Tag: DRAMA

ZOLA (2021)

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Directed By: Janicza Bravo 
Written By: Jeremy O. Harris 
Based on the Tweets by: A’Ziah King 
Based on the article “ZOLA TELLS ALL: THE REAL STORY BEHIND THE GREATEST STRIPPER SAGA EVER TWEETED” By: David Kushner 
Story By: Andrew Neel & Mike Roberts
Cinematography By: Ari Wegner 
Editor: Joi McMillon 

Cast: Taylour Paige, Riley Keough, Coleman Domingo  Nicholas Braun, Jason Mitchell, TS Madison, Sophie Hall

A stripper named Zola embarks on a wild road trip to Florida. Based on a true story and tweeted on Twitter.

You think the film is going to be one way. Another downtrodden downbeat story that is exploitive and feels like tragedy porn In an urban community. But it isn’t it’s not as wild as some might have thought from the toro view but it is pretty out there. As this isn’t a sympathy story. It is more of a day in the life of characters in an extraordinary situation. Where each plays a substantial role.

The film Manages to be stylish and feel like a kind of pulp tale with it’s own voice that has to be true because it is too identifiable and crazy at the same time to be entirely made up. 

Riley Keough’s performance is memorable as the instigator who seduces her into this tawdry trip and also as a character who would normally be a disposable comedic character but here she is knowing yet naive. Someone who causes her own destruction and those around her. As her character has a so-called blaccent which feels like a new dangled version of blackface that her character takes pride In. She comes off as poor white trash or a person of low Intelligence and comes off as one of the worst characters in a film with plenty of dangerous ones. 

Even in the scene where she retorts and tells her own version of the story that we have seen so far. When she is at one of her lowest points. She tries to come off as innocent and the opposite of how she has been portrayed but will insist on insulting Zola like a character with a lot of race-based if not racist overtones in her version of the story. Filled with stereotypes and insults about hygiene. Especially when early in the film we are privy to see just who is the unhygienic one.

The filM Humanizes the characters no matter how outlandish or loathsome. Making the drama feel more full-fledged. Even though it is more of a humorous movie. That feels like a kind of relapse for the audience and the characters. Despite all the fear in all the craziness.

Zola constantly is the smartest character in the room but even she knows she is in over her head. As she tries to make it work for her as she is stuck. When Zola realizes she is in a pimp situation. She realizes she is in too deep and is just trying to survive the situation with unsteady factors. 

The film has little sex but plenty of sexuality and it tries to go into some erotic but is sold cheaply to us. While we see some female glimpses of nudity. We see full frontal of men 

There is grace. There is erotic and it is sexual but there is nothing quite sexy about it as anytime it might veeer towards that it reveals just how gross and messy the situation and awakens you from any fantasy you might try to derive out of it. Sometimes crudely and sometimes humorously. 

Even when the film has a mankind of being cuckolded and while you feel sympathy for him. He also comes off as one of the more comedic elements in his dumbness. As he is constantly humiliated not only by the woman he loves but by her so-called male friend who is more of a pimp and she pledges her love to the pimp over everything in front of him. Then the pimp introduces his other woman and Stefani still stays loyal. You wonder why he doesn’t just leave. 

While the film is crazy it’s not as off the wall as you might expect. Again you  have to go with what is happening and where it leads. 

When a line from the original Twitter feed is used. Usually in dialogue, There is a kind of alarm from Twitter. The film does have many memorable lines. 

Towards the end the film feels a bit like some Miami Vice episode. Though it still feels more homegrown. 

The film is short and to the point. As an on-screen adventure with only an indulgence or two. We learn very little about anybody’s past. There are little revelations when needed.

This is a movie that is definitely waiting to be discovered by an audience and deserves to be. As if the film Is given a chance most would find it entertaining, funny and definitely memorable 

Grade: B

JEAN OF THE JONESES (2016)

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Written & Directed By: Stella Meghie 
Cinematography: Kris Belchevski
Editor: Aren Hansen 

Cast: Taylour Paige, Sherri Shepherd, Gloria Reuben, Anna Hopkins, Erica Ash, Mamoudou Athie, Michelle Hurst, Demore Barnes, Cara Ricketts, Francois Arnaud 

Chaos ensues after the estranged patriarch of the Jones family dies on their doorstep. When the paramedic who answers their 911 call tried to win over acerbic Jean Jones, his attempts are disrupted by old conflicts that come to a boil at the funeral.

