Saint Maud (Rose Glass, 2019) follows the story of Maud (as played by Morfydd Clark), as she assumes the role of caretaker for Amanda (Jennifer Ehle) who is afflicted by a chronic illness and the tensions created between their lifestyle differences. Saint Maud is a complex and layered psychological horror that speaks on themes of religion, obsession, and the effects of internalized homophobia with these strong outer influences bearing down on Maud’s consciousness. Saint Maud is not only one of only two feature length films Rose Glass has made to date, but it is also her first. And she knocks it out of the park right off the bat, as she definitely does not disappoint. Glass thrives in creating intimate and thrilling movies that tackle taboo subjects of society, and she guides her audience through processing these complexities of life. She has a very distinct style and likes to play with powerful visual effects, colors, and vivid visual horror. Making it hard to look away from the freaky and truly unsettling kind of possession Maud undergoes as she dives deeper into a lifestyle guided by religious enlightenment and the path of god. All of this creates the perfect choice for horror enjoyers to end the month of October off on! Each Halloween season, I find myself returning to Richard Kelly’s Donnie Darko. Though not particularly scary on the surface, the film’s eerie atmosphere comes from it being a psychological drama rooted in reality. Situated in a suburban area of Virginia throughout October 1988, we follow Donnie (Jake Gyllenhaal), a distraught and troubled teenager led by the presence of a foreboding rabbit and his own cloudy judgment. There’s something quite unsettling about Donnie’s helplessness - brought on by what originally seems to be just a psychosis but quickly spirals into something more complex. The film manages to be somewhat literary, posing questions relating to destiny and the influence we have on the lives of those around us. Through the introspective and strangely philosophical nature of the plot, Donnie Darko is able to subvert common tropes of many genres, allowing the film to be a fresh take on a Halloween-themed movie. The Wailing is an intense, thought-provoking, and genuinely scary horror movie. If you're looking for a film that will keep you on edge, making you think and feel along with the main protagonist, this is it. The way the characters interact feels real and are very rational, and the scares are not the cheap jump scares we’ve grown used to. This movie will actually creep you out and stick with you long after it's over. When I first watched it with my buddy, we were in shock and awe throughout, and left absolutely speechless at the end, just reflecting on the masterpiece we had witnessed. The story is amazingly written, and the actors truly display the raw emotions of their characters. This movie is a must-watch for horror fans who want something different from the usual Western horror experience. It’s March 2020. As we see the damned weave tapestries, there is a growing realization that nobody will watch our vlogs, crying out the worthless dribble of “justice”, of eyes to see beyond It. To sue… to go to the papers. To want to be heard… to prevent our being marked “abandoned” by the world. This is what we find in [REC]: a black patch to Science, a rotten xenomystical terror churling inside an aseptic holo-sphere, within which an apartment building rapidly sinks into the Earth’s co-error. All ties are severed. They die, by the eye. The politick of human warmth and comfort becomes the irrelevant vector of disease. “Nobody will save us… open your eyes.” It is a movie filmed inside a nuclear bomb. “Turn on the light!!!!!!! Turn on the light, please!!!!!!” The final scene: a jangling, putrid “Old Believer” baroque tome-trinket museum of Natural Evil fit for the nation that birthed Palmarian Catholicism. “Don’t move— I’m turning on the night-vision.” Willard Huyck — a contemporary of George Lucas and co-writer of Indiana Jones — directed two films. The first was Messiah of Evil, an independent horror film released amidst the New Hollywood; the second was Howard the Duck. I defy you to name a better career. The story is simple. Artley (Marianna Hill) is searching for her father, an estranged artist who went missing following a fit of paranoia. She returns to the coastal town of Point Dume, where she meets a series of peculiar residents — groupies, aristocrats, cult members — all connected through the titular “Messiah of Evil.” As the sun sets and the sky turns red, Artley is hit with the same paranoia that struck her father. The seedy underbelly of Point Dume is revealed. Ultimately, Messiah of Evil’s plot is second base to the vibe. The film operates on nightmare logic, a poisonous stream of consciousness. That feeling of “something is wrong, but I can’t tell you what” is entirely enhanced by shots of empty space, inexplicable fog, and flat, Colville-esque portraits of figures in black. It is a horror film focused less on gore and jumpscares and more on primal unease. It should come as no surprise that art director Jack Fisk would become David Lynch's go-to hire, inspiring the looks of Eraserhead, Twin Peaks, and Mulholland Drive. Howard the Duck is also scary, but like, unintentionally so. Clever horror tactics meet genuine and seemingly prophetic motives in David Cronenberg’s The Brood. It’s charmingly weird and unsettling, and very well could be one of the most obviously Canadian horror films ever, but manages to climb its way out of the bottomless pit of fun low-budget horror films with its doomful, depressed characters and their struggle with the blood ties which bind them. Frank must fight between his duties as a loving father, and his absolute fear of his emotionless young daughter and her mother who is kept in a strange mental hospital but willing to do anything to claim custody of her daughter. As well as mental illness and alternative psychological practices, The Brood is an intellectual commentary on divorce and the right to one’s own child. And, it’s got creepy humanoid children and breathtaking body horror! Let it work your fears, and laugh at the absurdity of this classic horror film as you keep Cronenberg’s own divorce in mind as the context in which the film was made. Leave a comment about an all-time or recent favourite Halloween-y (horror, gothic, etc.) movie, and stay updated for more collaborative lists in the future, to have your own short review published! HAPPY HALLOWEEN!
