ScreenFish

where faith and film are intertwined

Kenneth Branagh

Belfast: The Movie We Need Right Now

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I was late on the Belfast train.

Oh, I’d heard it was great. I was at TIFF but missed its screening. I had heard from many how lovable the film truly was. With potential Oscars in its sights, the film has remained a constant in conversations for Best Picture since its release. But there’s absolutely no way that Branagh could have predicted how appropriate the film would become, given global circumstances.

No one could have.

Written and directed by Kenneth Branagh, Belfast is the semi-autobiographical tale of his upbringing in Ireland. Transporting the viewer back to the tumultuous riots of 1969, Belfast is told through the eyes of Buddy (Jude Hill), a 9-year-old boy who is trying to make sense of the world. Living in a poverty-stricken area that’s torn between the Catholics and Protestants, Buddy’s father, Pa (Jamie Dornan) work overseas in England in order to support the family. Meanwhile, his Ma (Caitriona Balfe) takes care of Buddy and his brother as they attempt to figure out what’s next for their family.

Branagh’s story of division and rebellion through the eyes of a child is infused with an undeniable blend of joy and sadness that immediately draws the viewer into the story. Yet, despite the fact that the story takes place in Ireland in the late 60s, there’s something so current about Belfast. Whether it’s the invasion of Ukraine or division of US politics in recent years, Belfast connects deeply with the heart of conflict and oppression while still offering a glimmer of hope. 

Frankly, it’s a remarkable balancing act within the script. 

Without ever losing the traumatic effects of issues such as oppression or poverty, Branagh still manages to highlight the innocence of childhood. In other words, whereas most films of this type highlight the brokenness of the era, Branagh chooses instead to balance it with the infectious joy of growing up. To Buddy, the world around him is simply the way things are. What matters most to him are his parents, playing in the street and the girl next door. (It’s telling that the scariest moments for him involve conversations about leaving Belfast or getting into trouble for stealing a piece of Turkish Delight.) There’s a beauty within this that serves as a reminder that life springs up in the midst of our suffering, especially through our children. This may be a world of black and white (literally) yet Buddy’s world still has splashes of colour. 

Buddy doesn’t understand the depth of what’s going on around him but he does try to piece it together. Filtering his understanding of the world through his love of pop culture, everything about this world feels like it becomes clearer when seen through his eyes. (It is no coincidence that the final confrontation feels like it could have been developed from High Noon.) While the fight rages around him, all that Buddy sees (or wants to see) is the love of his family. As such, there’s an honesty about this film that acknowledges the innocence of Branagh’s childhood but also has a reflectiveness from his adulthood as well.

In terms of its home video release, Belfast is surprisingly enticing. On the surface, the film doesn’t dazzle by its inclusion of the traditional deleted scenes and featurettes. However, what’s most exciting is the fact that, not only does it feature an alternate ending that focuses on Branagh’s return to his hometown (as Buddy), but most importantly (and I cannot stress this enough) there’s a director’s commentary. Honestly, I can’t remember that last disc I’ve seen with a quality commentary attached but Branagh is more than willing to delve into his film with charm. As such, this may be a film that actually benefits from its proper home video release by providing the necessary tools to gain more perspective on the film.

While there are no guarantees whether its name will be called on Oscar night, there is little question that Belfast is one of the best films of the year. Popping with life and love, this is a story of hope at a time when we need it most. Yes, trauma is real. Yes, pain is overwhelming. But love still finds a way.

And that is why this is the film that we need right now.

Belfast is available on VOD, Blu-ray and DVD on Tuesday, March 1st, 2022.

Death on the Nile: Blood in the Water makes a Bloody Good Time

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It’s fair to say that almost everyone loves a good whodunit. 

Especially over the last few years, it seems like murder mysteries have become big business once again. From Rian Johnson’s Knives Out to Adam Sandler’s Murder Mystery or even reality shows like Tiger King, people can’t seem to get enough of untangling a web of murderous intrigue. Now, with the release of Death on the Nile, Kenneth Branagh‘s second dalliance into the world of famed detective, Hercule Poirot, we are once again transported into a world of mystery with blood in the water.

