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Directed by Domee Shi, Turning Red is the latest release from Disney Pixar and it has already garnered both fans and critics alike – quickly turning into one of Pixar’s most controversial releases to date. Shi has previously worked as a storyboard artist for Pixar on Inside Out, Incredibles 2 and Toy Story 4, and directed the much loved short film Bao, and now we see her make her feature debut with this touching, emotional film.

 

Turning Red follows Mei Lee (Rosalie Chiang), a 13-year-old Chinese-Canadian teen girl navigating a changing relationship with friends, family and boys for the first time. As she begins to change, she learns that she must control her emotions or she will turn into a giant red panda; this is a family blessing which feels very much like a curse to a 13-year-old preteen.

 

 

As Mei Lee begins to deal with these issues, with the sole objective of seeing her favourite band 4*Town in concert, she begins to keep more secrets from her mother Ming Lee (Sandra Oh). This is done in a quest to sell herself as an attraction and save for concert tickets.

In the meantime, her whole extended family including her grandmother have arrived into town, in order to perform a traditional coming of age ritual and seal the panda away and the tensions come to a head when she realises that this ritual and the concert are due to take place on the same night.

 

 

The catchy music of 90s-esque boyband 4 Town was written for this film by Billie Eillish and Finneas O’Connell and group member Jesse is even performed by Finneas himself. The songs of this group are written with the style of a 90s/00s boyband in time; think N*SYNC, the Backstreet Boys.

The inclusion of this band is an interesting discussion point of the film; young girls and their obsessions with their first boybands – this is also something very valid that hasn’t been discussed much in film before, particularly from this place of respect.

 

 

Throughout the film, the role played by 4*Town in the lives of the main girls is taken very seriously; where it could easily be dismissed as “hysterical”, there is nothing dismissive about the role played by this band in the plot. The girls’ issues and obsessions are taken as seriously as any real world, adult drama which gives some validation to the experience of boyband-loving young girls everywhere.

 

 

Although the story is simple, a lot is dealt with within this film; growing pains, puberty, teen friendships and relationships and also intergenerational trauma. Within its themes this film does deal very closely with issues specific to teenage and young girls, including emotional outbursts and close reference and allusion to periods.

 

This has caused a lot of the surrounding controversy; it has been described as everything from “too niche” to “demonic” by critics who seem to have forgotten that watching films should be an exercise in empathy and a way to put themselves in someone else’s shoes – if robots, cars and tropical fish aren’t too niche, a story about a young girl growing up speaks for itself and absolutely deserves to be put on screen. This film also shows an age group all too often neglected (look at Netflix’s recently cancelled Babysitters Club) from a place of total respect; if that’s niche, then everything we make should be!

 

 

This film has also been called “inappropriate” for children – obviously that side of it is down to parent’s own discretion. While I do think it’s good to be aware of what children are watching, even if it is Disney, when the issues in this film can also apply to children I personally don’t think there’s an issue with younger girls watching – or boys, for that matter. The more these experiences are shown on screen in an open and honest way, the less they become “too niche” and the more they become normalised stories about the human experience.

 

Overall I felt this movie was wholesome, cute, and simple but a really nice story. I really enjoyed it and I would totally say it’s worth the watch!

 

Turning Red is available to watch now on Disney +.

 

Here we are again with another round up of the best and biggest women in film; this time featuring some of the front running names from 2021. I’ve picked some of the standout names of both directors and cinematographers, and if you haven’t seen any of these films already I would say they are truly worth the watch.

This has been a good year for women in film; I think it’s very worth mentioning that in a climate where under ten women have ever received a nomination for the Best Direction Academy Award we have one this year who could potentially be the first woman to sweep Best Director, Best Screenplay and Best Picture – although this is not the be all and end all, it reflects the position of women in film across the board and progress at this level will definitely be reflected across other aspects of filmmaking.

