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Chloe Zhao

SF Radio 8.07: Representing the World in ETERNALS

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With the release of Eternals, the MCU fully leans into its cosmic realm at long last. Spanning a story about ‘divine’ monsters over thousands of years, director Chloe Zhao unravels a narrative that asks profound questions about the universe and our place within it. So, why hasn’t it caught on with audiences? With the lowest RT score in Marvel history, Eternals has become one of the more divisive entries into the current cinematic canon, proving that (maybe) the franchise isn’t bulletproof after all. This week, the Marvel-out team of Dina Hamdieh, Miriam Ibrahim and Seun Olowo-Ake assemble to discuss the film’s strengths (and weaknesses), the relationship between leadership and power and the significance of representation.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Eternals: Marvel Takes Itself Seriously

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Marvel’s Eternals has a Spider-Man problem.

No, the latest MCU entry does not contain direct ties to the next Spidey flick. But, in some ways, the oncoming Spidey-fest No Way Home is a great example of what will make Eternals so divisive. Although the third Home film promises multiple villains, wild crossovers and all the fun that most MCU films have to offer, Eternals offers something entirely different.

While I personally find it refreshing and engaging, Eternals is going to frustrate others.

Sent to our planet over seven thousand years ago, the Eternals are a race of immortal alien beings who have been sent to curate the Earth and protect it from Deviants, violent beasts who prey on humanity. After having defeated what they believed to be the last of their enemies, the Eternals decide to separate and live in secret amongst their human counterparts. Although, after the sudden return of half the population in the battle with Thanos the Deviants are revived with renewed hunger for blood. As a result, the Eternals must reunite once again in order to save humanity from their vicious counterparts. 

Directed by Chloe Zhao, Eternals spins an epic story that spans multiple millennia and bears her signature style. Epic in scale and beautiful, it does not put the emphasis on the pop and sizzle that has made Marvel the most successful film franchise in history. Instead, Eternals takes all of the MCU’s tropes and flips them on their ear. Never one for frenetic pacing herself, Zhao allows her love of long takes, reflective speeches and romantic interests to mark the film. Despite the fact that Eternals has the budget of other major Marvel products, it still seems to contain the beating heart of an indie film underneath. 

Similar to her work in Nomadland, Zhao wants the viewer to feel muted at the feet of an expansive world in front of you. As a result, she frequently makes her heroes seem small at the hands of an enormous universe and (literally) massive villains. Having worked on multiple MCU films, including Dr. Strange, Guardians of the Galaxy and Captain Marvel, cinematographer Ben Davis brings something unique and different to this film. Leaning into Zhao’s vision, he creates some of Marvel’s most beautiful and immersive onscreen images here, helping the viewer to experience the awesome scope of the film’s universe.

What’s more, this global emphasis also extends to its use of characters and storytelling as well. While the Avengers have always been globe-trotting, Eternals wants the film to be fully inclusive. Featuring a cast that highlights its multicultural aesthetic, the film has a global feel more than any James Bond film. Eastern weddings, western arguments and Middle Eastern sensibilities all play a part within this sprawling epic. (This will likely be the only Marvel film that contains a Bollywood number, for example.) 

Now, having said this, it’s also these details that will cause many to struggle with Eternals. Unapologetic with its intent and style, the film is a drastic departure from the ‘zip and quip’ energy of other entries into the MCU and will challenge its more casual fanbase. This is not a film that goes out of its way to be funny—although Kumail Nanjiani is a national treasure—nor does it care to be. Eternals wants the viewer to sit in the midst of its philosophical conversations and engage them. But that’s not going to sit well for a number of people.

Whereas some will marvel (pun intended) at its scope, others will feel that it is ‘slow’. Although there are those who will celebrate its willingness to delve into its complex history, others will say it’s ‘overstuffed’ with too many plot lines. While credit must absolutely be given to Marvel for backing Zhao and her unique vision, Eternalsmay be one of the first films in a long time that will prove divisive amongst its fanbase for the same reason. 