The film is short and sweet. Yet you want to see more. 

The film has a constant wit. With a wicked sense of humor that at times goes for the heartstrings but not without a good dose of resistance. That allows the film to be dramatic and funny at the same time.

The film shows how the absence of one person has affected the rest of them and how pettiness and secrets can damage even when not intended to 

The main character is an educated mess trying to find herself and is constantly literally tripping as in clumsy.

This film presents a modern metropolitan romance with a so-called urban twist. Seen through with characters of color. While being a family drama. 

The lead character is similar to the one on director Stella Meghie’s Other film after this THE WEEKEND only here a little sadder.

Like any New York-based romantic comedy with an ensemble cast. We get glimpses of their Individual dramas. Only this time amongst African Americans upper-middle class. Well, really more Caribbean Americans with a neurotic lead something we rarely see in African American films.

The film offers more of a light touch, not a tragedy where the characters are allowed to just be and not be perfect placeholders or model citizens. 

In the end, this is a fun film. That is as charismatic as its Script and leads 

GRADE: A- 

BABYMOTHER (1998)

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Directed By: Julian Henriques 
Written By: Julian Henriques & Vivienne Howard 
Cinematography: Peter Middleton 
Editor: Jason Canovas 

Cast: Anjela Lauren Smith, Wil Johnson, Caroline Chickezie, Jocelyn Jee Eisen, Don Warrington, Tameka Empson, Diane Bailey, Vas Blackwood 

A single mother determined to make it as a singer puts together an all-girl reggae group named Neeta, Sweeta, & Nastie with her friends. Living in a housing project with little support, the odds are obviously against her. Emotionally she struggles too as she learns at her mother’s death that her actual mother is the woman she had thought was her older sister. With the help of a female agent, the group starts to get some exposure and rises above their setting.

This is a film I have heard about over the years. Especially in my teenage years and unfortunately forgot about it and then suddenly found it and jumped at the chance to finally watch it. 

The film is certainly eye-catching if even just for the colorful outrageous outfits worn by the cast.   

The film starts off with inventive credits that also help explain who the characters are and how they are intertwined.

For some, this film can be seen as an introduction to dancehall culture before it became popular and mainstream. So that the film Offers a look at characters of Caribbean descent and their culture as they make their way in London. Though at least they are more in their element. As though there are no other races on screen. 

The film is essentially about a woman finding independence and at times romance. While trying to better herself for her children/family. Despite problems with her sister and boyfriend. We see a lot of her and others’ domestic life.

The film might feel a bit familiar. As it comes off as feeling like a Sunday movie. This means something simple, inoffensive that offers something more lightweight and leaves you with a smile on your face. As it affects you like easy listening music and stays smooth, feeling like you are floating for the rest of the day.

The film resolves itself really easily and is not too hard-hitting at all, but why not. It’s nice to see a film that Involves African American characters that isn’t necessarily heavy or traumatic. As most of the characters are likable and the film really doesn’t have any villains. 

Would have been nice if the film delved into other characters’ moves. A bit more as well as their domestic problems. As the film stays with the protagonist mainly Throughout her adventures and challenges. 

The film also has a catchy soundtrack throughout. That would have been nice if performed more with dancing and show-stopping numbers. 

Grade: B-

EDUCATION (2020)

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Story By & Directed by: Steve McQueen 
Written by: Alastair Siddons 
Cinematography: Shabier Kirschner
Editor: Chris Dickens & Steve McQueen 

Cast: Naomi Ackie, Kenyah Sandy, Jade Anouka, Nigel Boyle, Daniel Francis, Sharlene Wyte 

Education is the coming of age story of 12-year-old Kingsley, who has a fascination for astronauts and rockets. When Kingsley is pulled to the headmaster’s office for being disruptive in class, he discovers he’s being sent to a school for those with “special needs.” Distracted by working two jobs, his parents are unaware of the unofficial segregation policy at play, preventing many Black children from receiving the education they deserve, until a group of West Indian women takes matters into their own hands.

This is part of Director Steve McQueen’s Small Axe series of films. A kind of miniseries of five films that showcase stories of the struggles of the Caribbean and black citizens in the United Kingdom. Shining a light on them and usually who they have been abused and mistreated by the system 

This film seems to be more about a subject than a character. Though it is played out through characters, a central family mainly and the women activists. Who strive to help them and other families left in the same predicament.

