Rowan Sullivan

171

Dhalinyaro – Online African Film Festival

Dhalinyaro doesn’t tread the same paths of other African films set in Islamic countries. Instead of focusing on themes of patriarchy, tradition, or sexism that provides the main conflict in films like Papicha, Freedom Fields, Beauty and the Dogs, and Flesh Out, Dhalinyaro focuses on a fiercely independent trio of girls from modern Djibouti. Lula Ali Ismail’s debut feature, feels more like a companion to Celine Sciamma’s Girlhood or the first 20 minutes of Mounia Meddour’s Papicha with the friendship between three girls. It’s an impressive debut feature that is also the first film from Djibouti.

The main conflict of the film sits between the three girls. Their class differences are emphasized in the size and space of their houses, their everyday meals, and methods of transport (private vs. public). However, they’re also immediately distinguishable in the way that they dress. Hibo, a spoiled girl from a wealthy family shows the most skin, whilst Asma, from an underprivileged background is almost always fully covered. Deka, who sits in the middle in terms of class, is moderately dressed, serving as the middle ground between her two friends. Because she takes up the middle ground between Hibo and Asma, she’s the audience’s mediator in the relationship between the three girls.

Their backgrounds affect how they see the future. They all attend the same school, and are all good students, but the differing size of their support networks provide different opportunities to each of them. For Hibo, the most wealthy, her future is already decided. She will study abroad just like her sister, regardless of grades. For Asma, the poorest, her future is also decided. Her family cannot afford to send her abroad so she has no choice but to continue her studies in Djibouti no matter what grades she gets. Deka, our mediator, has the luxury of choice. She can decide to work hard and study abroad as her mother wants, or choose to study at home. In showing how the characters from different classes view their future, Lula Ali Ismail depicts the lack of class mobility in Djibouti. Asma will stay poor and Hibo will stay rich. Only Deka has the opportunity to change.

Dhalinyaro is a high school drama with depth and great character development. Hopefully it won’t be the last film we see from Lula Ali Ismail or Djibouti.

172

Tune Into The Future – Luxembourg City Film Festival 2020

Many decades before the internet gave us nerd culture, there was Hugo Gernsback, an eccentric Luxembourgish writer and inventory who went on to become the father of modern science fiction.

Festival Scope

Tune into the Future tracks Hugo Gernsback’s life and inventions from his roots in Luxembourg and Europe, to finding his path and career in New York. It’s a story told with plenty of animations, interviews, personal anecdotes from his grandson, with references stretching from Tesla and Superman (Superman’s creator was inspired by Hugo’s publications).

Tune into the Future starts with some small square black and white footage of Hugo back in the day before the narrator interrupts the footage to tell us we’re missing the true (colorful) story. At this point the small black and white square footage expands to take up the entire screen and starts parading through images of Hugo’s fantastic speculative inventions from the future. The director, Eric Schockmel knows the inventions are the most eye catching part of Hugo’s work so he uses them to get us hooked in order to tell Hugo’s life story.

The director’s experience working with Museum Exhibits definitely shines through this documentary. He successfully manages to keep the audience engaged and interested throughout by mixing dry one on one interviews and personal anecdotes with animations that bring the anecdotes and Hugo’s ideas to life. It reminded me a bit of the educational YouTube videos made by Kurzgesagt – informative, but always engaging.

The way the documentary is presented matches Hugo’s own attempts to popularize science. He, like the director, used a mix of media to promote visions of utopia and drive interest in science across the world. In Schockmel’s case, he makes the film to rejuvenate Hugo’s efforts to popularize science in a time when experts and utopian ideas are being forgotten around the world. It’s time for the world to start dreaming again.

173

Gibrey Allen on Becoming a Filmmaker and Directing Right Near the Beach

The debut feature from Gibrey Allen, Right Near the Beach, was one of our favorite films at the Pan African Film Festival 2020 in Los Angeles. It builds on the themes of grief and homophobia in Allen’s 2011 short film Excuses for Jeff with a unique visual style and soundscape which makes you feel like you’re in the film, right next to the characters.

So we’re excited to present a brief interview with Gibrey Allen himself. Scroll down for the interview, and be sure to follow Gibrey Allen on Instagram (@DearMayFilms) for updates on Right Near the Beach‘s release. You can read our review of Gibrey’s debut feature here.

First of all, what inspired you to become a filmmaker? 

Before I started making films I was acting. I was always interested in film-making but the drive to create better roles than what I was been offered was the impetus. 

I found that in my first project Excuses for Jeff. The end to end creative process was a both a great challenge and joy. Living every aspect of the film-making process gave me a greater purpose than playing a character. Creating and having control of how story is told, particularly stories about the black experience, is important. Stories that celebrate or show true conflict, or stories that aren’t trivial, are important to me. That is my film-making mission. 

What drew you to the story of Jeff and homophobia in Jamaica?