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A Super-indie, Grrrl-style, Revolutionary Rom-com |
Hundreds of Beavers | Directed by Mike Cheslik | 2022 | 108 minutes by Aidan Beatty Welcome to the Attic of Absurdity: the potential start to a series in which I will be shedding light on, reviewing and discussing absurdist cinema and or odd films I feel are worth talking about. To start off the series, let’s talk about Hundreds of Beavers (2022). This film recently got its Calgary debut presented at the Globe by The Calgary Cinematheque. It was a rather successful event having garnered a large crowd of engaged film-goers. This film almost never had a dull moment and the theatre was packed full of continuous gut wrenching laughter. It’s been a long while since I’ve seen an audience laugh that hard and consistently. This is definitely a film meant for a big audience or group. With a budget of around 150,000$ (10,000$ being spent on Beaver costumes alone), Mike Cheslik wrote, directed and edited his debut feature over the course of four years. The film was shot in Wisconsin during twelve total weeks of winter, between 2019 and 2020. Cheslik took two years completing over 1,500 visual effects shots himself using Adobe After Effects, and even had his father compose the score to the film. This attention to handcrafted independent detail is what makes the film feel so special. This lovely warmth is present throughout the film and it’s very apparent as to all the love that went into this production. Every shot has this magic to it that feels lost with most modern Hollywood films. Hundreds of Beavers is presented as a black and white silent slapstick comedy. While it’s an homage and pastiche towards the films of the 20’s, it also acts as a modern day presentation of the genre by utilizing newer technology and acknowledging some of the down sides from that era. The influences are very apparent throughout the film even down to certain scenes being fairly identical from Modern Times (1936). Charlie Chaplin and Buster Keaton aren’t the only influences present, while they certainly are at the forefront of the action, a lot of the film feels and looks influenced by video games. This video game aesthetic they craft is extremely impressive. The film creates a game-like world better than any video game adaptation ever put to film. This world is consistently inconsistent in the most pleasant way. As the film goes on, what’s possible changes radically but never feels out of the ordinary. It’s simply the absurdist charm. It also gives the film a great flow and sense of pacing… for the most part. This is definitely a long film and can get slow, but usually it’ll throw in some gag to keep you entertained. I had a lot of fun with this film, both as a viewer and an aspiring filmmaker. The way it leans into the low-budget nature truly captures some wonderful moments. There’s many layers to the bits present within the film that can be identified differently from person to person. The physical humour is often always the highlight, taking some draw from America’s Funniest Home Videos. A lot of the laughs can also come from how un-scripted some of the trips, falls and such are presented. There’s no doubt a lot of it was an actual accident but they chose to keep rolling and it's very charming. The whole film is centered around this charmful wonder. I’m in awe at just how complex this film can be while also being so simple as well. It’s very effective as a comedy and a lesson in how to do physical and visual humour. I'd highly recommend this as it is already proving to be a modern day classic. You can purchase it digitally or be patient enough to get the physical release coming later this year, either way, this film will certainly surprise you with how much you’ll enjoy it… knock on wood. |
Brought to you by the U of C Film Society!
Welcome to the fourth annual Crash/Cut film awards — voted by YOU! 2023 was a fantastic year for cinema, and after weeks of nominations and voting, the results are in! Keep reading to check out the winners.
A massive thanks to all the wonderful members that participated. Here's to another year of great movies!
A massive thanks to all the wonderful members that participated. Here's to another year of great movies!
MUSIC AWARDS
Best Original SongCamp Isn't Home Theatre Camp Other Nominees: Here to Stay - Tim Hecker (Infinity Pool) I'm Just Ken - Ryan Gosling (Barbie) What Was I Made For? - Billie Eilish (Barbie) | Best Original ScorePast Lives Christopher Bear and Daniel Rossen Other Nominees: BlackBerry (Jay McCarrol) Oppenheimer (Ludwig Göransson) Poor Things (Jerskin Fendrix) |
TECHNICAL AWARDS
Best CinematographyPoor Things Robbie Ryan Other Nominees: Asteroid City (Robert Yeoman) Saltburn (Linus Sandgren) Best SoundPriscilla Nelson Ferreira Other Nominees: Oppenheimer (Richard King) | Best EditingAnatomy of a Fall Lauren Sénéchal Other Nominees: BlackBerry (Curtis Lobb) Oppenheimer (Jennifer Lame) Best Visual EffectsOppenheimer Other Nominees: Asteroid City |
WRITING AWARDS
Best Original ScreenplayMay December Screenplay by Samy Burch and Alex Mechanik Other Nominees: Past Lives (Celine Song) | Best Adapted ScreenplayPoor Things Written by Tony McNamara Based on the novel Poor Things: Episodes from the Early Life of Archibald McCandless M.D., Scottish Public Health Officer (1992) by Alasdair Gray Other Nominees: Oppenheimer (Christopher Nolan, Kai Bird, Martin J. Sherwin) BlackBerry (Matt Johnson, Matthew Miller, Jacquie McNish, Sean Silcoff) |
PERFORMANCE AWARDS
Best Actor in a Leading RoleCillian Murphy Oppenheimer Other Nominees: Andrew Scott (All of Us Strangers) Glenn Howerton (BlackBerry) Paul Giamatti (The Holdovers) | Best Actress in a Leading RoleLily Gladstone Killers of the Flower Moon Other Nominees: Emma Stone (Poor Things) Greta Lee (Past Lives) Sandra Hüller (Anatomy of a Fall) |
Best Actor in a Supporting RoleCharles Melton May December Other Nominees: Mark Ruffalo (Poor Things) Paul Mescal (All of Us Strangers) Swann Arlaud (Anatomy of a Fall) | Best Actress in a Supporting RoleDa'Vine Joy Randolph The Holdovers Other Nominees: Danielle Brooks (The Color Purple) Ayo Edebiri (The Sweet East) Rosamund Pike (Saltburn) |
Best Ensemble
Bottoms
Other Nominees:
Barbie
Saltburn
Theatre Camp
Other Nominees:
Barbie
Saltburn
Theatre Camp
BEST SHORTS
Best Live Action Short Film
The Wonderful Story of Henry Sugar
Wes Anderson
Other Nominees:
The Breakthrough (Daniel Sinclair)
The Swan (Wes Anderson)
Wes Anderson
Other Nominees:
The Breakthrough (Daniel Sinclair)
The Swan (Wes Anderson)
Best Animated Short Film
TIE:
Ninety-Five Senses (Jerusha Hess and Jared Hess)
Our Uniform (Yegane Moghaddam)
Ninety-Five Senses (Jerusha Hess and Jared Hess)
Our Uniform (Yegane Moghaddam)
Best Documentary Short Film
TIE:
The ABCs of Book Banning (Trish Adlesic, Sheila Nevins, and Nazenet Habtezghi)
The Barber of Little Rock (John Hoffman and Christine Turner)
The ABCs of Book Banning (Trish Adlesic, Sheila Nevins, and Nazenet Habtezghi)
The Barber of Little Rock (John Hoffman and Christine Turner)
BEST PICTURES
Best Documentary Feature Film
TIE:
Apolonia, Apolonia (Lea Glob)
Chasing Chasing Amy (Sav Rodgers)
Apolonia, Apolonia (Lea Glob)
Chasing Chasing Amy (Sav Rodgers)
Best Animated Feature Film | Best International Feature Film |
The Boy and the Heron Hayao Miyazaki Other Nominees: Spider-Man: Across the Spider-Verse (Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson) Toopy and Binoo: The Movie (Raymond Lebrun and Dominique Jolin) | Perfect Days Wim Wenders Other Nominees: Fallen Leaves (Aki Kaurismäki) Monster (Hirokazu Koreeda) Passages (Ira Sachs) |
Best Motion Picture of the Year
Anatomy of a Fall
Justine Triet
Other Nominees:
Past Lives (Celine Song)
Poor Things (Yorgos Lanthimos)
May December (Todd Haynes)
Justine Triet
Other Nominees:
Past Lives (Celine Song)
Poor Things (Yorgos Lanthimos)
May December (Todd Haynes)
Best Director
Celine Song
Past Lives
Other Nominees:
Justine Triet (Anatomy of a Fall)
Sofia Coppola (Priscilla)
Yorgos Lanthimos (Poor Things)
Past Lives
Other Nominees:
Justine Triet (Anatomy of a Fall)
Sofia Coppola (Priscilla)
Yorgos Lanthimos (Poor Things)
Rosemary's Sweeney
by Aidan Beatty
2024 continues to be Sydney Sweeney’s year. Having three films come out in only two months, her big-screen presence proves to be one to stay. Her latest film, which she not only acts in but also produces, Immaculate (2024), hits theatres this month. I had the lucky chance to see an early screening and will present my honest opinions on the film.