Directed by Kenneth Branagh, Death on the Nile reintroduces the world to brilliant detective Hercule Poirot (Branagh). While on vacation in Egypt, Poirot encounters an old friend who invites him to join his family at a luxurious wedding. As the guests venture out along the banks of the Nile on a glamorous river steamer, their excursion is cut short by the unsuspecting hand of murder. Trapped on the ship with multiple suspects, Poirot is set into action as he attempts to unravel the mystery before him before the killer can strike again.

Based on the iconic novel by Agatha Christie, Death on the Nile is an entertaining whodunit that honours its source material yet still somehow feels current and authentic. In fact, maybe that’s the magic of Christie’s work. No matter how much time has passed, humanity has never really changed. Rightly or (frequently) wrongly, love and money still serve as the primary motivations for much of humanity and we continue to be preoccupied by our own wants and desires. Originally written in 1937, Nile still manages to resonate with its understanding of humanity and the toxicity that our passions and selfishness cause in our relationships.

After his success with Murder on the Orient Express, Branagh once again takes on an iconic tale with twists and turns and manages to make it work on the big screen. Filled with lush colours and stunning set design, Branagh clearly has a love for Christie’s work and he does everything he can to bring it to life. Bleeding reds and cleanest of whites are held in stark contrast to the golden desert surrounding them. The crisp lines of the ship itself make it feel like a prison and add to the claustrophobia of the moment. What’s more, as Poirot himself, Branagh is a joy to watch, giving the detective a humanity and charm that makes him infinitely watchable. There is a certain rhythm and beat to this type of storytelling and Branagh feels like he is in his element. 

With a cast that features Annette Bening, Russell Brand, Armie Hammer, Letita Wright and many more, Nile has another star-studded crew that feels like it will be difficult to balance yet each are given their own moment to shine. Perhaps the brightest star though is Gal Gadot as ingenue, Linnet Ridgeway. As the sweet but potentially self-centred Linnet, Gadot brings a magnificence to her character that is highlighted every moment that she steps on screen. 

Of course, one of the more unexpected challenges of this particular cast lies in their offscreen controversies. Shot back in 2019, the cast initially looked like a powerhouse. However, a lot has changed since then. Given their recent issues in both their personal lives and the public eye, it remains to be seen how a film featuring Hammer, Wright and, to a lesser extent, Brand and Gadot, will be received by audiences. Through no fault of the film itself, several of its stars have simply become lightning rods for controversy for any number of issues (especially Hammer). Having said this, the film remains a delightfully fun ride and one hopes that audiences will still be able to enjoy it despite these concerns.

Outside of its murderous twists and turns, its interesting that Nile appears interested in exploring the nature of love. Amidst this motley crew, everyone seems to have their own understanding of what it truly means. Whether it is finding wholeness in your soulmate or leaning into sexual attraction, it seems that everyone misunderstands love in one way or another. For instance, whereas one character believes that love is something meant to be held onto with an obsessive grip, another believes that it is the very thing that makes you whole. While one person argues that love means setting them free, another suggests that love does keeps a long list of wrongdoings and mistrust. (In fact, they specifically mention that the famed ‘love passage’ in 1 Corinthians 13 ‘lied to us’.) Each conversation about the nature of love further exposes the brokenness of the men and women who seem to be floating aimlessly along the Nile. However, as is often the case in these particular stories, perhaps the truth comes from Poirot himself. While many of the characters bend the meaning of love to serve their own purposes, Poirot understands that love means something different entirely. Opening the film with the story of his own tragic romance, Poirot is told that love turns a person’s ‘flaws into freckles’. Under this description, love becomes an act of grace that celebrates their person’s strengths yet also acknowledges their imperfections and accepts them anyways. Unselfish and unconditional, it is this type of love that leaves a mark on the soul in the healthiest of ways. 