 

Jane Campion – The Power of The Dog

 

 

Jane Campion has been one of the biggest names in film from 2021; “The Power of the Dog” is definitely a front runner for this years Oscar nominees, with nominations for Best Picture, Best Screenplay, Best Actor and the much coveted Best Director. Jane Campion, already being nominated previously for The Piano, is one of seven female directors to ever receive this nomination – unfortunately I do think her chances are slim with this already being won by a woman last year, but hopefully she’ll come away with at least one.

 

 

Based on its namesake book, The Power of the Dog follows rancher Phil Burbank (Benedict Cumberbatch), as his brother George (Jesse Plemons) brings home a new wife Rose (Kirsten Dunst) and her son Peter (Kodi Smit-McPhee) much to his disproval. Peter, the son, is a sensitive boy who is subject to much homophobic abuse from Phil and his friends, and must deal with the effects of this. Phil has taken a disliking to Rose as he thinks she is after George’s money, and to Peter as he thinks he is weak.

 

Let me say off the bat, this movie is a Western psychological slow burn, and I really can’t emphasise the slow burn aspect enough. The focus is on the character of Phil, and a deep dive into his character and what makes him the way he is. The central story is a character study of Phil, according to Cumberbatch “lifting the bonnet” of what makes him the way he is. We also follow closely as Rose, a widower, turns to alcohol to deal with the situation she has found herself in on this ranch.

 

The cinematography of this film was done by Cinematographer Ari Wegner, and brings us fully into Burbank’s life on the ranch and his day to day, as well as the turmoil and torture experienced by Rose and Pete. For this aspect alone, this film is definitely worth a watch.

 

 

Chloé Zhao – Eternals

 

 

Following on from last year’s mammoth success with Nomadland, Chloé Zhao has made splashes in 2021 by directing the latest installment of events in the Marvel Cinematic Universe – Eternals.

 

Playing heavily off Greek mythology, Eternals introduces a new set of characters into the MCU’s timeline by following a group of ten ancient aliens who have been living on earth for thousands of years in order to protect it specifically from invasive alien Deviants. With a mammoth cast including Angelina Jolie, Kit Harrington, Barry Keoghan, and Salma Hayek to name a few, this film sets up a very interesting addition to the MCU.

 

Eternals picks up at a point where the last Deviants were defeated 500 years previously, and the Eternals have gone their separate ways to different corners of the Earth, living among humans and waiting to be told what to do by the Celestials. The group must come back together when protagonists Sersi (Gemma Chan) and Sprite (Lia McHugh) are attacked by a Deviant in modern day Camden, and figure out if the Deviants are back on Earth.

 

The scale of this film was one of the most impressive things; mostly filmed on location, this story spans across the Earth to many different countries, as well as through Space and time. The authentic approach to this is one of the things that gives this film the immense feeling of scale and growth that it holds throughout the whole thing.

 

As well as the extraterrestrial course of events, Zhao also explores a lot of different aspects of human life and emotion at their very basic principals throughout the whole movie. While a lot of critics have had issues with this movie and particularly with Zhao’s joining of the MCU, I really enjoyed it, particularly when compared with other recent Marvel releases. If you enjoyed this film I would also recommend the behind the scenes documentary “Assembled“.

 

Maggie Gylenhaal – The Lost Daughter

 

 

 

Maggie Gylenhaal made a memorable directorial debut in 2021 with The Lost Daughter. Starring Olivia Coleman as Leda, Gylenhaal tells the story of a mother who confronts her past after meeting younger woman Nina (Dakota Johnson) and her daughter on a holiday in Greece. The movie takes quite a dark turn when we discover that the younger version of Leda abandoned her children for two years when they were growing up, and we observe as she confronts some of the reasons she had for doing this.

 

The Lost Daughter is an emotional journey from start to finish. As Leda is forced to revisit her own relationship with her children when Nina reminds her of herself in the past, she also comes face to face with the realities of her current situation through her friendship with resort staff member Will (played by Paul Mescal!).

 

Gylenhaal does a standout job of exploring these complex issues to do with motherhood and bringing us on this journey with Leda. Her directorial presence is really felt throughout the movie, and she makes such an impact with the material that really proves no one else could have done this job.

 

Alice Brooks – In The Heights & Tick, Tick…BOOM!