From the cold open, we are brought into the claustrophobic world of the film. Space is utilized very well in conveying its horror. From locking characters in confined spaces, or crammed hallways, this film creates a tense atmosphere. Accompanied by its ruthless sound design, no place ever truly feels safe. There’s always this eerie feeling even when nothing sinister is truly on display. At times, the film can utilize the quiet then loud jump-scare too much, but some scares come from no build up and those are the most effective. There are also some details within the set design that give off an odd vibe, a few of which I was expecting the film to adapt upon, but they don’t. They just lingered in my mind and made the film more creepy when not addressed.
The first time we see Sydney Sweeney as Sister Cecila, we are made aware of her role in this society. We see how she is viewed and perceived. As said in the Bible, women bare the original sin of conception. The film is centered on this idea of life and death and being reborn. Her character is pure and she is tested. We as the audience are also tested with morality. What is right of the wrongness in others? The third act of the film is harrowing and much stronger than its slower first two. The ending lingers on this shot that starts unnerving, but does descend a tad comical. It does prove my theory that Sweeney could become a modern day scream queen. As the film picks up pace, so does she. By the final moment of the film, the audience had such a visceral reaction and one of the audience members even said, “Let me just sit with this for a moment before we leave.” another also said, “She totally girl-bossed that,” which was a response for sure.
A big issue with this film for me is its characters. Most of them are not given enough time to flesh out and we are left with mostly slots and archetypes rather than compelling people. Cecilia [Sweeney] is the only one we truly get to know, as those around her don’t interact much with her and when they do it’s only to talk about herself. Characters attempt to give off this mysterious backstory, but it comes across more as lazy than interesting. They follow structured horror film beats and never give us much to see in them so that when they're gone, we don’t miss them. Or if something happens to them, we aren’t inclined to feel bad, we’re more focused on the effects instead. The effects are entertaining, but do vary from effective and fun to sometimes B-level goofy.
Immaculate does proudly display its influences, but sadly, it reminds me of better films with similar themes and ideas. The likes of Rosemary's Baby (1969) and Killer Nun (1979) come to mind. I feel as though they use their respective themes better as they’re able to center in on them. This film takes too much of its time trying to figure out what it really wants to say that by its improved third act, they’ve left some of its original ideas behind. We are given more questions than answers and normally I enjoy that, but here the questions are more of plot holes rather than intriguing ones. The cold open was great and this lingering force of hooded red figures was tense, but we aren’t fulfilled with connections enough to link them all together.
While not a film I would rewatch, it was still entertaining and provided a few good gore moments that I did see myself enjoying. The music and sound design create a great bit of uneasiness to some scenes and the set design is wonderful. Sydney Sweeney proves herself to be a good candidate for an upcoming scream queen and I want more. The ending leaves you with such an impact that it's hard not to appreciate the film for where it went.
From the cold open, we are brought into the claustrophobic world of the film. Space is utilized very well in conveying its horror. From locking characters in confined spaces, or crammed hallways, this film creates a tense atmosphere. Accompanied by its ruthless sound design, no place ever truly feels safe. There’s always this eerie feeling even when nothing sinister is truly on display. At times, the film can utilize the quiet then loud jump-scare too much, but some scares come from no build up and those are the most effective. There are also some details within the set design that give off an odd vibe, a few of which I was expecting the film to adapt upon, but they don’t. They just lingered in my mind and made the film more creepy when not addressed.
The first time we see Sydney Sweeney as Sister Cecila, we are made aware of her role in this society. We see how she is viewed and perceived. As said in the Bible, women bare the original sin of conception. The film is centered on this idea of life and death and being reborn. Her character is pure and she is tested. We as the audience are also tested with morality. What is right of the wrongness in others? The third act of the film is harrowing and much stronger than its slower first two. The ending lingers on this shot that starts unnerving, but does descend a tad comical. It does prove my theory that Sweeney could become a modern day scream queen. As the film picks up pace, so does she. By the final moment of the film, the audience had such a visceral reaction and one of the audience members even said, “Let me just sit with this for a moment before we leave.” another also said, “She totally girl-bossed that,” which was a response for sure.
A big issue with this film for me is its characters. Most of them are not given enough time to flesh out and we are left with mostly slots and archetypes rather than compelling people. Cecilia [Sweeney] is the only one we truly get to know, as those around her don’t interact much with her and when they do it’s only to talk about herself. Characters attempt to give off this mysterious backstory, but it comes across more as lazy than interesting. They follow structured horror film beats and never give us much to see in them so that when they're gone, we don’t miss them. Or if something happens to them, we aren’t inclined to feel bad, we’re more focused on the effects instead. The effects are entertaining, but do vary from effective and fun to sometimes B-level goofy.
Immaculate does proudly display its influences, but sadly, it reminds me of better films with similar themes and ideas. The likes of Rosemary's Baby (1969) and Killer Nun (1979) come to mind. I feel as though they use their respective themes better as they’re able to center in on them. This film takes too much of its time trying to figure out what it really wants to say that by its improved third act, they’ve left some of its original ideas behind. We are given more questions than answers and normally I enjoy that, but here the questions are more of plot holes rather than intriguing ones. The cold open was great and this lingering force of hooded red figures was tense, but we aren’t fulfilled with connections enough to link them all together.
While not a film I would rewatch, it was still entertaining and provided a few good gore moments that I did see myself enjoying. The music and sound design create a great bit of uneasiness to some scenes and the set design is wonderful. Sydney Sweeney proves herself to be a good candidate for an upcoming scream queen and I want more. The ending leaves you with such an impact that it's hard not to appreciate the film for where it went.
by Catherine McDonald
What is indie sleaze? Why does it matter?
A genre defined by characteristics of "dirtbag teenagers," often troubled teens who have been left behind, misfits trying to find themselves in a fucked up world that has treated them mean. Think of kids who listen to: Nirvana, Hole, MGMT, and a bunch of other alternative bands that you shouldn't know about because they're too underground. Aesthetically, it can be defined by late 90s/early to mid-2010s indie alternative style, such as grunge y2k clothing styled with indulgence and rebellion. It also is meant to be an affordable style of dressing as a response to hard economic times throughout the 2000s. A lifestyle that often, unfortunately, consists of drug use, drinking, late-night parties, and bad mistakes. For example, the TV show Skins (2007-2013) is a perfect example of "indie sleaze." It was an indie piece of media that portrayed young teens in a sleazy way that was relatable to teens. Smudged eyeliner, partying and sex all night, and depicted mental illness and abuse in a raw and edgy way. It was criticized for being too graphic and adult, and despite being an indie production, it soon became famous for being so unabashedly indie sleaze.
