ScreenFish

where faith and film are intertwined

You are here: Home / Film

Film

Betrayed – The guilt of doing nothing

by Leave a Comment

In some ways Betrayed, from director Erik Svensson is like many other films about the Holocaust. It tells the story of the deportation of Jews from Norway in 1942. (Actually, we start three years earlier, in more normal times.) But this film doesn’t quite follow the pattern of other Holocaust films, which gives it a very different feeling.

The film focuses on the Braude family, especially Charles Braude, a boxer who lives with his parents, sister and two brothers. Charles is in love with, and eventually marries a Gentile, and they begin their life together. But the German occupation soon brings disruptions. Soon the men are all sent to a workcamp, where they face abuse at the hands of Norwegian Nazi sympathizers.

Meanwhile authorities are cataloguing the belonging of Jewish households. When the time comes, state police sweep through the town arresting all the Jewish women and children to be taken to the port to be shipped off. We learn at the end of the film that the Germans deported or imprisoned over 700 Jews from Norway. Only twenty-eight survived. When we thing of the Holocaust, we often think of the millions, but that may make us miss the more human side of a small community completely destroyed.

Where this film veers away from most Holocaust films is that we are used to such films being about heroics. Either the oppressed fighting back, or the heroics of neighbors who saved Jews from the sure death. It is precisely the lack of such heroics that gives Betrayed its power. Instead we see the people around them acquiesce—and even cheerfully so—to the orders that come down. We know that the German occupying power is behind all this, but it is Norwegians who are actually doing the terrible things.

The film tells us that in 2012 the government of Norway issued an apology. That apology stated that although the Germans did the killing, it was the Norwegian people who arrested and drove people to the docks. That was an acknowledgement that as a nation, they participated in the evil of the Holocaust. Does the power of the German occupiers mitigate that guilt? To some extent, but certainly not entirely.

Films that show heroes in the midst of the Holocaust may serve as examples for us to imitate in the facing of evil (and there are surely evils that we need to face in our own society).  But this film that shows the failure to act heroically is just as powerful by holding up a mirror to the may times we have failed to act—to allow the evil around us to flourish by our inaction, and sometimes even by our active participation because we’re just going along with the power.

Betrayed is in select theaters and available of VOD.

Photos courtesy of Samuel Goldwyn Films.

The Summit of the Gods – An existential “why?”

by Leave a Comment

Why do people (now a few thousand) climb Mt. Everest? George Mallory (who may or may not have been the first to reach the summit) famously answered the question by saying, “Because it’s there.” But there has to be more to it than that. Mountaineering is a dangerous, often lethal, activity. In The Summit of the Gods, directed by Patrick Imbert, the question of why someone may focus on a near impossible task is central.

This beautifully animated film is based on a manga series by Jirô Taniguchi, which was in turn based on a novel by Baku Yamemakura. When the manga series reached Europe many years after their original publication, they came to the attention of a French producer who started the process of making this film. (Which explains why the film features Japanese characters speaking French.) The animation creates a world of majestic and awe-inspiring mountains, as well as tense, exciting climbing sequences.

The story starts with Fukamachi Makoto, a photojournalist who has gone to Everest to get shots of Japanese climbers, when their attempt fails, he wonders what the point is off all this. But in a Kathmandu bar, he sees a camera that is reputed to have belonged to George Mallory. He later sees Habu Jôji, a climber who no one has heard from for years, with the camera. The idea that it is Mallory’s camera and could answer the question if he and his climbing partners had reached the summit becomes an obsession for Fukamachi, who begins to seek out Habu.

As the story progresses, it shifts from time to time to give us more information on Habu and the accidents that have shaped his view of climbing. He is very aware of the dangers of any mountain, but especially Everest. Fukamachi finds him as he’s preparing a solo ascent of the Southwest face, a particularly difficult climb. Fukamachi sets up at the basecamp and awaits Habu, planning on documenting his ascent.

