (headed by Anya Taylor-Joy) who are abducted and terrorized by a man (James McAvoy, attacking the role with relish) with 23 personalities; especially noteworthy is a final confrontation that is by turns genuinely-unsettling and oddly-touching (echoes of Blade Runner here); the requisite twist actually enriches the story preceding it, announcing what could be a more ambitious and experimental phase in Shyamalan’s career.

Sunday, January 29, 2017

100 Words on Adam Wingard's Blair Witch (2016)

By Thomas Puhr

Frequent collaborators Adam Wingard and Simon Barrett’s follow-up to the great The Blair Witch Project (1999) is well-constructed (a subtle visual twist brings everything full circle), yet ultimately unnecessary. Attempts are made to varnish the original’s roughness; a drone camera, for example, provides some eerie overhead shots (a clever conceit that is ultimately wasted). Just as John Carpenter did with his masterful update of The Thing, Wingard and Barrett make explicit what the original left in shadows. This decision is fine (did they really have a choice?), but the inevitable reveal of the creature is a mess of generic CGI. 

Wednesday, January 18, 2017

100 Words on Michael Wong's "The Story of 90 Coins" (2015)

By Thomas Puhr

In his directorial debut, “The Story of 90 Coins,” Michael Wong explores the peaks and valleys of a months-long relationship between the sentimental Wang Yuyang (Dongjun Han) and the ambitious Chen Wen (Zhuang Zhiqi), all in under 10 minutes, no less. The central conceit (Wang Yuyang gives Chen Wen a coin and accompanying note to mark each of their 90 encounters) allows Wong to hopscotch freely amongst the couple’s experiences, which range from comic to unabashedly-melodramatic. Despite an unnecessary postscript, the action ends on a pleasantly-ambiguous note. The cinematography, which tempers some overwrought moments with a crisp sheen, stands out.