The film focuses on a young boy in a working-class family. Who is disruptive and has a hard time reading. In his school his acting out is met harshly where he is routinely insulted and more put out by teachers who have no time for him and find him more of a distraction for other students. He is quickly removed from the school and sent to a new school for special children 

Throughout we find out that this new school is barely a school that offers an education. As the kids are left to their own devices most of the time and when there are teachers around they seem more like they don’t want to be bothered or do whatever they want to do like play songs and consider that teaching.

These schools are obviously more like holding dens for children the proper schools want to deal with and don’t want to help or give proper attention to.

The crux of the film is educating the parents of children sent to Jesse schools as to what is happening and Kingsley’s mother really paying attention to it all and doing something about it as she searches for answers and resolutions to the growing problem. Which seems to target minority children and immigrant children.

As the teachers seem to not want to nurture these kids and are setting them up for no future. These ladies eventually set up Saturday schools meant to teach the lessons these children are missing and nurture them to want to learn and believe in themselves and most of all encourage them.

It shows you the caste and class system that still exists and the roots of education where it can take you and lead you and most of all how important it is to a child that you show attention and faith in them as much as a study has faith in you.

It ends open-ended but it is one that definitely ends with hope and an all-around happiness even if abrupt. It offers an answer and hopefully a promise.

Grade: B

THE GUARD (2011)

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Written & Directed By: John Michael Mcdonagh
Cinematography: Larry Smith 
Editor: Chris Gill

Cast: Brendan Gleeson, Don Cheadle, Mark Strong, Rory Keenan, Liam Cunningham, Fionnula Flanagan 

Sergeant Gerry Boyle is a small-town Irish cop with a confrontational personality, a subversive sense of humor, a dying mother, a fondness for prostitutes, and absolutely no interest whatsoever in the international cocaine-smuggling ring that has brought straight-laced FBI agent Wendell Everett to his door.

This is a film that frankly the audience might be starved for a dialogue-driven character-driven dark comedic buddy cop film. Mismatched partners where one is by the book the other is dirty but with a set of rules all his own. Even as most of the cops he works with are dirty just as he is guilty of it himself.

Don Cheadle is perfect as the midwestern FBI agent brought into this foreign small town. Essentially playing the straight man. A fish out of water. He has a quiet dignity as a gentleman and straight arrow. Who can still kick ass if he has to.

Brendan Gleeson epitomizes the word star in this movie after years as a great character actor in such gems as GANGS OF NEW YORK he occasionally gets the lead role like in the magnificent THE GENERAL (he seems to star in movies with rank and job titles) which is the first film I noticed him in where he was phenomenal. Here he makes his acting look effortless; he fully inhabits the character. Luckily he has someone skilled to play off of.

The film is filled with quirky characters and situations like the villains who frankly are smarter than everyone around them and more dangerous.

The film treats violence like a normal everyday occurrence yet the film is not brutal.

Everyone in the cast is an essential part of the story. Praise should be given to all of them from Actress Finola Flannigan who should definitely be getting more work. She puts so much heart into all of her roles.

The film has a laid-back pace but pulls you in with excitement. As you can’t wait for the next scene or next line of dialogue. As you never know what’s going to happen.

You have philosophical drug smugglers, country-western IRA agents, dirty cops that make out morally questionable heroes look clean. As he only really starts to participate in trying to bust and break up this drug ring because he’s tried and true deputy is killed. Besides that, he pretty much makes no waves and has a standing appointment with his escorts weekly. With his bulldog glare yet puppy dog eyes he’s a Brute but a gentle one.

If you like the film IN BRUGES you will like this. It was fast-paced and action-oriented (which seems more a second thought here) but with a similar mood and style, with good reason. As the writer/director of this film is the brother of writer/director/playwright of IN BRUGES

There are very sympathetic characters in this film yet they find a way into the audience’s heart even if it is for you only a scene or two.

Grade: B+ 

THE BLIND SIDE (2009)

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Written & Directed By: John Lee Hancock 
Based on the book “THE BLIND SIDE: EVOLUTION OF A GAME” By: Michael Lewis 
Cinematography: Alar Kivilo 
Editor: Mark Livolsi 

Cast: Sandra Bullock, Kathy Bates, Quinton Aaron, Tim McGraw, Kim Dickens, Lily Collins, Ray McKinnon, Irone Singleton, Omar J. Dorsey, Adriane Lenox

The story of Michael Oher, a homeless and traumatized boy who became an All-American football player and first-round NFL draft pick with the help of a caring woman and her family.