 

As Director of Photography on both In The Heights and Tick, Tick…BOOM!, Alice Brooks definitely deserves a mention on this list.

 

Directed by Jon M.Chu, In The Heights depicts a block in Washington Heights that is changing faster than the main characters can keep up with – or afford. Usnavi, named after the US Navy ships, runs the local bodega and dreams of returning to the Dominican Republic, and we closely follow his efforts to do this while keeping the neighbourhood around him together. This film is absolutely full of joy despite the events that are happening, and that is totally reflected in the bright colours and dizzying scale of Brooks’ cinematography.

 

If you haven’t watched In The Heights, I can’t understate how much I’d recommend it – this was the movie of the year for me, as its catchy songs, colourful sets and joy-filled performances gave so much to smile about. Alice Brooks’ cinematography here brings us fully into the world of singing, dancing and joy and the scale on which she does this is seriously impressive – capturing whole streets of dancers and bringing us fully along for the ride.

 

 

In contrast, Tick, Tick…BOOM! tells the rollercoaster of a story of Jonathan Larson’s journey towards musical success in writing Sondheim-inspired shows, as his personal life falls apart around him. Played by Andrew Garfield, we follow as Larson writes and writes to try and have something succeed before thirty, to the point of being frantic.

 

Garfield’s performance here stands out as one of the most memorable of the year, his version of Larson truly believable and his singing talent also jumping off the screen alongside that of Vanessa Hudgens. Throughout the film the musical sequences are brought to life by both his performances, as well as the combined work of Lin Manuel Miranda and Brooks’ cinematography. From a performance by musical legends in the Moondance diner, to the underwater “Swimming“, I would call the cinematography of this movie spellbinding.

 

 

 

Claire Mathon – Spencer

One of this year’s more controversial Oscar nods was for Kristen Stewart’s thrilling depiction of Princess Diana in Spencer, the cinematography for which was brought to life stunningly by Claire Mathon.

 

 

Following her success on Portrait of a Lady on Fire, Claire Mathon was approached by Director Pablo Lasson to recreate the Diana story in a way it has never been seen before. She definitely hasn’t failed to do this. Spencer depicts the turbulent final years in the marriage between Princess Diana and Prince Charles but puts a horror-esque twist on it and speculates on the inner happenings in Diana’s mind during this time.

 

This telling of Diana’s story feels more similar to a gothic novel than a royal biopic; as it examine the ways in which the Princess of Wales is stuck in her own life as her marriage falls apart over one Christmas period. Naturally, this is reflected throughout the cinematography as this element of darkness is also brought in through camera choices.

 

The main criticism of this movie is that it definitely isn’t historically accurate; I would say it’s more of an exploration of a mindset through the events rather than an accurate play by play of events. This is a deal breaker for some but I would say if you can suspend disbelief of that side this is a very interesting and suspenseful watch.

 

I have very mixed feelings about this one – earlier this week I went to Paul Thomas Anderson’s Licorice Pizza in the local Picturehouse cinema, and I’m still digesting some aspects of it. I did enjoy watching this movie, but the age gap seen between the two main characters has me confused – which I will address in detail later.

 

Licorice Pizza is a coming-of-age story which follows Alana Kane (Alana Haim), a photography assistant as she meets Gary Valentine (Cooper Hoffman) – a teenage actor who is coming to the end of his child acting career and entering the world of entrepreneurship – on his school picture day. He is instantly attracted to her, and she rejects his advances at first but is mildly curious about him and they end up part friends, part business partners.

 

 

What follows is a series of ups and downs –  both failed and successful projects and moments of both bonding and jealousy, and as an audience we are along for this ride. As he ages out of being a child star, Gary Valentine begins a series of businesses sometimes with the help of Alana. He begins by opening a business selling waterbeds. This is successful for a time, but falls apart when the oil supply to make the waterbeds becomes unavailable.

 

Alana and Gary move apart after this for a while, as she works in the mayor’s office and he comes up with his next idea as an entrepreneur; starting Fat Bernie’s Pinball palace; however, they are always pulled back together eventually through this inexplicable bond that they share.

