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.

121

Writing With Fire – Sundance Film Festival 2021

If you’re looking for an inspirational documentary that follows a group of trailblazing women in India, consider Writing with Fire. It follows a group of Dalit women – Dalits being the lowest caste in the Indian caste system – that start a newspaper in Uttar Pradesh, one of India’s largest and most politically important states. The newspaper, Khabar Lahariya, stands out from the others both because it’s written only by women and because of its emphasis to seek out the truth no matter what.

It starts with one of the paper’s lead journalists reporting on a local rape case. In it, we witness their reporting process. Meera first interviews the victim’s family for first hand info, then heads to the police station to press them further on the crime, before beginning to form a report. We see this process a few times throughout the film as they interview politicians, Dalit women without sewage systems that the government has promised, and worker’s strikes. Because of the topics they shine a light on and their determination to find answers, they face a lot of trouble.

This is clear when the reporters are out in the field. One reporter has to confront one union leader who at first refuses to talk with her because she’s a woman. Another reporter covering the upcoming elections has to banter with the male politicians just to try and get comments from them. It’s clear that being patronized is a part of their day job in the patriarchal society. However, they also have to put up with it at home from husbands that berate their independent working spirit.

It’s not just the patriarchy that is framed as dangerous to the reporters as the rising Hindu nationalism within India is posed as a threat too. One example is the young member of some kind of Hindu Youth League that patrols his neighborhood armed with a machete to fight crime. His role feels a lot like the Hitler Youth from Nazi Germany. He doesn’t appear to have much direction apart from his hatred of Muslims. The rhetoric of the local politicians are equally alarming, with the directors pointing out the new state leaders remarks that Islam is intrinsically linked with Terrorism. It feels like that the freedom of Khabar Lahariya and its female journalists are threatened by the continued rise of the male dominated BJP Hindu political party.

Lastly, it’s quite interesting to see exactly how a start-up newspaper is run. In addition to seeing how they gather a story from outside, we get to see how the newspaper is run at the office. We see their daily meetings – including one where one reporter gets disciplined for a low output – and hear about their growth strategies. Currently, they’re all embracing the switch to the growing digital reality by equipping all their reporters with camera phones and giving them lessons about YouTube. As the film runs, these YouTube clips are inserted into the narrative as milestones for their growth as their subscribers rocket to a few thousand after a few weeks work.

Whilst it’s probably a bit longer than it needs to be, Writing with Fire is well worth a watch for anyone interested in learning about inspirational women battling the patriarchy around the world. If anything, you’ll learn a bit about the current state of India and running a newspaper.

122

Hulhudhaan (Maldives) – Family Drama on Perils of Addiction

Hulhudhaan Film Difficulty Ranking: 2

Hulhudhaan is a family drama that focuses on the perils of drug addiction. It features a recently retired father and his drug-addicted daughter that comes to him for money.

From: Maldives, Asia
Watch: YouTube, IMDb
Next: Hand of Fate, Where I Come From, Cargo

Hulhudhaan – Breakdown

Social issue cinema can be problematic. Focusing on trauma and suffering to generate a base emotional response is exploitative, especially without character development or context in the plot. When this happens in film, it resembles charity commercials, which show malnourished kids to emotionally exploit viewers into donating. It also simplifies complex issues into a quick fix problem + solution equations.

In the case of Hulhudhaan the social problem is Sama’s drug addiction, and the solution is her father’s love and forgiveness. Sama took up drugs because she didn’t get enough of her father’s attention in childhood, and she’s addicted because she doesn’t realize her father still loves her. This presents a happy and dangerously easy solution: love can overcome addiction. The problem with this is the simplification of the issue and solution. Not all addiction is due to a lack of love, and love isn’t the silver bullet for drug addiction.