In the most interesting of ways, Eternals seems to be Marvel’s foray into the realm of DC storytelling. Marked in recent years by their propensity to lean into the grandeur of Snyder’s vision, DC has always felt more comfortable treating their heroes as god-like beings than does Marvel. Led by Superman’s divine metaphor, DC views its characters as humanity’s saviours, whereas Marvel’s stories tend to focus on man’s quest to achieve greatness or overcome their brokenness. (In fact, the importance of Disney’s first references to Batman and Superman cannot be understated.) As such, Marvel rarely delves into the realm of supernatural help. 

However, Eternals is different. It unravels an epic tale about gods who choose to help as opposed to merely heroes who fall into their responsibility. This is a story about man’s interaction with the divine and beg for answers. While the film shows these god-like beings as benevolent and loving so too, it’s also unafraid to ask complex questions about why these supposed guardians would not intervene amidst the world’s greatest crises. (Where were they when Thanos was attacking, for example?)

What’s more, one of the most fascinating aspects of the film is that the gods themselves disagree on their mission. Without getting into spoilers, some of the Eternals view humanity as worth saving while others are not so sure. The fate of the world hangs in the balance of these beings who, for all intensive purposes, do not have to help those under their care. They have seen humanity’s flaws and must decide whether or not we matter enough to save… and what it means to do so.

Quite simply, these are not questions that Tony Stark ever had to answer.

Even so, while what makes Eternals so special to me, it will undoubtedly drop to the bottom of many’s list of favourite Marvel movies for the same reason. One hopes that Marvel does not get scared off by early response to this film and allows Chloe Zhao to continue the narrative. (And yes, there are two post-credit scenes worth staying for.) This is her story and it would be a shame for someone like James Gunn or the Russos to step in and make it more palatable to a wider audience. Personally, I believe this is a film that deserves to be re-watched, discussed and reframed. 

However, admittedly ‘fun’ is not the first word to describe it. And, that could be unfortunate for its box office returns.

Now, when is the next trailer for Spider-Man coming out…

Eternals debuts in theatres on Friday, November 5th, 2021.

Academy Awards 2021: Boseman Loss Shows Why We Still Do (and Don’t) Need the Oscars

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It wasn’t supposed to go like that.

After unexpectedly re-arranging the schedule to push Best Picture up and let the acting categories shine, the Academy clearly wanted to send a message. With the foregone conclusion that Chadwick Boseman would posthumously take Best Actor for his work in Ma Rainey’s Black Bottom, it was going to definitively celebrate a young man who was taken from us far too soon after losing his battle with cancer last year. 

An African-American man. 

Black Panther.

The significance of the moment was going to be a victory to end that night that would be both emotional and satisfying. After all, at a moment when Black culture is looking for heroes, a Chadwick victory would have been a symbolic statement in honour of a young man who had become a beacon of hope for many, sending viewers home with a truly feel-good moment.

Well, we all know how that went.

After Phoenix announced Anthony Hopkins as Best Actor to close out the show, the shock was palpable. The room was fairly quiet. Phoenix had to fumble through an awkward acceptance on Hopkins behalf as he was the only nominee not available. Of course, Twitter erupted. (In some ways, you almost feel bad for Hopkins. At home in Wales, even HE didn’t think he was going to win. If I were him, I likely would have slept through the ceremony as well.)

In a moment that felt like the reverse of the La La Land/Moonlight fiasco of a few years ago, the ‘feel-good’ finale completely backfired.

Within seconds, people took to their social media and responded accordingly. Outrage! Fury! Cancel! The response was completely understandable—and expected. After all, around this time, it’s almost tradition for people to take to the inter-webs to complain about the Oscars and the choices that they proclaim are ‘Best’. People decry from the rooftops that the films the Academy selects show their irrelevancy (and, sometimes, that’s a totally fair complaint). Comments like ‘this is why I don’t care about the Oscars’ flood social media with tsunami-like force.