 

This film is instantly reminiscent of the cult classics of the 80s, and it also places itself onto this list. It feels like something we’ve seen before, while at the same time being brand new. The rambling story, as well as the soundtrack and colour schemes all contribute to this mood being set throughout. This film is as nostalgic as they come; from the fashion to the sets to the colour schemes, it takes us somewhere many modern films don’t.

 

 

This film revolves around Alana Haim, and by extension the Haim sisters. Her presence and performance in this movie is unmissable; she fully embodies Alana Kane and immerses us in the story. Although this is her film debut, she is a natural on camera and we have no doubts in her as a movie star. She also shows a lot of confidence in how she is presented in this film; with a bare face for the most part, this creative choice helps us to buy into her character as a whole.

 

I was pleasantly surprised to see that Danielle and Este Haim also played her sisters in this film, and although it was unexpected it was also very satisfying. It meant that they have that sisterly bond built up already, but their vibe is also very in keeping with this movie. As a whole, it didn’t feel unlike an extended Haim music video. The aesthetics and nostalgia were right up their street and I couldn’t see anyone else doing the sisters justice.

 

 

Cooper Hoffman, son of the late Philipp Seymour Hofmann also holds up his share of the movie; charming beyond his years, he portrays a wisdom and presence of a child star grown up too fast very believably. Also a first timer, Thomas Anderson makes the audience fully buy in to Hoffman as a movie star, and believe in his ability to hold our attention.

 

This film also features a huge amount of big name cameos; one of the most notable being Bradley Cooper as hot tempered waterbed customer Jon Peters, based on real life partner of Barbara Streisand. Cooper provides a much needed moment of comic relief at that moment and contributes fully to one of the more memorable aspects of the movie.

 

 

Other cameos included Sean Penn as “Jack” Holden, a William Holden clone, as well Tom Waits, Maya Rudolph who is real life partner of Thomas Anderson, and Benny Safdie. This lineup of star studded cameos serves to fully immerse us in the setting of the San Fernando Valley in the 70s.

 

All the above being said, the age gap is very difficult to get over; in fact I would say it overshadowed the whole film and made it an uncomfortable viewing experience. Gary Valentine is 15 when the story begins to Alana’s 25 and I’m honestly just not sure why; were he even 18 this would be different but with this age gap the story seems quite close to grooming. I’m not sure why they couldn’t have made him 18 and told the exact same story either – it would have made no difference to the plot.

 

Although story is more that of their friendship, the romantic possibility is always there in the background through their jealousy of other potential love interests and is therefore always slightly uncomfortable. This age gap is addressed by Alana multiple times both to Gary directly and to her sister Danielle; she comments on how weird it is yet still pursues the 15 year old? I was honestly baffled by this, and what it also says about her character.

 

 

This aspect casts a shadow on the rest of the otherwise brilliant movie and I also can’t help but think – how would we be reacting if this was a story about a 25 year old male and a 15 year old girl? I’m not sure it would be being overlooked in any capacity, or that it should be overlooked. Or, alternatively if Gary Valentine was played by a 15 year old actor – I think it would be highlighting the issue here in a way that the choice of cast seems to hide it somewhat.

 

At the end of the day, it is down to each viewer but I think this aspect of one of the main characters being a minor and it being pretty much totally overlooked would stop me from recommending this film. Paul Thomas Anderson looks like a contender for this year’s Academy Awards, and I still  feel like a critical part of the conversation is missing here.

 

 

 

 

 

I’m definitely not alone in having Adele’s newest music video for Oh my God on repeat since it dropped – Adele never fails to deliver in her music videos but for me something about this one was up a notch. Directed by Sam Brown, who also directed Rolling in the Deep, this video hooked me as a viewer from start to finish.

 

This video gives us everything we think of when we think of Adele; winged eyeliner, black and white, empty spaces. This time, however, we also have contemporary dancers, many versions of Adele in shot, a burning chair and some striking biblical references; essentially, we are in a modern day garden of eden.