Indie sleaze has made a resurgence on social media with Gen Z for a few reasons. The visual aesthetics have become trendy again for that “y2k” look, but I believe this genre and style has become popular again for what it represents. Indie sleaze media often portrays young people struggling, having become a messy product of the way the world has treated them. Is it not relatable to watch something like Skins in today’s climate with what young people are going through, to not want to project ourselves onto these characters? They’ve been treated the same and want to rebel in response.
Besides being an affordable fashion trend in today’s economy, true indie sleaze represents the misfits and the forgotten of today’s youth. To rebel against convention and, unfortunately, experience the pain of self-indulgence and representation of raw struggles such as mental illness and abuse. It represents that inner, angry teenager in us and wants to remind you. Yes, show off your anger with that tongue piercing. Numb the pain by committing some crime. Maybe romanticize it a little and experience a messy first love.
Here are 3 essential indie sleaze films to watch that have all been criticized and praised for the same reasons.
Indie sleaze has made a resurgence on social media with Gen Z for a few reasons. The visual aesthetics have become trendy again for that “y2k” look, but I believe this genre and style has become popular again for what it represents. Indie sleaze media often portrays young people struggling, having become a messy product of the way the world has treated them. Is it not relatable to watch something like Skins in today’s climate with what young people are going through, to not want to project ourselves onto these characters? They’ve been treated the same and want to rebel in response.
Besides being an affordable fashion trend in today’s economy, true indie sleaze represents the misfits and the forgotten of today’s youth. To rebel against convention and, unfortunately, experience the pain of self-indulgence and representation of raw struggles such as mental illness and abuse. It represents that inner, angry teenager in us and wants to remind you. Yes, show off your anger with that tongue piercing. Numb the pain by committing some crime. Maybe romanticize it a little and experience a messy first love.
Here are 3 essential indie sleaze films to watch that have all been criticized and praised for the same reasons.
1. Thirteen (2003) directed by Catherine Hardwicke
Thirteen truly represents the consequences of being thirteen and dumb and living in a rough world through the lens of that indie sleaze lifestyle. Tracy lives in a working-class family and feels estranged from her mother and ex-father. Feeling she has to grow up to cope with peer pressure and her changing world, she turns to Evie, who introduces her to stealing, drugs, sex, lying, and how to dress provocatively. She’s introduced to this world in a romanticized way, full of sleaze and eyeliner, with consequences that are all too real, portrayed in a very authentic and visually stunning way.
The fashion and romanticization of the lifestyle in Thirteen is also trendy on social media now. Is it because it’s chic? Does it tell society, “fuck you, mom?” Either way, this film and its craft in expressing girlhood are appealing and enticing to future audiences on many levels.
This film is an unapologetically raw portrayal of coming of age as a vulnerable girl who wants to grow up too fast and is taken advantage of by the wrong friends. An unconventional coming-of-age story that is, in fact, a reality for many young girls, Catherine Hardwicke, shows us the nuances and very complicated feelings of being pressured to grow up, with a heart-breaking conclusion that makes this story a mother-daughter love story. The blurry, low-frame cinematography lit by harsh, slimy fluorescent blue and green lighting captures that grunge, sleaze club aesthetic. It makes Tracie’s world disorientating and frightening, yet simultaneously, a chic and enticing blur.
The fashion and romanticization of the lifestyle in Thirteen is also trendy on social media now. Is it because it’s chic? Does it tell society, “fuck you, mom?” Either way, this film and its craft in expressing girlhood are appealing and enticing to future audiences on many levels.
This film is an unapologetically raw portrayal of coming of age as a vulnerable girl who wants to grow up too fast and is taken advantage of by the wrong friends. An unconventional coming-of-age story that is, in fact, a reality for many young girls, Catherine Hardwicke, shows us the nuances and very complicated feelings of being pressured to grow up, with a heart-breaking conclusion that makes this story a mother-daughter love story. The blurry, low-frame cinematography lit by harsh, slimy fluorescent blue and green lighting captures that grunge, sleaze club aesthetic. It makes Tracie’s world disorientating and frightening, yet simultaneously, a chic and enticing blur.
2. Mysterious Skin (2004) directed by Gregg Araki
content warning: this film is about child SA and includes depictions and scenes of graphic SA
Gregg Araki is considered to be an icon in the rise of indie queer cinema in the 90s and is mainly known for his grunge, coming-of-age, indie sleaze style. His most famous films depict American society's curiosity, rage, and degenerate downfall. Mysterious Skin is one of those films, and indie sleaze represents being stuck in the fucked up society of America and being trapped in the abuse and systems that promote our suffering.
Mysterious Skin is an extremely raw film. It’s a film that deals with child SA and what happens to two boys as they deal with the trauma. Neil grows up into that typical “dirtbag” teenager who causes trouble, dresses classically indie sleaze, and has a rowdy group of friends who also make trouble. All while he makes money being a prostitute and enjoying it. Brian grows up to believe he was abducted by aliens and searches for the truth.
Gregg Araki’s representation of his queer characters deserves to be put into the public eye. He writes these kids for who they really are. Messy, bad, unapologetic, grunge, in love, angry, and slightly hopeful. These are his characters, but these are also real people who are queer as well and deserve to see themselves in the raw, unapologetic films of Gregg Araki.
The subject matter of this film specifically is something that needs to be discussed and seen on a societal level and should be seen by future audiences to bring awareness and discussion to this kind of abuse and the trauma that follows. Gregg Araki portrays this subject matter with no reserve and shows how society and many people in their world have failed these characters, who represent very real people. He does, though, represent these young people with a slight glimmer of hope in their friendships and their bold 90s fashion that is now trendy again. He describes genuine teenagers who are lost and want to find themselves. Through wacky accessories and funky hair. In the relationships that build in the film, the love these misfits have for each other, and how they express themselves.
They’re all outcasts in some way, and through their unique outfits and connections with each other, Gregg shows that despite that it all, they’re still saying “fuck you” to the world and doing it in a beautiful, self-expressive way. His film continues to encourage so-called “outcasts” today to keep doing what they do.
Mysterious Skin is an extremely raw film. It’s a film that deals with child SA and what happens to two boys as they deal with the trauma. Neil grows up into that typical “dirtbag” teenager who causes trouble, dresses classically indie sleaze, and has a rowdy group of friends who also make trouble. All while he makes money being a prostitute and enjoying it. Brian grows up to believe he was abducted by aliens and searches for the truth.
Gregg Araki’s representation of his queer characters deserves to be put into the public eye. He writes these kids for who they really are. Messy, bad, unapologetic, grunge, in love, angry, and slightly hopeful. These are his characters, but these are also real people who are queer as well and deserve to see themselves in the raw, unapologetic films of Gregg Araki.
