Film Difficulty 2

To help you ease your way into our world, we have devised a the film difficulty ranking system to rate the difficulty of each film reviewed on our site. The easiest to watch films (the Rom-Coms and Superhero flicks that you watch anyway) will have a rating of 1. Foreign language films automatically add one point, as do black and white films, and films with strange and hard to follow plots. Welcome to Film Difficulty 2.

Film Difficulty Ranking 2: These films are perfect introductions to those new to foreign films. These one’s may have subtitles, or be in black and white, but these films are all easy to follow and enjoy.

For the next step, check out Film Difficulty Ranking 3.

Veve (Kenya) – Corruption and Extortion in Kenyan Politics

Veve Film Difficulty Ranking: 2

Drugs, corruption, and extra-marital affairs feature in this Kenyan thriller centred around a macho politician. If you’re looking for excitement, danger, and a token white guy, this film is for you. Check it out here on Netflix.

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Why Watch Veve?

To meet one of Kenya’s ‘Big Men’
Learn what Veve is (known elsewhere as Khat)
For a token white guy
See how to defeat unions and oppress farmers

The Breakdown

People picking trees, leaves filling sacks, sacks thrown onto trucks, money changing hands… Veve starts with some quick cuts showing the distribution of veve from the trees it grows on to Kenya’s cities. Along the way it passes through a bunch of middle men and check points. You’ll also see money changing hands a few times along the way, but who does the money end up with?

The next scene reveals the prime candidate behind the drug-trafficking. Meet Amos, a local member of parliament campaigning to become governor of the region. Judged on first impressions, he’s a friendly husband who is popular in the region he is campaigning to govern. However, there’s more to Amos that meets the eye.

Simply put, he’s the prototype of the macho African ‘big man’ politician.

Firstly, you’ll see how he uses intimidation to try and guarantee votes. He tries to extort local businessmen as well as threaten farmers to vote for him. Secondly, you’ll witness his machismo. The director intentionally shows him criticise his wife for buying scented body lotion and chide his secretary for playing kid’s puzzles. Just in case that’s too subtle, he’s also cheating on his wife. He’s not a nice man.

Conclusion and What to Watch Next

By giving Amos the characteristics of the ‘big man’ politician the director uses Amos to critique the power hungry men in Kenyan politics. It’s a subtle warning carried in a thrilling film well worth watching.

If you want to see more African ‘big men’ on screen, check out Last King of Scotland, a political thriller with Forrest Whitaker playing Ugandan dictator Idi Amin.

Or if you want to see African films with more violence and corruption, check out Beasts of No Nation featuring kid soldiers in an unnamed African country. You can also check out the living perpetrators of the Liberian Civil War in Fragment 53.

Layla Fourie (South Africa) – How Long Can You Hold a Lie?

Layla Fourie Film Difficulty Ranking: 3

Up for a slow-burning thriller with racial undertones? Here’s Layla Fourie, a young single mum in South Africa trying to earn an honest living. Unfortunately for her, an accident may derail all hopes of a normal life.

Why Watch Layla Fourie?

You like a good slow burning thriller
For the excellent acting of Layla’s son!
To hear one of the best (and simplest) interview questions
To continue exploring South African film (check out Tsotsi and District 9 first)

The Breakdown

Layla Fourie starts with what sounds like a doctor quizzing a woman about her health. Does she drink alcohol? Sometimes after work. Has she driven under the influence? Strange question for a doctor, but no. As the person asks her another question (has she ever lied?) the camera shows a lie test followed by a black hand tied to a pulse detector. It’s all part of a job interview, but it seems more like an interrogation. Luckily for Layla Fourie, she’s all lie-free.

However, at night the first piece of foreshadowing spells trouble: a car crash outside Layla’s apartment. The next night, whilst driving in the early hours of the morning with her young son, Layla is lost. She is obviously disorientated, she has to stop to look at a map and keeps flicking her headlights on and off (which doesn’t help clear up the darkness of the night). A few minutes later her son wakes up from a slumber and distracts her enough to crash into a man whose car has broken down.

Now it’s Layla’s time to lie. She becomes more suspicious of everyone and much less assured. Can she get away with what she’s done or will she be found out?

Conclusion

Whilst some of the coincidences seem a little bit too contrived, the film does keep up the tension for a lot of the film. If you’re into thrillers, especially those that delve into racism, then this film might just be for you.