But the irony is that same blow-up on the Twitter-verse shows that people still do care.

While people may either be happy or furious, the fact that the reactions to these awards are so strong suggests that there’s still an interest in the results. For over 90 years, the Academy Awards have been the ‘standard’ by which success in the industry has been measured. To win an Oscar is considered one of the highest honours in the industry and, even though culture has changed a lot in recent years (and continues to do so), there remains a respect for that golden statue that continues to endure. To win an Oscar still says something. 

They matter because they matter to us.

The reason people were upset about Chadwick losing the award is not because Hopkins didn’t deserve it but rather that it meant something to them. Hopkins turned in the performance of the lifetime in the role but a Chadwick victory would have felt not only poignant but powerful. With his career still reaching his potential before his death, Chadwick still felt like someone that people could relate to, especially amongst the Black community. A win for him seemed like it would have felt like another win for them.

And it might have.

But, if the awards truly didn’t matter to anyone outside the industry, no one would have cared. There would have been no outcry or frustration. It would have simply passed on from the cultural zeitgeist and landed on the entertainment pages… not the front page… 

The problem may be that we’ve given too much credibility to the Academy. Though filled with over 1000 industry professionals, with this responsibility comes the expectation that it will represent the values of the people and the time. The truth is that they don’t always. Yes, they strive for representation and want to speak the voice of a culture. That’s why these films matter as much as Marvel films or alien invasions. They connect with a heartbeat that speaks the cries of our world.

But they don’t always speak for you and I. How could they?

With this in mind, the loss by Chadwick shows that, maybe, we don’t need the Oscars to play the same role in our culture. The truth is that, while considered the highest heights of the industry, the loss to Hopkins does not take away from his performance (or career) in any way. So many of history’s best films and performances were never recognized by the Academy. Citizen Kane, Raging Bull, Do The Right Thing, Pulp Fiction and innumerable others were robbed of ‘Oscar glory’ yet remain the most influential films of the last century. (And let’s not forget Delroy Lindo from the list of snubs this year…)

Regardless of who the Academy chooses to take home the gold, Chadwick Boseman will be remembered.

He matters. And he’s as important as he was yesterday.

I admit it. I love the Oscars. I love the pageantry, the music and the speeches. Unlike many, I love the fact that winners use the platform to speak their hearts about issues that matter to them. (I mean, they’ve been given a voice. They should use it.) I even love my Oscar pool with friends.

Ultimately though, they don’t determine which films or performances matter most. Only the ones that mattered to these people. That’s why it doesn’t really matter in the end if Boseman posthumously took home the gold. His performance in Ma Rainey’s was a thing of brilliance and it will be remembered. (In fact, it should be remembered.) This year’s Oscars may have been the most diverse in the Academy’s history. Chloe Zhao. Daniel Kaluuya. Yuh-Jung Yoon. H.E.R. Soul. Jon Batiste. All of these winners from last night show that things are changing. This was not #OscarsSoWhite, even if it did feel like #OscarsSoWrong.

The loss by Boseman doesn’t change any of this… but it’s all anyone’s talking about.

Yes, it would have made an amazing story to see him cap off his young but incredible career with a win. It would have been an emotional moment for us all. But there’s a reason that they announce the winner by saying ‘the Oscar goes to…’ They don’t want the other nominees to feel as though they are someone lesser than the others.

Because they aren’t. Not Riz Ahmed. Not Boseman. None of them, regardless of category. They all achieved something great with their cinematic achievements. And, like Chadwick’s performance, their work lives on. 

The Academy knows that. We may have forgotten it.

Message received.

Nomadland: Home Isn’t Where the House Is

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Set against the vast expanse of the American West, Nomadland tells the story of Fern (Frances McDormand), a middle-aged woman who finds herself at a personal crossroads. Having recently lost her husband and her job, Fern decides that it’s time for her to start fresh by heading out onto the open road in her RV. However, as she explores the vast landscapes set before her, she quickly discovers that she’s not alone. Though she may move aimlessly through the seasons and seasonal jobs, she finds a new form of community amongst the like-minded nomads that welcome her home. As her soul is replenished, Fern also develops a relationship with David (David Strathairn), a man who may wish to play a greater role in her life than she’d initially expected.