The subject matter of this film specifically is something that needs to be discussed and seen on a societal level and should be seen by future audiences to bring awareness and discussion to this kind of abuse and the trauma that follows. Gregg Araki portrays this subject matter with no reserve and shows how society and many people in their world have failed these characters, who represent very real people. He does, though, represent these young people with a slight glimmer of hope in their friendships and their bold 90s fashion that is now trendy again. He describes genuine teenagers who are lost and want to find themselves. Through wacky accessories and funky hair. In the relationships that build in the film, the love these misfits have for each other, and how they express themselves.
They’re all outcasts in some way, and through their unique outfits and connections with each other, Gregg shows that despite that it all, they’re still saying “fuck you” to the world and doing it in a beautiful, self-expressive way. His film continues to encourage so-called “outcasts” today to keep doing what they do.
3. The Bling Ring (2013) directed by Sofia Coppola
It is based on actual events and, at the same time, a commentary on American consumerism and celebrity obsession. A more modern take, The Bling Ring represents a late 2010s version of indie sleaze, a more glamorous version and a closer representation of what indie sleaze looks like today in the age of social media.
Again, indie sleaze often represents the unforgiving world we live in and reflects it through the fashion and attitudes of its characters. The Bling Ring is no different and is very similar in style and content to Skins. These teenagers are bored, horny, wild, and poor, and they want to be celebrities they see and will go to any lengths to achieve that.
They want to be better than they are.
The characters are obsessed with celebrity fashion icons like Lindsay Lohan, Megan Fox and Paris Hilton. Indie sleaze, in their world, is defined by stealing to replicate this rich, party, celebrity lifestyle. They want to fulfill their fascination, be praised, and be the “it” girls at the club. They party, get drunk, and dress up, and it’s a world of Chanel, lip gloss, guns, the black market, and Myspace. Sofia Coppola accurately represents the lifestyle of modern-day consumerism influenced by peers and social media. She presents this in a cinematography style that’s fast and eye-catching. Low lighting, crazy club shots, and Myspace digital photo montages. The characters are dressed in Prada, giant sunglasses, smeared eyeliner, and shiny lip gloss. It is very representative of the late 2010s sleaze club scene, historically the last years that were considered truly indie sleaze.
Again, indie sleaze often represents the unforgiving world we live in and reflects it through the fashion and attitudes of its characters. The Bling Ring is no different and is very similar in style and content to Skins. These teenagers are bored, horny, wild, and poor, and they want to be celebrities they see and will go to any lengths to achieve that.
They want to be better than they are.
The characters are obsessed with celebrity fashion icons like Lindsay Lohan, Megan Fox and Paris Hilton. Indie sleaze, in their world, is defined by stealing to replicate this rich, party, celebrity lifestyle. They want to fulfill their fascination, be praised, and be the “it” girls at the club. They party, get drunk, and dress up, and it’s a world of Chanel, lip gloss, guns, the black market, and Myspace. Sofia Coppola accurately represents the lifestyle of modern-day consumerism influenced by peers and social media. She presents this in a cinematography style that’s fast and eye-catching. Low lighting, crazy club shots, and Myspace digital photo montages. The characters are dressed in Prada, giant sunglasses, smeared eyeliner, and shiny lip gloss. It is very representative of the late 2010s sleaze club scene, historically the last years that were considered truly indie sleaze.
Indie sleaze is back and is being led by young people, young queer people, young women, who know that the world is a bit shit and are ready to rebel. They are prepared to party to forget, have fun, make mistakes, and see people who are just like them. Indie sleaze represents an essential part of the past and what’s in store for the future. The three very different but real stories of Thirteen, Mysterious Skin, and The Bling Ring are all crazy and weird and haunting in their own ways that future audiences will see themselves in. They may also want to replicate some exciting fashion and fun partying.
Either way, indie sleaze represents so much about the world and the young people surviving through it all, and it deserves to be resurrected onto the big screens again and seen.
Either way, indie sleaze represents so much about the world and the young people surviving through it all, and it deserves to be resurrected onto the big screens again and seen.
Anxiety, Static, Noise
by Aidan Beatty
“These are the lockers
There are the desks”
There are the desks”
This film has left me awestruck. It swirls around my mind and clutters it with many different ideas and thoughts. I felt so sad and alone while watching this. It spoke to me on a level that I wasn’t prepared for and still struggle to comprehend. It’s a journey that I feel as though will haunt me in the coming days. The entire experience was melancholic and screaming with dread in a sense. It’s a film that requires deep analysis, but more specifically, a personal analysis. It won’t appeal to everyone, but there is something within the film that can be expressed to anyone. It’s a personal and individual experience that will vary from viewer to viewer. It’s likely to be read and discussed with its varying themes and explored from different perspectives all containing their own point of view with what it could be saying and what it is saying.
The cinematography is breathtakingly phenomenal. Moments have time to not only breathe but extend their raw atmosphere to such a believable and painful level. Some moments have this hint of cringe to them that doesn’t feel inappropriate, but rather emphasizes the point of raw relatability. The long takes are incredible and very impressive with what they accomplish. You get this emotion that sticks with you and follows you throughout the film. You get to experience these events unfolding on this weird personal level. The camera feels diegetic in scenes when it shouldn’t. You’re almost a third person, complicit and stalking these characters. We follow them in an uneasy way and when we stop following them and stay with a static shot, it’s extremely impactful to articulate the emotional vulnerability. The film also utilizes diegetic cameras perfectly in executing the perspectives of the videos being recorded. The opening sequence sticks out to me the most as being a flawless representation of anxiety and isolation. The framing and static camera make this moment unforgettable.
The horror within this film is personal and can affect each viewer in a variety of different ways. The interpretation of the events and how the story unfolds will vary depending on the viewer’s personal experiences and what they identify with. We fill in where the story is going and what we believe will happen by way of individual creativity. This further articulates the “game world” this film sets up as the story is different for each character. This “set narrative” isn’t obvious and keeps us guessing as to where we are going. We essentially create our own theories or “fan fiction” whilst we consume this media as the characters do as well. This is where I see the ending as yet another story being told that can be altered depending on someone else’s perspective. This never happened…or did it? It’s up to interpretation and that’s where the film strives with its content. It’s experimental and uncanny with its narrative and the horror comes from what we can’t understand and more importantly what we believe is real. Reality is blurred immensely within this film, especially with the perspective shift halfway through which I personally thought was brilliant. It elevates our sense of confusion in trying to comprehend what is real and what is all an act. Where does the storytelling stop and where are characters being genuine?