Both Habu and Fukamachi are obsessed: Habu with doing something no one has done, and Fukamachi with finding Mallory’s camera. We might think of Fukamachi as something of Ishmael to Habu’s Ahab. The question of why they are doing this is always in the background. But it also becomes explicit. There is a point where each man asks the other, why they are there. Another question is why the summit matters more than life itself.

Each man has his own reasons, but it brings them both to the same place. They have each chosen a focus that they hope will heal an existential angst within them. So they come to believe that whether they survive or not is of less importance that what they are doing. They are committing their lives (and possibly their deaths) to their obsessions. The amazing vistas the animation creates serve to add even more depth to these philosophical ponderings.

The Summit of the Gods can be seen in select theaters and on Netflix.

Photos courtesy of Netflix.

The Last Rite: The Scariness of the Sacred

by Leave a Comment

Sometimes, the scariest horror films are the ones that spend the least amount of time trying to scare you.

The Last Rite tells the story of Lucy (Bethan Waller), a young woman struggling with sleep paralysis. Though she lives happily with her boyfriend Ben (Johnny Flemming), she is plagued by a dark shadowy figure determined to destroy her. Haunted by this demonic entity, Lucy pleads with Ben to believe her stories yet he remains skeptical. Eventually, Lucy reaches out to Father Roberts (Kit Smith), a priest who has never dealt with the forces of darkness directly. Even so, Father Roberts remains determined to help the young woman and sets out on a journey that may help him rediscover the depth of his faith in the process.

Written and directed by Leroy Kincaid, The Last Rite is an intriguing and terrifying exploration of the relationship between reality and the paranormal. Despite the deeply spiritual nature of his script, Kincaid grounds his film in such a way that it feels real. Relatively scant on the special effects of other big budget horror entries, Rite tells its story well enough that the film’s minimal use of effects feels just as scary. There is a simplicity to this story that never allows the film to open the door for larger conversations about spiritual realities while still offering all the necessary frights.

Based on his own spiritual musings and experiences, Kincaid has woven a tale which feels like two different films. On the one hand, he follows the evolving (dissolving?) relationship between Ben and Lucy. Although they have been together for some time, Lucy’s visions begin to expose the lack of trust that may exist between them. Although Lucy swears by what she has seen and felt, Ben struggles to believe her. To him, the paranormal is simply nonsense and he refuses to accept her stories. At the same time, Lucy’s experiences also trigger past traumas from her childhood that she has never felt comfortable sharing with her partner. As the intensity of her encounters with the man in the hat increases so too does the divide between the young couple as their issues begin to drive them apart.

At the same time, Kincaid spends a surprising amount of time investing in the character of Father Roberts. After he is contacted by Lucy, Father Roberts’ arc rises in prominence as he wrestles not only with the forces of evil but his own journey of faith. Although he remains devout in his beliefs, Father Roberts is a man who seems to struggle with the realities of the spiritual world. Advising Lucy to try ‘praying about [her situation]’, he looks to remain a safe distance from any particular spiritual engagement. However, when he realizes how serious the situation has become, his battle moves beyond the demonic. Whether he’s debating with fellow (ex)clergy or battling bureaucracy, Father Roberts’ greatest battle seems to be within the church itself. Through his insistence that Lucy get the help that she needs, Father Roberts seems to expose the fact that the church itself struggles to believe the spiritual realities of this world.

In this way, Rite becomes as much about rediscovering one’s faith as it does about fighting demons. From Father Roberts to Ben, many of the characters within this world have difficulties seeing past their own spiritual blinders. Dissatisfaction with the things God has (or hasn’t) done, spiritual trauma or simply a lack of spiritual awareness/interest all temper Kincaid’s characters and prevent them from initially engaging the oncoming terror that awaits. However, as their eyes are opened, their view of the world becomes larger. With this broader understanding of spiritual realities comes greater fear… but it also brings hope. With the darkness exposed, these characters have no choice but to cling to the light which potentially creates healing.