Though its been 85 years since its first publication, Death on the Nile seems timeless. Anchored by lively performances and expansive scenery,Branagh brings the murderous venture to life with stunning beauty. Most importantly though, with multiple twists and turns, Death on the Nile remains a bloody good time for anyone willing to make the trip.

Death on the Nile is available in theatres on Friday, February 11th, 2022.

Tenet: I am the [Protagonist] of My Fate

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It takes a lot for a director to become a brand unto themselves.

Having made some of the biggest blockbusters of the last two decades, writer/director Christopher Nolan continues to create ambitious worlds that also look to maintain depth to their stories. With the release of his latest epic adventure Tenet, Nolan offers all of the originality and spectacle that fans of his are looking for in their films. 

As the world [slowly] moves back to the multiplex after the global pandemic, the scope of Tenet alone earns the right to be the first major blockbuster to be seen in cinemas. Though the cast does a solid job embracing the script (especially villain Kenneth Branaugh, who positively snarls onscreen), what audiences will appreciate most are the film’s excellently orchestrated set pieces. Rumoured to have used less than 300 digital effects—most blockbusters today usually use thousands per film—Tenet is a visual treat that dazzles the eye. Through his use of inverted time, Nolan creates something so unique that it will demand repeat viewings. Though the narrative is incredibly high concept, it also moves and operates well within the rules for the world that it creates (which is vital for any film about time travel). While admittedly the dialogue can suffer at times due to muffled sound and an overpowering soundtrack (think Bane from Dark Knight Rises), the film always demands your attention and is an entertaining ride from start to finish (and back to start again).

Tenet follows an unnamed secret agent (John David Washington) who is literally referred to as ‘the Protagonist’. After thwarting a terrorist bombing, The Protagonist is enlisted by the Tenet organization, a covert government group committed to stopping World War III. During his training, he learns that fragments from the future have been discovered by terrorists in the present, allowing them to create inverted time loops which threaten to unravel the fabric of all reality. Teaming up with his new partner, Neil (Robert Pattinson), The Protagonist sets off on a mission to retrieve the fragments in order to save the both the present world and time itself.

Though Tenet is drawing comparisons to Nolan’s other mind-bending original, Inception, in truth the film is a natural progression for him over the course of his career. From Memento to Interstellar, Nolan has always been interested in the way that we perceive time and its impact on how we understand the world. (In fact, through its fractured narrative and varying portrayals of time, even his historical WWI epic Dunkirk played with this notion as well.) In Tenet though, Nolan really dives into the concept of time looping and its effect on the fate of mankind. Though he tells his story in a linear manner, there is enough interplay backwards and forwards to bend minds (and, yes, cause some confusion at times).

Like Nolan’s boldest projects, Tenet is also rooted deeply in philosophy. Echoing projects like Interstellar and Batman Begins, he uses this film as an opportunity to explore man’s role in the universe. Initially locked in his own perceptions of reality, Tenet’s Protagonist is a man who realizes that he needs to change the way he understands the world in order to have an impact upon it. His experience with the Tenet Organization not only loosens the underpinnings of his knowledge of reality but forces him to re-examine what can ultimately be changed, even when it has ‘already happened’. [Warning: Minor Spoilers ahead] In this regard, it’s interesting that the film attempts to bring the element of faith as The Protagonist moves forward within his timeline. Despite the fact that what ‘is’ remains ultimately unchangeable, there’s a certain element of hope in the future that Nolan clings to in this film. However, instead of having confidence in some greater power, The Protagonist is challenged to put his faith in the physical realm. (“Have faith in the natural order,” Pattinson’s Neil reminds.) [Minor Spoilers End] 

Interestingly, Nolan appears to have a sense of hope in the linear nature of time. Whereas Memento spoke of clinging to the past, Tenet leans into the idea that new perspectives help provide light in the future. Though the fate of the world may be predetermined, Nolan emphasizes the importance of the individual and their actions in what is to be. (In this way, while never quoted directly, the film almost feels like an homage to Henley’s famed poem Invictus which says, “It matters not how straight the gate… I am the captain of my fate. I am the master of my soul.”) As a result, Tenet argues that, while unchangeable, the role of The Protagonist continues to matter due to the fact that it remains unknown to them.