The cinematography is breathtakingly phenomenal. Moments have time to not only breathe but extend their raw atmosphere to such a believable and painful level. Some moments have this hint of cringe to them that doesn’t feel inappropriate, but rather emphasizes the point of raw relatability. The long takes are incredible and very impressive with what they accomplish. You get this emotion that sticks with you and follows you throughout the film. You get to experience these events unfolding on this weird personal level. The camera feels diegetic in scenes when it shouldn’t. You’re almost a third person, complicit and stalking these characters. We follow them in an uneasy way and when we stop following them and stay with a static shot, it’s extremely impactful to articulate the emotional vulnerability. The film also utilizes diegetic cameras perfectly in executing the perspectives of the videos being recorded. The opening sequence sticks out to me the most as being a flawless representation of anxiety and isolation. The framing and static camera make this moment unforgettable.
The horror within this film is personal and can affect each viewer in a variety of different ways. The interpretation of the events and how the story unfolds will vary depending on the viewer’s personal experiences and what they identify with. We fill in where the story is going and what we believe will happen by way of individual creativity. This further articulates the “game world” this film sets up as the story is different for each character. This “set narrative” isn’t obvious and keeps us guessing as to where we are going. We essentially create our own theories or “fan fiction” whilst we consume this media as the characters do as well. This is where I see the ending as yet another story being told that can be altered depending on someone else’s perspective. This never happened…or did it? It’s up to interpretation and that’s where the film strives with its content. It’s experimental and uncanny with its narrative and the horror comes from what we can’t understand and more importantly what we believe is real. Reality is blurred immensely within this film, especially with the perspective shift halfway through which I personally thought was brilliant. It elevates our sense of confusion in trying to comprehend what is real and what is all an act. Where does the storytelling stop and where are characters being genuine?
The internet acts as a gateway of expression, especially for those who feel isolated in articulating this expression. It is a way for one’s creativity to be shared and creates a community. Anxiety and depression can shelter these thoughts and restrict them from spreading their wings, whereas the internet can create a shield for personal struggles. Therein lies the conflict of uncertainty. Is this all an act? Is this person real? We put on a different face when we are on the internet which can alter our true personality. Is this person a complete fabrication? Are the stories they tell truthful? Anxiety floats around the internet in a dreadful way. The horror comes from not understanding if this conversation is a genuine reality or if it’s a fabrication designed to give us a false sense of security. There is no safety on the internet, and we are vulnerable. However, is that vulnerability truly personal or a personification of the ideas we wish to share?
Casey is there to be human in a world of noise. A voice of isolation, self-destruction and an expression of human connection. There is a lot to be said about this and more to dive into, especially with its topic of gender, but I don’t know if I would be the best to discuss this at this very moment in my life. I will have to rewatch the film sometime, so that I can research and better explore these topics and themes before discussing them. There is a lot to unpack and more importantly discuss. This is an extremely impactful film on me and one that I am grateful to have seen. I know a lot of people won’t like it and I understand why, but personally, I thought it was incredible. It’s a wonderful expression on anxiety, loneliness, fear of technology, storytelling and identity. More importantly, it’s a film that spoke to me and one that gives me many thoughts, questions and perspectives.
Casey is there to be human in a world of noise. A voice of isolation, self-destruction and an expression of human connection. There is a lot to be said about this and more to dive into, especially with its topic of gender, but I don’t know if I would be the best to discuss this at this very moment in my life. I will have to rewatch the film sometime, so that I can research and better explore these topics and themes before discussing them. There is a lot to unpack and more importantly discuss. This is an extremely impactful film on me and one that I am grateful to have seen. I know a lot of people won’t like it and I understand why, but personally, I thought it was incredible. It’s a wonderful expression on anxiety, loneliness, fear of technology, storytelling and identity. More importantly, it’s a film that spoke to me and one that gives me many thoughts, questions and perspectives.
“I know how it’s going to end now”
Avatar: The Way of Water – Underwhelming Beauty
by Emilio Siredey
I still remember when I first saw James Cameron’s Avatar (2009) in theatres when it came out. Even though I was only 8 years old, I oddly recall that I found it pretty exciting and that I had fun watching that movie. And yet, despite the fact that I clearly remember enjoying the film, I don’t believe I ever thought about it again until I visited the Pandora section at Walt Disney World’s Animal Kingdom in 2019. Furthermore, through conversations and online discussions, I found that plenty of other people had a similar sentiment, appraising Avatar as cool or interesting while finding it unmemorable. As for the prevalence behind this opinion, the one explanation that I’ve come across is that, much like the thrill rides at Disney’s amusement park, the enjoyment of Avatar lies in the experience.
I believe that this is exemplified most clearly by The Way of Water's biggest achievements, which are the technical and visual elements of the film. From the get-go, the Avatar movies were designed to be witnessed either in 3D or IMAX, something that has been expressed by Cameron himself as well as the cast of the film, as they were made to be cinematic experiences that would get people back to the theatres. It is by no surprise then that the production design and VFX of the movie are astounding. From the water and environments, to the creature and character design, the film feels so fluid and full of life at all times.
However, in my opinion, that is about all that can be considered remarkable about the new Avatar film. Case in point, The Way of Water follows a fairly simple and somewhat cliched narrative. Without delving much into spoilers, the story takes place around 14 years after the first movie. The humans have returned to Pandora and Jake Sully, (Sam Worthington) along with his partner Neytiri (Zoe Saldana) choose to go into hiding to protect their family from the new threat. This leads them to seek refuge among the sea tribes of the Na’vi, where they have to blend in and learn to adapt to a new way of life.
I believe that this is exemplified most clearly by The Way of Water's biggest achievements, which are the technical and visual elements of the film. From the get-go, the Avatar movies were designed to be witnessed either in 3D or IMAX, something that has been expressed by Cameron himself as well as the cast of the film, as they were made to be cinematic experiences that would get people back to the theatres. It is by no surprise then that the production design and VFX of the movie are astounding. From the water and environments, to the creature and character design, the film feels so fluid and full of life at all times.
However, in my opinion, that is about all that can be considered remarkable about the new Avatar film. Case in point, The Way of Water follows a fairly simple and somewhat cliched narrative. Without delving much into spoilers, the story takes place around 14 years after the first movie. The humans have returned to Pandora and Jake Sully, (Sam Worthington) along with his partner Neytiri (Zoe Saldana) choose to go into hiding to protect their family from the new threat. This leads them to seek refuge among the sea tribes of the Na’vi, where they have to blend in and learn to adapt to a new way of life.
Already, the premise feels like a rehash of the first film’s story, where Sully had to adapt to the Na’vi’s way of life in the forest, going through their different rites of passage, only now he has to do it along with the rest of his family. Speaking of which, Jake and Neytiri’s children, while not uninteresting, do little more than fulfill the specific trope that each one of them represents. Neteyam (Jamie Flatters) is the responsible older brother who looks after his siblings. Kiri (Sigourney Weaver) is the weird kid that doesn’t quite fit in. Lo’ak (Britain Dalton) is the problematic younger son who’s story mirrors that of his father, and Tuk (Trinity Bliss) is the youngest sibling who adds little to the story and serves mostly as comic relief. I also feel that I should mention that Sigourney Weaver’s character was slightly uncanny and off putting, as her voice doesn’t quite feel right when matched with the face of a teenager.