Written and directed by Chloe Zhao (Songs My Brothers Taught Me), Nomadland is a stunning piece that honours the souls of those who go unnoticed by a society too busy to notice them. Filled with quiet and intimate moments, Zhao weaves a story of humility and grace that doesn’t merely attempt to entertain. 

Instead, Zhao’s fictional tale wants to show reality.

With an open style of filmmaking that ebs and flows with the surrounding landscapes, Zhao has created a story that moves like a traditional narrative yet feels true. By casting real-life nomads in key roles, she has clearly done her very best to tell a story that lives and breathes authenticity onscreen. (In fact, in order to help them gain a better understanding for the world they were bringing to life onscreen, Zhao even asked her cast and crew to live out of vans during the course of production.) Painting the lives of its ‘houseless’ characters with a loving brush, Zhao celebrates their pioneering spirit but also shows the challenges they face throughout their journey. 

In many ways, Nomadland manages to highlight the overwhelming power of its surroundings yet never loses the value of every individual. Through his magnificent use of cinematography, Joshua James Richards reminds the viewer just how small they truly are when held up against the immensity of the American West. However, at the same time, when Fern encounters individuals along that way, they fill the screen in such a way as to acknowledge their importance. 

Similarly the film’s central character, McDormand may be the biggest name within the film yet she plays Fern with such humility that she actually elevates those around her. Whereas many stars may look at this much screen time as an opportunity to put their talent on display, McDormand instead chooses to step back and allow these real people and their stories to shine.

Because, in Nomadland, every soul matters.

While acknowledging the struggles such as maintaining work and food, the most beautiful aspect of the film is the way that it celebrates those that have found sanctuary and salvation in a nomadic lifestyle. While many have bound their lives to mortgages and static jobs, Nomadland shows the refreshment of the soul that can take place when one untethers themselves from these sorts of demands. For example, as Fern ventures into the American West, she does so not to conquer new worlds but to reconnect with the deepest core of her identity. With the death of her husband and loss of her job, Fern’s old life suddenly feels motionless. Though she may have been left adrift, her heart now yearns for movement and independence. 

However, Nomadland understands the old adage that ‘not all that wander are lost’.

As she builds new relationships amongst those whom she meets, Fern is struck by the deep sense of community that exists within the nomadic culture. Embedded with a profound sense of supporting one another, those that Fern encounter along her journey share a sense of camaraderie and love that is utterly remarkable. Characters such as Swankie and David provide relationship lifelines that feed Fern’s soul and show her the meaning of love yet they never ‘tie her down’.  Though they may not be present with each other for long, their desire for freedom creates a loving connection that endures and uplifts. As a result, though she may not have a house to call her own, Fern absolutely believes that she has found a home amongst her newfound family. 

Featuring what may be the most honest and open performance of McDormand’s career and some absolutely magnificent storytelling, it should come as no surprise if you hear Nomadland’s name called out when Oscar night (finally) arrives. In short, this is a very special film. Coming at a time when we all exist in isolation, Zhao highlights the importance of connecting with one another, especially when we find ourselves so alone.

Nomadland is now available on Hulu in the US and will be available in Canadian theatres on March 19th.

To hear our conversation on Nomadland, click here.

7.06 Carrying Home with You in NOMADLAND

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With her latest film, Nomadland, director Chloe Zhao tells the story of Fern (Francis McDormand), a woman in her 60s who loses everything in the Great Recession and embarks on a journey through the American West as a modern-day nomad. This week, we welcome back TO Film Files’ Jolie Featherstone and ScreenFish’r Julie Levac to talk about the nature of freedom of a Nomadic culture and the difference between being homeless and ‘houseless’.

ou can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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