 

 

We begin with an empty chair, only this time it has a very juicy looking apple on it. The immediate association when we see an apple is forbidden fruit; the garden of eden, and snow white’s poisonous apple. Adele is using it here to represent a relationship she shouldn’t jump in to – but the temptation is there.

The chair, which features heavily throughout the video, could represent an innocence – it is also an association we have with Adele, and could represent the version of her that isn’t sure in her decisions.

 

 

We pan over to the first version of Adele, who begins to sing. She is nonchalant as she sings at this point, her performance suggesting that the outcome of this temptation doesn’t bother her much, that she is above it. Her surroundings are mostly still, even when other people are involved – for example, a model/dancer draped behind her between two ladders. They are in one position, almost reminiscent of pieces of art. This “section” ends with a lingering shot of an upturned chair, surrounded by many apples; the toppled chair is symbolic of her failed relationship – but the apples show that the temptation to go back is still there.

 

As the song picks up, so does the pacing of both the camera movement and what’s happening in the foreground and background. The amount of people surrounding Adele increases, the amount of different activities happening and also the amount of times we’re seeing Adele herself. There is now a chair spinning, being held up by balloons, a chair covered in flowers, someone wearing long boots – reminiscent of the Lil Nas X boots from the Montero music video, and a shot that we linger on of a girl lying down who looks like she’s emptied the contents of her purse on the floor.

 

 

As we reach the chorus we now have two Adele’s singing in front of two very symmetrical circles of light. It looks like she’s singing to herself, slightly disgusted that she’s even considering going back to the temptation of this past relationship. As we come out of this we see the dancers are now jiving; this is a more traditional, maybe conservative style of dance. We immediately move on to Adele dressed in a gown that almost looks papal; this could be a commentary on religion versus society, and evolving eras of dance and sexuality.

 

In the midst of this chaos we are presented with a snake; this ties into the biblical aspect of temptation and directly connects to the apple we’ve been seeing. We also see a dancer pour gasoline on the chair and light it on fire; this could represent Adele moving on from previous relationships, or even previous versions of herself; she’s no stranger to singing on a chair in her videos for Rolling in the Deep, and Hello among others and some have even suggested this is an allusion to the various point of her relationship in these videos. I’ve seen the chair described as the next main character after Adele, and that statement definitely rings true.

 

 

Towards the end of the video Adele sings in front of a stationary horse with a rider on it; this horse could represent that she’s taking back the reigns of her own decisions and outcomes from them. This horse is also used to represent Adele’s strength in doing this, and how far she has come since the beginning of the video. She also sings with more conviction at this stage; she is more sure of her decisions and her reasons behind them at this point.

 

There is an interesting evolution of the styles of dance shown throughout the video; as it changes, it is a commentary on society and evolution of different eras. We begin a more traditional jive, which evolves through various forms of contemporary dance – at one point two contemporary dancers roll and twist gracefully on a mattress with clear sexual connotations.

 

One of the most intriguing aspects of this video for me was the camera movement. Throughout the video the camera doesn’t stop moving, and it is made to look like we are watching the scene unfold in front of us in one shot – although we know it is more as there are so many versions of Adele. It works really well in this case to draw us in for the whole story.

 

 

Towards the end the group of dancers dances in a more sensual way; tradition has been broken from where we began with the jive, and we have come to a much more modern interpretation of these themes. In the end we come back to the chair and the apple – this time she is biting into the apple, giving in to temptation but not looking too distraught about it.

Overall this video pushed the boundary so much more than anything I’ve seen from Adele and I can’t wait to see what she does next!

“Oh My God” is available to watch now on youtube.

 

Netflix’s Maid was probably my favourite thing I’ve seen since The Queen’s Gambit last year – with a standout performance by Margaret Qualley, this is not one to be missed.

 

Produced by Margot Robbie’s production company and created by Molly Smith Metzler, Maid depicts young mother Alex (Margaret Qualley) as she tries to leave an abusive marriage with no support system to help her navigate through it. Through the series we see Alex’s journey from one struggle to another, as she tries to get a job, a place to live, and childcare for her daughter. Without one, she can’t seem to find another and anytime it seems like she has made progress, her and daughter Maddy (Rylea Nevaeh Whittet) ultimately end up back at square one.