Sharply written and executed, Last Rite proves that the most terrifying truths about the world may lie in our blindness to them. Though the topic is far from new, Kincaid’s interest in balancing his jump scares with conversations surrounding spiritual realities allows him to create a film which challenges conventional horror tropes. Unlike most horror films, this isn’t a film merely content to explore the effect of the shadows.

For Kincaid, this is a chance to explore the light.

To hear our conversation with Leroy Kincaid, click here (YouTube) or here (audio)

The Last Rite is now playing on VOD.

Julia: For the Love of Cooking

by Leave a Comment

Some people love cooking while others cook for the sake of love.

Beginning with her conservative childhood, the new documentary Julia explores the life and love of television icon, Julia Child. After her time in the military, Child married and moved to France. It was here that her life was changed forever. From her first meal in a Parisian restaurant, she knew that she would ‘never turn back’. Enrolling in Paris’ Le Cordon Bleu, Child’s passion became creating quality meals in the home and passing that knowledge onto others. With her distinctive voice and bubbly personality, she quickly became an unlikely television star at age 50 but, in doing so, also found herself battling the gender barriers of the time.

Practically perfect in its tone and execution, Julia is a heartwarming and sweet film with a little bit of extra space added in. Directed by Julie Cohen and Betsy West (RBG), Julia demonstrated the life and impact of a woman who may be misunderstood by many. At first glance, Child may appear to represent an era dominated by toxic masculinity as the stereotypical ‘woman cooking in the kitchen’. However, Julia’s exceptional storytelling paints a very different picture of her by shining a light on her rebellious and courageous spirit.

With enthusiasm and energy, the film celebrates Child’s desire to break down gender barriers by using her platform in the kitchen as a symbol of equality. For example, when she began her career, her presence was considered controversial due to the fact that most French kitchens were dominated by men. As she began her culinary education, her presence was not welcomed by the men in her peer group. Even so, she persisted, demanding that they view her as one of their own. In this way, Child became one of the first feminists to break through in an industry dominated by men. She was passionate about women’s rights reproductive and was fierce in the board room. Though she was brought up in a staunchly Conservative home, she challenged people to discuss issues difficult topics such as sexuality at a time when it was not considered ‘proper’ to do so. By way of her refusal to be treated differently, Child quickly became an advocate for women everywhere.

With charm and intellect, Child had the unique ability to make the complex seem simple and, in doing so, changed the way that people viewed meal preparation. During an era when TV dinners and convenience dominated the home, Child suggested that anyone could cook and wanted to empower them to do so. Like the French masters that taught her, she understood that the ability to prepare a meal was not only an art form. It was also a celebration of life. What’s more, she also believed that cooking was not merely a necessity but a pleasure and a delight. Inspired by the deep love that she had for her husband, Child believed that cooking was one of the best ways that a person could make a home healthy. (Incidentally, her philosophy of the ‘Three F’s’ is surprisingly hilarious.) For Julia, one cooked for others as an expression of love, not merely obligation.

There was a joy of creation within it that she wanted all to experience.

In the end, Julia is an absolutely delightful meal for the senses. With sizzle and fun, the film is an utter celebration of a woman who’s impact on the industry changed the way that the world understood the kitchen. Even so, her greatest contribution lay beyond the cutting boards and sauce pans. Instead, Julia reveals that Child’s strength and determination were her true superpower as she also fought to open doors for women everywhere.

Julia is now playing in select theatres.

Aline: Powerful Love in the Public Eye

by Leave a Comment

Beginning in rural Quebec, Aline is the “fictional” story of Aline Dieu (Valerie Lemercier), a young girl with a golden voice. As the youngest in a family of performers, Aline quickly begins to make a name for herself with a singing talent that far exceeds her years. After her family manages to garner the attention of a local agency, Dieu becomes the protégé of music producer Guy-Claude Kamar (Sylvain Marcel). Recognizing her undeniable charisma and talent, Kamar has big plans for his young star and the two begin to tour the world together. However, as Dieu becomes an adult, their professional relationship also begin to become something more. 