The depiction of the two main characters is also a little problematic. Manik, the father, is portrayed humbly whilst his daughter, Sama, is shown to be fragile and in need of help. Manik’s respectability is shown through his work ethic (he remains at work throughout the day as other employees come in and out), his tidy apartment, and his religious devotion (he faithfully wakes up through the night for prayer). He appears to be trustworthy and honorable. As Sama doesn’t receive a similar level of character development, the audience naturally sympathizes with Manik, the more complete character. This makes it easy for the film to deliver the love as cure for addiction solution – particularly led by the trustworthy Manik in saving his fallen daughter. It feels like it’s directed at men to take care of their women (especially considering the happy ending).

What to Watch Next

If you liked Hulhudhaan and want to watch more films which deal with social problems, try Hand of Fate (arranged marriage), Cargo (immigration), Where I Come From (poverty).

Or for other films that depict drug addiction, try the entertaining world of Trainspotting or the brutally real world of In Vanda’s Room.

123

Executive Order – Los Angeles Latino International Film Festival 2021

Executive Order starts in the court room as Antonio, a young black lawyer fights a case for reparations for Afro-Brazilians. Meanwhile, a number of Brazilian news reporters live stream footage of an old black lady entering the department of state to collect the very first reparations payment in the country. However, just as you think this is going to be a utopia from the positive start, the government officials turn the old lady away, kicking off a downward cycle of police presence and prejudice against Afro-Brazilians.

The cases of blatant and behind-closed-doors racism that the director presents don’t feel too surprising. The scenes – such as the one featuring the racist man in the bar – feel carbon copies of similar scenes documenting racist events from Hollywood movies. Neither is the descent of the country into a dystopian fascist state that forcibly deports all people with African blood back to Africa as we’ve already seen bleak dystopias on screen in The Handmaid’s Tale. However, the surprising part is that it’s mostly presented in a pretty upbeat manner. The music, colorful pictures, and light banter between the main characters matches the light tone of a Spike Lee neighborhood film. It gives the film a gospel-ish feel – that despite all the terrible things going on, there’s still hope for the Afro-Brazilian characters. Maybe it would have been too hard to see this film without the upbeat tone considering the current state of Brazilian politics. So instead of being a gritty, depressing film, Executive Order is a palatable Hollywood-style dystopian drama that allows space for a few laughs at the absurdity of the white supremacist state.

Whilst it could have been more ‘radical’ and a bit less obvious, it’s good to see a light hearted drama that anyone can watch and enjoy tackle rarely mentioned topics like reparations on the big screen.

Head to our LALIFF 2021 Hub for more reviews from the 20th edition of LALIFF.

124

RRR – The Indian Blockbuster to Watch on the Big Screen in 2022

For the first time in my life, I watched an Indian Blockbuster in a cinema. Whilst it wasn’t the full experience I had imagined, the cinema is the only place you should see RRR‘s bombastic stunts and melodramatic bromance.

The Experience

In hindsight, choosing to watch RRR as a Sunday matinee wasn’t the best choice. The Cinemark 18 + XD in Los Angeles was almost as empty as the mall it sits within, which is itself a forgotten mall, across the 405 from the much more popular Fox Hills Westfield Mall. There’s no real need for this mall or the Cinemark itself, as the theater chain has since built a more modern location in Playa Vista just 2 miles away. However, the distinguishing factor of this Cinemark location is that it has become the only theater on the West Side of Los Angeles (Cinemark or otherwise) that consistently screens new Indian releases each week. So if you want to watch Indian films in the city on the big screen and don’t reside in the Valleys or the O.C., this is your best option.

The theater was screening RRR in each of the languages it had dialogue specially written for (Telugu, Hindi, and Tamil), but as Telugu was the original production, we went for that screening. I’m not sure how widely each of the languages are spoken in Los Angeles, so not sure if the Tamil or Hindi screenings might have been more busy, but the Telugu Sunday matinee screening was almost empty. There were just a few families with toddlers and infants for company. As a result, we never heard an audience response to the movie, apart from applause at the end. The only sounds coming from the audience that we could hear were from the kids’ tablets that their parents had given them after they announced they wanted to go home around 30 minutes before the intermission (this film is not for everyone). However, this was never much of a problem for us, because, to the probable detriment to our ears, this film was blasted through the speakers at a noticeably higher decibel level than your typical Hollywood screening. The loud but empty cinema made it feel like we’d arrived early to a music concert. With a crowd, this would have been special.