Homophobia in Jamaica unfortunately is a very real and prominent thing. The music can sometimes inform this, as well as religion, laws and politics which in turn normalizes homophobic thinking. It makes you forget what every human being wants; love and acceptance. Migrating from Jamaica to New York, where sexuality is varied and open, made me see the LGBTQ community not for their sexual interactions but for the people they are. With the story of Jeff I wanted to tell a very human story, not the usual approach I have seen in films and  documentaries. To tell and move a story with cinema; the music, the sound, and visuals is what I love about film-making. I didn’t want to lecture with this film, I wanted to appeal to the heart.

How was filming in Jamaica?

Filming overall was a good experience. Most of the issues stemmed from a budgetary stand point; a smaller crew and not being able to get all the locations we’d hope for. Early on we figured we’d embrace these things, looking at what we did have and use that to make an even more intimate story. 

Did having Excuses for Jeff help in the production of Right Near the Beach?

Yes. Knowing the area and landscape helped. Forehand knowledge of some of the challenges and logistics, such transportation and accommodations. It also helped with the writing process because I knew which characters to tell the story best through. 

How did you develop your process for your first feature film versus making you short films?

The feature was the same approach as the shorts. Not necessarily by design but because the feature was shot in three different trips over a year and a half. The scope of things didn’t become so grandiose and production didn’t become a huge moving thing. 

What informed your visual style and soundscape for Right Near the Beach?

I want a voyeuristic view into the life of Mr. Jacob, the father. Almost like you’re eavesdropping on something you’re not supposed to see, someone in deep pain and mourning.  The movement of the camera to react violently when he’s angry, the movement slowing down in the quiet and pensive moments. Terrence Malick’s visual language was a great reference and also Lance Hammer’s Ballast.

We embraced the nature sounds; the flora and fauna that are natural to the farm and rural setting. Quiet moments were also very important so you had time to feel and get pulled into the journey. For the Mike character we used more post-production sounds, sounds that call back to his past and childhood. More mechanical sounds which underscore the demons he’s living with.  

What challenges did you face in building the style into the film?

The main challenge that we found was that we didn’t have lots of coverage on shots. With the one-take approach that we primarily used we had to shoot until we got the take that worked. This was also magnified because the cast were all local players. There’s a bit of safety in having full coverage, you can cut away to another angle or to other subjects if something doesn’t work with a particular take.

Do you feel like you made the film you set out to make, or did your vision for the film change in the film-making process?

Yes, the overall idea and feel of the story came through. However, the film process was very fluid and organic. We had to embrace everything that came along. Weather for example was a big one. It’s a tropical climate so it would rain or get overcast. Rather than waiting for these things to pass we used them to heighten moments in the film. 

How is your release going so far?

No release yet as the hope is to build an audience and buzz through festivals before we take that step. 

Where can readers catch the film next?

Not sure yet as COVID-19 has affected the festival run. Follow @DearMayFilms on Instagram for updates.

Do you have any projects in the works?

Yes, currently in pre-production on the next feature, also set in Jamaica. Can’t give much details yet but I can say it’s going be in the western style. 

What films, books, music, art can we look up to get to know you better?

Films: The cinematic language I like are that of Terence Malick, Lars Von Trier, Steven McQueen (Please watch Hunger), Thomas Vinterberg. Pretty much anything that Roger Deakins and Emmanuel Lubezki photographs.

Music: Tons of Reggae; Beres Hammond, Peter Tosh, Bob Marley, Ken Booth, Toots and the Maytals. Blues, Folk music and anything that promotes me keeping my beard.

Gibrey Allen

Follow Gibrey Allen @DearMayFilms on Instagram for updates on where to watch Right Near the Beach. You can read our full review of Right Near the Beach here.

174

Witnesses – A Bleak Croatian Portrayal of the Futility of War

Witnesses

Witnesses Film Difficulty Ranking: 3

Witnesses follows a group of brothers who have returned from the front lines of the Croatian-Serbian War as broken men. Their thirst for revenge fuels a late night attack on a Serbian neighbor. Rumors of witnesses pushes them to solemnly work to eliminate all of them. However, stuck in a bleak city on lockdown in a narrative that keeps replaying the past indicates that their fate is unavoidable. 

From: Croatia, Europe
Watch: Tubi, Kanopy
Next: The Load, Sleepwalking Land, Shok

The Breakdown

It feels like the three brothers are doomed right from the start when they murder their Serbian neighbor. As they drive towards his house crammed into a small car, they’re completely silent and lifeless. Their lack of emotion makes it feel like their condemned to act instead of acting willingly. After the murder, they appear solemnly sat around the table in their mother’s house in silence. Their mother is dressed black in mourning, and their father is lying next door in an open coffin. An empty bar is the only other place the brothers are pictured, sipping on pints of beer in silence. It feels like they’ve already resigned themselves to their fate and are simply waiting for it to catch up with them.

Their hopelessness is also imbued into the setting. The skies are constantly overcast which shrouds everything underneath them in a bleak palette of greys. The lack of light makes the brothers faces appear more ghostly and pale, in contrast to the more vibrant colors of their flashbacks on the front lines of the war in a time before they’d lost hope. Now, with trauma from the war and having murdered a neighbor, their pale faces are a mark of the life that has left them. They’re sleepwalking like zombies towards their fate.