 

 

Throughout this struggle Alex is held back by troubled ex- husband Sean Boyd (Nick Robinson), mentally unstable mother Paula (Andie MacDowell), and alcoholic father Hank (Billy Burke), and we follow as she gets out from one obstacle only to come face to face with another. She is also not helped as she tries to navigate the systems of help available for those in situations like this – every time she tries to apply for various methods of aid and funding, she is met by one set of red tape after another. This alone is possibly one of the most important points raised throughout this series.

*SPOILERS*

 

 

 

A huge source of stress in Alex’s life is her mother, Paula. Paula is mentally unwell and suffers from bipolar disorder. She is unadmittingly in her own trouble after she has let her boyfriend rent out her house to tenants without any proof that it is her house, and isn’t really in a place to offer child support to her daughter. Played by Andie MacDowell, Qualley’s real-life mother, MacDowell has said that this performance is partly informed by her turbulent relationship with her own mother growing up and she proves through this performance that she was the perfect choice for this role.

 

This show deals with the topic of abusive relationships in great detail, both through Alex’s journey, that of her parents, and also the others she meets in the shelter she goes to along the way. The character of Danielle (Aimee Carrero), who has escaped from an abusive relationship and who Alex meets in the shelter, serves well in driving the narrative forward. She gives us a full circle moment as we first see her in the shelter, having left her husband but to Alex’s shock and dismay she returns to him. Fast forward to later in the narrative and we see Alex’s own circumstances drive her to do the same thing, highlighting the cycles that take place within these situations.

 

 

I also thought it was a good point of discussion that Sean hadn’t actually hit Alex when she decided to leave – the relationship was at a point of being purely emotionally abusive. This raises the point of when does the word abusive come into play, and what consists of emotional abuse – at what point does that put someone in danger? Sean Boyd serves as the antagonist here but we also see him go on a his own journey. Struggling from alcoholism he goes through various states of sobriety, but ultimately doesn’t seem to want it for himself. We find very little reason to empathise with him as time and time again we see him get in the way of the glimmers of hope Alex has found for herself and for Maddy; whether that is by sleeping on the couch in her landlord’s house or by giving back the car she has been by Nate as he is jealous.

 

I also wanted to mention the character of Nate (Raymond Ablack) – I think he starts a really good conversation of how much of his help was kindness and at what point he did end up wanting something from Alex. Seeming to be a source of kindness in her life, I do believe Nate meant well but got carried away with his feelings and wanting to date her. Although they have chemistry, this isn’t really something he should be acting on, as she is in a place in her life where she really needs to sort herself out first and also wouldn’t be able to contribute to that relationship – a point highlighting by his asking her out and ultimately driving her away.

 

 

I was slightly worried as I finished the penultimate episode; when a story peaks too soon usually it’s a sign that things are about to go downhill, fast. I was really glad to see this didn’t happen here – we get to see some hope for her and Maddy as she finally goes off to college and has a fresh start thanks to both Regina and her perseverance.

 

One of my main critiques of this series was that the break Alex does manage to catch comes by way of client Regina (Anika Noni Rose), who’s house Alex has been contracted to clean. From the beginning Alex has crossed a line – by holding Regina’s dog ransom – however Regina takes pity and ends up being a very good friend and mother figure. I couldn’t help but feel like this was slightly too convenient, that Alex gets a bit more help from Regina than is realistic. I do, however, appreciate that if this were more realistic and Regina had cast her away this would have been the most depressing show ever – narratively we need her to get some sort of a break.

 

 

Ultimately this story is sold by Qualley’s standout performance. From the beginning we are on her side as we see a desperate mother doing anything to protect her young daughter at the cost of her own pride, and her own basic needs. It is rare that we see her break throughout this journey, but this struggle is still present on her face and in her eyes throughout. She gives a very present performance, and through it we truly believe that there is nothing more important than the safety and the needs of daughter Maddy.

 

Overall I would definitely recommend this series – just make sure you’re in the mood for some heavy reflection first.

 

Maid is available to watch on Netflix.