In the end, Tenet serves as a suitable next chapter in Nolan’s ever-growing catalogue of complex puzzles that both satisfy the eyes and challenge the mind. Through his use of linear time looping, the famed writer/director wants desperately to explore not just the nature of the universe but man’s place and responsibilities within it. More importantly though, even if one has no interest in exploring the complex philosophy that holds the film together, Tenet’s stunning visuals and action-heavy story should also thoroughly entertain audiences as well.

Especially when it’s seen in a theatre.

Tenet is in Canadian theatres now and premieres in US markets on September 4th, 2020. 

All Is True – The Bard’s Retirement

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“It’s not Hamnet you mourn; it’s yourself.”

Kenneth Branagh has always had an affinity for Shakespeare’s works. He has appeared in, written, and/or directed several screen adaptations of Shakespeare’s plays. Now, in All Is True, he portrays William Shakespeare in his years of retirement. To be sure, there is a great amount of conjecture in the script by Ben Elton, but that allows us to see this not just as a look back in time, but as an exploration of our own transitions in life.

The film opens with the Globe theater being destroyed by fire during the premiere of Henry VIII (which had an alternative title of All is True) in 1613. He returns to the family home in Stratford-upon-Avon, where he is greeted somewhat coldly by his wife Anne (Judy Dench) and daughters Susanna (Lydia Wilson) and Judith (Kathryn Wilder). While Shakespeare has been having a successful career in London, his family has seen little of him. As Anne tells him, “To us, you’re a guest.” (This she says while sending him to the guest room, because it has the best bed which befits a visitor.)

It is not just because of his long absence that William is somewhat estranged from his family. He is also still grieving the death of his son Hamnet, Judith’s twin, who died many years before as a child. William has idealized his son’s memory, and is visited by Hamnet’s ghost on occasion. Meanwhile Judith suffers from survivor’s guilt, which is a part of why she is still unmarried. Shakespeare’s other daughter, Susanna, is married to the local doctor, John Hall (Hadley Fraser), who is a Puritan. He sees the family as a bit of a challenge from his dour religious perspective.

On one level, this is the story of a man who has reached a point in life that he feels he wants to retire. He has returned home, hoping to reconnect with a family that has grown away from him. He’s also not quite sure what to do with his time, so be begins a garden as a memorial to Hamnet. After a lifetime of mental and verbal creativity, this physical work brings a new way of creating something. As a retired person, I appreciate the bit of uncertainty of what retired life should entail and how he can bring meaning to the time when one no longer is “productive” in the eyes of the world.

He is also facing a somewhat common experience of discovering how much of his family’s life he has missed by concentrating on his career. The fact that he could not be there for Hamnet’s funeral weighs heavy on him. But he also does not really know his grown daughters and their lives.

There is also a bit of a love story as William reconnects with his family, and especially Anne. Some may know that in his will, Shakespeare left his wife his “second best bed”. In the film, this is seen as a touching, loving, and perhaps a bit humorous act, that shows how much their relations grows during this film.

But it is also an examination of what constitutes truth. Shakespeare wrote a number of historical plays, but as he says in the film, “I never let the truth get in the way of a good story.” But there are many discoveries of truth throughout the film that bring the question of truth to the fore. Not least of which is the recounting of Hamnet’s death and what that means to various members of the family. There are also scandals that crop up around both of his daughters, and a history of scandal with William’s father. All of these may call for a hiding of the truth, to create a more satisfactory understanding of what has happened. (Not unlike the creation of this script from some historical points in Shakespeare’s later years.)

The film’s title pushes us to consider whether indeed “all is true” or as is stated at one point in the film, “nothing is true”. As the various truths within the story are hidden or revealed they create a reality that must then be addressed. The question becomes not so much what is or is not true, but rather what is the truth that we live in?

Photos by Robert Youngson. Courtesy of Sony Pictures Classics