The FIlm

Despite the small crowd, the film itself was completely at home on the big screen. It’s an action film that the Superhero addicted Hollywood studios have become afraid to make: a completely original story with a big budget. But to be fair to Hollywood, this film wasn’t made by just anyone. It was made by S.S. Rajamouli, one of the biggest name directors in India. He’s the guy that made the #2 and #8 highest grossing Indian films in Baahubali 1 and 2.

Costing $72M, RRR is the second most expensive Indian film ever made (behind S. Shankar’s 2.0). The high budget is evident in the incredible action scenes and CGI – which, whilst still slightly behind the quality of the Hollywood CGI, already looks much better than the Baahubali films. If this is what $72M makes, imagine what the budget of the $356M Avengers Endgame could produce. That is if you can imagine anything being more action-packed and epic than RRR.

There’s so many big moments in this film. It starts with three hard-hitting chapters which introduce ‘The Story,’ ‘The Fire,’ and ‘The Water.’ The Story is the premise – a child from rural India gets ‘bought’ by the English colonial governor to the heart-break of their mother and village. The Fire is the introduction to our villain – a loyal and determined member of the colonial police that single handedly takes on an entire mob of around 1,000 people in one of the film’s best action scenes. The Water introduces us to the kidnapped girls hope at rescue – a man from the forest that protects those that inhabit it. He demonstrates his action chops by taking down a tiger. Even though each of these scenes hits hard and gives you an adrenaline shot to kick start this 3 hour action bromance, neither are the film’s best action scenes. There are just too many action scenes to highlight, which we’ll leave for you to experience.

The only moments that took me out of the zone were the intermission and the ‘Naatu Naatu’ dance scene which both doesn’t fit the period or the serious action/cheesy tone that the film had already established. Plus the nod to Black culture by tokenizing a Black drummer (the only Black character in the film) just feels awkward. But luckily the film quickly resumes the melodrama and action pretty soon after both scenes to build the adrenaline and emotional connection back up. This is the ultimate ‘Theme Park‘ movie that needs to be seen on the big screen.

The Future

Before the pandemic, there was a John Woo double feature at The Aero in Santa Monica. It featured The Killer and Hardboiled, two stylish (and often cheesy) classics of the action-film genre. They’re both incredibly fun films to watch, and it was even more fun to watch them with a full audience that responded to the film’s iconic moment with cheers and shouts of appreciation. I believe S.S. Rajamouli deserves the same love that The Aero afforded John Woo. It may sound strange saying this as S.S. Rajamouli is a hugely popular director around the world that has drawn a relatively massive box-office total. But, whilst his films are massive in India, they haven’t found much of a cross-over audience amongst film fans in the U.S. Like John Woo, his films are iconic, melodramatic, action films that are best experienced with friends or a crowd. They should be seen by all action and superhero film fans, but I’ll be happy if they manage to form a cult corner like John Woo managed to do, and screen to sell-out shows in Art-House cinemas in the not too distant future.

125

Life is Fare – What it Means to be an Eritrean in America

Life Is Fare Film Difficulty Ranking: 2

Life is Fare is a Tigrinya/English feature film exploring three different experiences of the Eritrean diaspora living in the U.S. It uses different styles (drama, documentary, animation, fantasy) to construct a range of views on what it means to be Eritrean and living abroad. So, if you’re looking for a unique exploration of the immigrant experience in the U.S. Life is Fare is a movie to add to your watch-list.

From: U.S/Eritrea, North America
Watch: IMDb, Watch for Free on Film's Website
Next: Farewell Amor, Burial of Kojo, The Infiltrators