Death of Nintendo – Berlinale 2020

Death of Nintendo feels a lot like your typical nostalgic American middle school coming of age story. It has a group of friends that are desperate to become more popular than they are and a lot of pop culture references. However, there are a few unique Filipino elements in Death of Nintendo that you’re unlikely to see in American productions: a volcano, a body eating monster, and circumcision. These help the film to stand out in a pretty crowded genre.

A strong nostalgia for the early 1990’s is what hits you at the start of Death of Nintendo. It starts with two kids slotting colorful Nintendo games into their Nintendo, something that many 90’s kids will happily remember doing. Then in the following 15 minutes, you’ll hear hip hop and dancehall, and see them skateboarding and playing basketball in Nike shoes. The combination of visual and aural references quickly sets the film within the 1990’s. The way it’s presented, lit up in vibrant colors under the Filipino sun and with a few slow motion takes, makes sure it looks good enough to evoke a warm nostalgia for the era. If you’re a 90’s kid, this opening will make you want to be back in your happy childhood memories.

We’re knocked out of the nostalgic 1990’s childhood opening by a bully and love. The American bully disrupts their love for all things American, whilst their young love prompts a quick quest to grow up and become men. Being men = being popular and being popular = girls and no bullies. However, to become men, they have to embrace their Filipino identity. They have to come to terms with the volcano which threatens their neighborhood, their fear of the Manananggal (a Filipino man-eating mythical creature), and finally, they have to get circumcised (to help them grow and turn into men). Plus, they have to figure this all out on their own. Neither of the three boys have a fatherly role model to guide them through puberty, which perhaps leads to their strange idea of how to become men.

The 1990’s references and coming-of-age tropes are all taken from American culture. Without the Filipino references (volcano, Manananggal, and circumcision) and Tagalog, you’d be forgiven for thinking this was a U.S. film. Whilst every international film shouldn’t have to set out cultural identifiers to situate it within the country it was made, they should try and differentiate themselves from existing films and make something new. Whilst Death of Nintendo is an enjoyable coming of age film from the Philippines, there’s not too much to help it stand out from an already crowded genre of nostalgic coming of age films.

However, don’t let that stop you from watching more films from Raya Martin. Manila, a film he co-directed with Adolfo Alix Jr. is much darker and intriguing. Read our review here.

The Courtyard of Songs (O Patio das Cantigas) – Portugal

The Courtyard of Songs Film Difficulty Ranking: 2

Image result for o patio das cantigas

If you’re looking for a bunch of laughs after a long hard day at work, watch this. You have the option of watching the classic original from the Portuguese golden age, or the updated version (which I’ve reviewed here). Either way, watching it is your chance to experience life in Lisbon. You’ll meet a mix of Portuguese stereotypes that you’ll quickly fall in love with.

Why Watch The Courtyard of Songs

To see life in beautiful Lisbon!
For a good, light comedy (a rarity on Film Root, for more comedy check out the German Toni Erdmann)
It’s a great alternative to art-house Portuguese film (such as Tabu or In Vanda’s Room) and the old Portuguese classics (Aniki Bobo)
It was recommended by a Lisboeta (someone from Lisbon)

The Breakdown

The film starts with a view of the neighbourhood. We can see lines of colourful bunting stretched across a courtyard in Lisbon surrounded by houses with balconies. A guy with a slicked back hair and a Mohawk walks out onto his balcony, scratches his balls, and cat calls an attractive woman walking past. The woman acknowledges him (luckily they know each other) and the narrator steps in to introduce us to all of the characters in the neighbourhood.

In this neighbourhood, everyone knows everyone. They are like one big family. They fight, they argue, but they will also support each other when it matters (such as when Amalia sings or when Evaristo bails out his neighbours). On the street, they share their emotions: their life ambitions, their love interests, and their gossip, which travels like wildfire. Gossip is their form of news. People are so eager to be on top of the local news, that they all follow the inspector round to try and solve the crime before him!

In addition, pay attention to the structure of the neighbourhood because it is typically Lisbon. The neighbourhood is divided into two levels: the street level, and the balcony level. People go to their balcony when they want to watch life in the neighbourhood and each character uses it differently. Evaristo uses it to watch out for Rosa, another character uses it to cat call girls, Amalia uses it to showcase her figure, and another uses it for his exercise bike. In contrast, people go to the streets when they want to share their emotions and party.

Conclusion

The Courtyard of Songs is great to watch to get an understanding of neighbourhood dynamics in Lisbon. The film is full of wittiness and laughs, a lot like a good episode of Friends. Watch this if you’re interested in visiting Lisbon, and if you want to go make sure you visit during the June festival!

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.