If the story sounds familiar at all, it should.

Written, directed and starring Valerie Lemercier, Aline is a strange but stunning unauthorized tribute to Canadian icon, Celine Dion. Opening with a reminder that this is a film which balances truth and fiction, Lemercier effectively crafts a film that feels like a fairy tale yet remains grounded in reality. What’s more, when in front of the camera, Lemercier also shines, showing off Celi… er… Aline‘s penchant for playfulness while still remaining able to command an auditorium full of devoted fans. Though the heart of the film emphasizes the tenderness of the relationship between the star and her future husband, Aline is at its best when standing back and allowing her to perform. With each performance, Lemercier wants the viewer to remain transfixed by the charisma of its lead. A great deal of study has clearly gone into Dion’s ability to command an audience and Lemercier does her best to recreate that magic onscreen. Thankfully, with each hand motion and arched back, she manages to channel the sheer force that makes Dion so memorable as a performer. (It should be noted that, while Lemercier is a singer herself, the songs were recorded by French singer Victoria Sio, who’s impersonation of Dion is utterly remarkable.) 

As a result, while the film may be unauthorized, there really is no reason why it should be. Unless the facts have been dramatically changed, this is an absolutely adoring portrait of the famous singer. (In fact, if there’s a criticism to be made of the film, it could be argued that it may remain almost too adoring of the Canadian icon.) Aline does not shy away from the fact that it’s based on Dion’s life, even going so far as to mistakenly refer the character as Celine in one particular moment. Charting the events of her life, Aline points to several well-known key moments in the power singer’s life, such as her initially controversial—but committed—relationship to produce Renee Angelil (here known as Guy-Claude), her success at the Oscars and her subsequent Las Vegas residency tour. In fact, while most of the songs are not Dion’s, there are a couple of notable exceptions to the rule, including My Heart Will Go On and several other staples from her career. From the first frames of the film, Lemercier ensures that Aline is a love-letter to the life of Canada’s performers yet still chooses to lean into the ‘unauthorized’ aspects of the biography.

Admittedly, one of the strangest aspects of the film is Lemercier’s choice to play Dieu as a young child. By placing Lemercier’s adult face on the body of a youth, the end result creates a look that is utterly bizarre to the eyes. (Seriously. You’ve never seen anything like it.) However, at the same time, I would also argue that the decision to do so works within the context to the film. Aline wants the viewer to understand immediately that there was a maturity within her, even in at a very young age. Yes, it does seem strange but it also speaks to the strength of her character by the film’s end. 

At it’s heart, Aline is a film which looks to address the challenges of living a life in the public eye. As Aline’s star rises higher and higher, so too must she fight to maintain a normal life. Anchored by a deep love of her husband and children, Aline believes that she is still that girl from rural Quebec. However, the tension between fame and family continues to pull her in two directions. Although she carries the burdens of her life on stage, all her audience sees are her growing parade of hits. To them, she represents a larger-than-life presence who possesses immeasurable talent. To them, she represents hope. (In fact, it is not a coincidence that her last name is Dieu, the French word for God. She is very much viewed as a Divine presence by her adoring fans.) 

However, Alene is so much more than that. Raised from humble beginnings, she carries that as part of her identity even as she achieved stardom. She rushes home from performances, hoping to see her son before bedtime. Though she has to take the stage, the news of her father’s death wears on her emotionally. Even so, her status as a world-renown celebrity somehow allows her adoring fans to feel like her public image is the totality of her identity.

Though she continuously offers a piece of herself, they wish to steal her soul.

Affectionate and powerful, there’s something remarkable about Aline. Backed by incredible performance by Lemercier, one can’t help but fall in love with the film and feel like there is something special about this film. While Dion may have not spoken publicly about the piece, it would be hard to imagine that she would feel anything but gratitude for Lemercier’s reverent take on the icon’s life.

To hear our conversation with Valerie Lemercier, click here (YouTube) or here (audio).

Aline is now playing in select theatres.