The narrative structure also serves to construct the prison of trauma they’re stuck in. Following the murder, they’re never given the same freedom as in the opening scene where the camera follows them around the town in their car in one shot. As the film moves on, the same scenes start replaying: scenes of the three brothers in the bar, scenes of the three brothers around the table by their dead dad, and scenes of the three brothers at funerals. Repeatedly showing the brothers in the same places traps them within a limited area. Furthermore, the scenes are all shot with still cameras that don’t move, mimicking their guilt by trapping them within the frame. Even though they haven’t been found guilty, the way the cyclical narrative and fixed cameras become their prison. They’re stuck within the deserted town to be consumed by their guilt and trauma from the war.

The bleak setting, emotionless characters, and cyclical narrative imbues hopelessness into the look and tone of Witnesses, turning it into a gloomy but effective film about the futility of war and hate, and the grief and trauma it causes.

What to Watch Next

If you’re looking for more bleak portrayals of the Balkan Wars, I strongly recommend watching:

  • The Load: A road trip movie following one Serbian man’s truck journey from Kosovo to Belgrade. It’s also his journey to becoming aware of the grim reality of the war.
  • Shok: A short film that depicts the brutal occupation of Kosovo.

Or if you’d rather watch more bleak films featuring characters blindly moving forward in divided countries check out Mozambique’s Sleepwalking Land or Rwanda’s The Mercy of the Jungle.

175

39 Great Movies on Netflix UK You Can Stream Right Now

As a good percentage of our readers are based in the UK here’s a list of great movies streaming on Netflix UK to help keep our UK readers busy during the pandemic. I’ve paired up most of the recommendations so if you like one, you might like the other. So, in no particular order here’s 39 great movies to watch on Netflix UK:

  • First Reformed: a powerful drama about a priest doubting his faith amidst Climate Change
  • Uncut Gems: a sport infused thriller with gambling, loan sharks, and NBA stars that never slows down. Also see Good Time.
  • Pom Poko: a Studio Ghibli animated story of magical raccoons fighting human expansion. For more Studio Ghibli animation, see Howl’s Moving Castle.
  • Contagion: probably the most relevant film on this list. Focuses on world stalling pandemic that started in China. A lot of similarities with COVID19, but more deadly.
  • The Death of Mr. Lazarescu: for a horrifying and depressing look at the overcrowded Romanian health system, this is your film.
  • High Flying Bird: a sports drama focusing on all aspects of the NBA lockout for anyone interested in the side of sport you don’t see. Also watch Soderbergh’s unique The Laundromat, which looks at offshore accounts in Panama. Both films are more interesting and fun than they sound.
  • The Grandmaster and Ip Man: both great films for your marital arts fix.
  • Lord of the Rings trilogy: if you want to disappear into another world for 9 hours.
  • Ex Machina: simple but tense film featuring two men debating and fighting over the responsibility of creating A.I. If you’ve already seen it, watch Annihilation.
  • Dolemite is My Name: a wholesome dramedy about the life of Black comedian Rudy Ray Moore.
  • Miles Ahead: a brilliantly innovative ‘biographical’ film about Miles Davis.
  • The Social Network: brilliantly charts the rise of Facebook – could do with a sequel now. If you’ve already seen it and you like sport check out Moneyball (brilliantly written by the same screenwriter, Aaron Sorkin).
  • The Irishman: Martin Scorcese’s epic, nostalgic gangster film. Goodfellas is also available on Netflix.
  • Erin Brokovich: one woman fighting the water companies for providing contaminated tap water. For more films about people fighting the system, check out Kill the Messenger (Iran-Contra crisis) and Spotlight (pedophilia in Catholic Church).
  • Under the Shadow: a must watch horror film based in Iran that uses the Iran-Iraq War and patriarchal society to provide its punch. For more horror, watch A Quiet Place.
  • Fruitvale Station: the last day in Oscar Grant’s life. For more films focusing on black characters in the Bay Area, California, check out Blindspotting.
  • Beasts of No Nation: child soldiers in Africa featuring Idris Elba. For more child soldiers and oppressive regimes, check out First They Killed My Father.
  • Boyz in the Hood: the original Los Angeles hood film featuring Ice Cube. Or to watch a biographical film featuring Ice Cube, check out Straight Outta Compton which charts the rise of N.W.A.
  • Lady Bird: a fun dramedy of one girl’s high school life in small town California. If you want another great good-humored film featuring small town American life, check out Boyhood.
  • Death of Stalin: for more comedy. This time a political satire as all of Stalin’s cronies plot to win power following his death.
  • The Body Remembers When the World Broke Open: an immersive day in the life of two indigenous domestic abuse survivors meeting out of chance. Could also watch Sandstorm for another international film featuring women shaped in patriarchal societies.
  • Roma: follow the life of Cleo, a domestic worker to a wealthy family in Mexico City. One of the best art films on Netflix. For more great Latin American films, check out Birds of Passage (perfect for fans of Narcos).
  • Phantom Thread: watch if quirky upper class British families are your thing.

If you’re outside of the UK you can look up all of these films on JustWatch to find out where they’re streaming. Or check out the Best Movies of the 2010s That You Can Stream Right Now or scroll through the Netflix films.