In terms of pacing, at points the movie seems to drag on for quite a bit, especially with all of the ‘sightseeing’ segments where the characters just sort of gaze around at the world around them in awe. Even though it is understandable for the film take its time including a lot of these scenes, with the environment being one of the franchise’s main attractions and all, and while they are definitely well made and pretty to look at, at times it feels more like something out of a National Geographic documentary than a feature-length film. This is not to say that the story is bad or poorly constructed, but I feel like we should expect more out of one of the highest grossing films of all time.
In the end, Avatar: The Way of Water, and the Avatar franchise in general, is much like the thrill rides that you find at an amusement park, visually pleasing and somewhat exciting to experience, plus fairly straightforward and somewhat shallow when you look further into it. However, despite its lack of depth and somewhat cliche narrative, The Way of Water is still an enjoyable and fun cinematic experience, and I can see why so many people like it. After all, most people like thrill rides as well.
In terms of pacing, at points the movie seems to drag on for quite a bit, especially with all of the ‘sightseeing’ segments where the characters just sort of gaze around at the world around them in awe. Even though it is understandable for the film take its time including a lot of these scenes, with the environment being one of the franchise’s main attractions and all, and while they are definitely well made and pretty to look at, at times it feels more like something out of a National Geographic documentary than a feature-length film. This is not to say that the story is bad or poorly constructed, but I feel like we should expect more out of one of the highest grossing films of all time.
In the end, Avatar: The Way of Water, and the Avatar franchise in general, is much like the thrill rides that you find at an amusement park, visually pleasing and somewhat exciting to experience, plus fairly straightforward and somewhat shallow when you look further into it. However, despite its lack of depth and somewhat cliche narrative, The Way of Water is still an enjoyable and fun cinematic experience, and I can see why so many people like it. After all, most people like thrill rides as well.
A little nervous, always cracking jokes: Funny Ha Ha review
by Hazel Cochrane
Two friends sit in a near-empty diner. They had previously agreed to meet up to talk more about where their relationship stands — but they don’t end up touching on that topic at all. Instead, they try to make each other laugh, playing with food, smiling awkwardly, desperately trying not to run out of funny things to do and say. They laugh at each others’ forced jokes, and their own. Alex starts telling Marnie she’s crazy. Marnie says, “What do I do now?” Alex says, “I don’t know. Make some fart noises or something. Well, you don’t have to, but it’s always funny”.
Andrew Bujalski's mumblecore classic Funny Ha Ha is full of things that we actually laugh at every day, and wish we didn't have to. Long-lasting close-up shots of characters' faces during nonsensical, dreadfully long conversations make the audience much too aware of these peoples’ struggle to be present and always say the right thing. You can even feel the pressure to make the right amount of eye contact in almost every interaction throughout the film. Bujalski ventures to depict things visually how they are, and make his audience feel exactly how the characters do in those uncomfortable situations. It’s shot simply, on a very modest budget, driven by the goofy and honest performance of Kate Dollenmeyer as Marnie. We become familiar with each character’s distinctive body language, what their tics are. Anyone watching Funny Ha Ha will be hit hard with the pain of desperately trying to make others laugh, or be pleasant, or fit into the image your friends have of you.
Marnie walks through the film with long arms dangling at her sides, bobbing her head, smiling goofily. She’s always out of a job, and goes to lots of parties. Her friends say she’s the most spontaneous person they know. She spends most of her time with her hipster friends, her unrequited crush Alex, and Mitchell, played by director Andrew Bujalski, an awkward guy who hovers over her at work, trying to converse, constantly apologizing. While Marnie tries to spend time with and hopefully build a relationship with Alex, otherwise drifting through life fairly aimlessly, Mitchell becomes progressively more forward with Marnie, who deflects his advances as politely as she can, trying to save the potential they have to be good friends. Mitchell eventually becomes demanding of Marnie’s attention and enthusiasm, in a drawn-out scene that will have viewers seething. Her other friendships in this film are portrayed very realistically: some seem close, or like they want to help her out, and are revealed later to be completely ingenuine; others exist in a gray zone. Marnie feels and acts differently around different people, but no matter who she’s with, she’s the same old Marnie: a little nervous, always cracking jokes.
Some kind of drastic change, or explosion of pent-up anger might satisfy viewers better — but Bujalski doesn’t want to symbolize emotions through revolution. He wants to show the real thing, which is that personal growth often happens gradually. Marnie — like every human to some degree — just wants the people in her life to like her. Funny Ha Ha is an engaging film that will leave anyone feeling seen.
Andrew Bujalski's mumblecore classic Funny Ha Ha is full of things that we actually laugh at every day, and wish we didn't have to. Long-lasting close-up shots of characters' faces during nonsensical, dreadfully long conversations make the audience much too aware of these peoples’ struggle to be present and always say the right thing. You can even feel the pressure to make the right amount of eye contact in almost every interaction throughout the film. Bujalski ventures to depict things visually how they are, and make his audience feel exactly how the characters do in those uncomfortable situations. It’s shot simply, on a very modest budget, driven by the goofy and honest performance of Kate Dollenmeyer as Marnie. We become familiar with each character’s distinctive body language, what their tics are. Anyone watching Funny Ha Ha will be hit hard with the pain of desperately trying to make others laugh, or be pleasant, or fit into the image your friends have of you.
Marnie walks through the film with long arms dangling at her sides, bobbing her head, smiling goofily. She’s always out of a job, and goes to lots of parties. Her friends say she’s the most spontaneous person they know. She spends most of her time with her hipster friends, her unrequited crush Alex, and Mitchell, played by director Andrew Bujalski, an awkward guy who hovers over her at work, trying to converse, constantly apologizing. While Marnie tries to spend time with and hopefully build a relationship with Alex, otherwise drifting through life fairly aimlessly, Mitchell becomes progressively more forward with Marnie, who deflects his advances as politely as she can, trying to save the potential they have to be good friends. Mitchell eventually becomes demanding of Marnie’s attention and enthusiasm, in a drawn-out scene that will have viewers seething. Her other friendships in this film are portrayed very realistically: some seem close, or like they want to help her out, and are revealed later to be completely ingenuine; others exist in a gray zone. Marnie feels and acts differently around different people, but no matter who she’s with, she’s the same old Marnie: a little nervous, always cracking jokes.
Some kind of drastic change, or explosion of pent-up anger might satisfy viewers better — but Bujalski doesn’t want to symbolize emotions through revolution. He wants to show the real thing, which is that personal growth often happens gradually. Marnie — like every human to some degree — just wants the people in her life to like her. Funny Ha Ha is an engaging film that will leave anyone feeling seen.
A few favourites from 2022, brought to you by the UCFS Execs.
Natalie (President)
What a year for cinema! From Everything, Everywhere All at Once to TAR to Marcel the Shell with Shoes On, so many amazing films came out of 2022. For me however, it is Aftersun directed by Charlotte Wells and starring Frankie Corio and Paul Mescal which truly takes the cake as the best film of 2022. Aftersun is a memory of the final holiday Sophie took with her dreamy, yet deeply troubled, single father Callum in the late 90s. While contemplating one's past is a common trope in storytelling, Wells adds layers of tension to this process by depicting this reflection as also a reconciliation between Sophie's memories, imagined experiences, and 'objective' visual media artifacts. And I think that it is this struggle which makes the film's exploration of memory, family, and mental health so unique, honest and extremely wise.
Many people have said that they have connected very deeply to this film, and while there are many reasons why, I believe that one is that the tension between memory and media really speaks to our times where it is so common to record any and every aspect of our lives.
Many people have said that they have connected very deeply to this film, and while there are many reasons why, I believe that one is that the tension between memory and media really speaks to our times where it is so common to record any and every aspect of our lives.
Max (VP Programming)
Favourite: Aftersun. It's probably recency bias but Aftersun might be my favourite film released after 2012 (I adore a number of films from that year). It tells the story of Sophie who is trying to piece together home video footage of a childhood vacation to understand her father. It is a story that could only be told as a film, and it has my highest recommendation. It is beautifully restrained and brutally honest.
Honourable Mentions: Puss in Boots and Ice Merchants were a win for animation. Puss in Boots was brilliantly paced, heartfelt and so very expressive in both the score and animation. It has its roots in the spaghetti westerns of the 60s and it shows. Ice Merchants tells a story without words. The animation and sound design is piercing. Its free to watch on The New Yorker and is only 14 minutes long.
Honourable Mentions: Puss in Boots and Ice Merchants were a win for animation. Puss in Boots was brilliantly paced, heartfelt and so very expressive in both the score and animation. It has its roots in the spaghetti westerns of the 60s and it shows. Ice Merchants tells a story without words. The animation and sound design is piercing. Its free to watch on The New Yorker and is only 14 minutes long.
Emilio (Advisor)
Edward Berger’s All Quiet on the Western Front (2022) is unlike other war movies I’d seen before. Despite not being the most explicitly violent or gruesome film, somehow it still manages to be more vicious than many other movies of the same genre. While most other War Dramas I’ve seen try to tell hopeful tales about acts of heroism and persevering even through the worst of situations, All Quiet on the Western Front tells a tragic story about how soldiers can also be victims of the wars they fight in.
The beautifully shot, peaceful moments between Paul (Felix Kammerer) and his fellow soldiers in contrast with the hectic and unforgiving battle scenes paint a heartbreaking picture of what War is like for these young men. Their patriotism and enthusiasm for battle don’t even make it past the first act of the movie, instead replaced with a constant sense of dread and longing for the fighting to stop. Instead of heroes, the film frames its protagonists as possible cannon fodder, as all they can do is hope that they make it out alive for the next fight. Moreover, through its harrowing finale, which effectively mirrors the film’s opening sequence, All Quiet on the Western Front conveys how war diminished these men into nothing but uniforms and dog tags, stripping them away from their humanity. Also, since the story focuses on the German side of WWI, I appreciate how this movie brings a different view from the one-sided portrayal that is generally shown in most other western media, which in my opinion further aids the idea of soldiers as victims of war, showcasing only people following orders that exceed them.
Overall, I found that All Quiet on the Western Front was deeply impactful and engaging, and I thoroughly enjoyed the film’s approach to the war drama. With stunning visuals, strong themes and subject matter, plus a well-executed story, I consider this a film that most people should watch.
The beautifully shot, peaceful moments between Paul (Felix Kammerer) and his fellow soldiers in contrast with the hectic and unforgiving battle scenes paint a heartbreaking picture of what War is like for these young men. Their patriotism and enthusiasm for battle don’t even make it past the first act of the movie, instead replaced with a constant sense of dread and longing for the fighting to stop. Instead of heroes, the film frames its protagonists as possible cannon fodder, as all they can do is hope that they make it out alive for the next fight. Moreover, through its harrowing finale, which effectively mirrors the film’s opening sequence, All Quiet on the Western Front conveys how war diminished these men into nothing but uniforms and dog tags, stripping them away from their humanity. Also, since the story focuses on the German side of WWI, I appreciate how this movie brings a different view from the one-sided portrayal that is generally shown in most other western media, which in my opinion further aids the idea of soldiers as victims of war, showcasing only people following orders that exceed them.
Overall, I found that All Quiet on the Western Front was deeply impactful and engaging, and I thoroughly enjoyed the film’s approach to the war drama. With stunning visuals, strong themes and subject matter, plus a well-executed story, I consider this a film that most people should watch.
Emma (Crash/Cut Editor)
Joyland by Saim Sadiq is something special. An ensemble drama at its finest, Sadiq’s feature film directorial debut addresses questions of finding one’s way under the overwhelming weight of established conventions and social constraints. The film is set in Lahore, Pakistan, where a traditional family navigates desire, longing, and love in relation to gender norms and class alienation. Joyland articulates a rich spectrum of emotions—it is at once tender, melancholic, and joyous. It is made with so much care and empathy, reflecting on the complex themes of autonomy, identity, and repression shared by many.
Actual People by Kit Zauhar deserves an honourable mention. Okay, so this film was technically made in 2021, but it officially released in 2022. Let me have this! Actual People is a fantastic mumblecore that speaks to anxieties of graduation, family, and love—and the aimlessness of those in-between moments. Zauhar’s debut is perceptive, witty, and sharp. The uncomfortable conversations feel completely organic. This film has something to offer to anybody at a stage in their life where they feel uncertain about both the present and the future.
Actual People by Kit Zauhar deserves an honourable mention. Okay, so this film was technically made in 2021, but it officially released in 2022. Let me have this! Actual People is a fantastic mumblecore that speaks to anxieties of graduation, family, and love—and the aimlessness of those in-between moments. Zauhar’s debut is perceptive, witty, and sharp. The uncomfortable conversations feel completely organic. This film has something to offer to anybody at a stage in their life where they feel uncertain about both the present and the future.
Jenna (VP Financials)
Despite being a more recent watch compared to other films throughout the year, Charlotte Wells’ film Aftersun is my favourite film of 2022. Charlotte Wells’ crafts Aftersun as an immensely personal film, which creates an opportunity for introspection within our own lives. In short, the film implicitly explores aspects of familial dynamics and depression through presenting the experience of a woman reflecting on a past trip to the tropics with her father. It prevails as a tender, melancholic meditation on our understanding of our parents’ mental health. I would absolutely recommend this film to anyone interested, as it has made a profound impact on aspects of my perspective. However, be warned! It is quite a devastating film and you may never listen to “Under Pressure” by Queen and David Bowie in the same way.