I can’t help it. I am a sucker for a lot of tearjerkers. I know the emotional manipulation techniques they use. The emphasis on all the good things that are done.

This one is pretty standard except it also contains the tags to riches story, the orphan story, overcoming The odds, and helping lead the team to victory. In the wrong hands, this could have been just another faith-based movie 

The film is based On The true story of football player Michael Oher,

Now I am a Sandra Bullock fan for the most part and here she gives a strong performance in the less glamorized fresh prince of bel Air-like story.

The film is pretty basic and hits all the right familiar notes. Not too much you haven’t seen before. It’s good family entertainment and inspiration.

One of the problems one has with the movie is that there are scenes that have Michael bond with each individual member of the family alone throughout the film, even bonding with his teacher and tutor, but when it comes to the father in the family. He only bonds with him when the whole family is surrounded. Which seems more forced. It’s a nitpick but it bothered me and made me feel like the father went with the flow. But I didn’t necessarily want to adopt him.

The film also could have been a little fairer to Michael’s character by making him more of a character. Allowing him to show more emotions. Here he is played as the familiar screen type for African Americans. The gentle giant and while he might be in real life. I’m sure there is more to his character than What is presented on screen. Which is simple and all things to all people. The saintly black character helps all The Caucasian characters with their problems.

Especially when most of the African American characters shown in the film aren’t exactly positive characterizations. In fact, more than is needed are more villainous than anything. This is disturbing especially when it is not the same way when it comes to the Caucasian characters

I will give the film credit that it has an absence of real conflict. As everything seems to happen smoothly and successfully. Conflict only occurs towards the end and at that point, it feels more minor.

Maybe the reason it is left out is to show both the family and him coping with these strangers around the.

And how they go against the wishes of their friends to do what they feel is right.

It makes almost everyone come off as saintly. Which would be fine as a movie of the week or a Disney film. While I enjoy the film. I think there is a strong enough story to make a better film. All parties involved do their job.

Some Like Ms. Bullock go above and beyond. While not the most powerful of actresses, she is always a likable screen presence. A star can still disappear at times inside of a character. So it’s nice when she decides to stretch past the romantic comedies that are her forte and actually invest herself in a drama. Lightweight as it might be, but at least she tries and in this case succeeds.

Grade: C+

THE LOST DAUGHTER (2021)

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Written & Directed By: Maggie Gyllenhaal
Based on the book By: Elena Ferrante 
Cinematography: Helene Louvart 
Editor: Alfonso Concalves 

Cast: Olivia Colman, Jessie Buckley, Dakota Johnson, Ed Harris, Peter Sarsgaard, Paul Mescal, Dagmara Dominczyk 

A woman’s beach vacation takes a dark turn when she begins to confront the troubles of her past.

This is a film full Of good performances that by the end comes off a little more soap opera. As the characters are loved in but it feels more melodramatic than anything.

Dakota Johnson is sexy in a role that makes her never quite know what to do and confused. Kind of represents a mirror image of Olivia Coleman’s character at her age as a to-go mother who is overwhelmed.

Whereas in the scenes where Jessie Buckley plays her younger she seems to have a good life but is unfulfilled. Johnson’s situation seems more shady and dangerous. 

Throughout the film, we follow Coleman’s Character on vacation who feels full of mystery but has a good life,, and in telling stories we see flashbacks to fill us in on her and her family. So that while it builds it feels like it never quite goes anywhere. Except for some decisions that change things. Yet never ruin. 

Which then becomes the theme of this film. As nothing is quite permanent though it trays them like they are. 

By the end, it feels much ado about nothing. Throughout the film, it seems like it is building towards a dark secret and once we get there it is rather simple. That comes off melodramatic and the reactions seem a bit more over the top by that point. Where nothing seems to come of it.

As it is a midlife crisis movie for women. Showing what can happen if you make certain choices and how hard it might be to get back what you once had at all. 

It is a strong directorial debut for Maggie Gyllenhaal but beautifully filmed and fully lived in by the actors. While it is full of depth it never quite makes the connection. Maybe for some members of the Audience but not over here. 

Grade: C+

NOTHING BAD CAN HAPPEN (2013)

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Written & Directed By: Katrin Gebbe
Cinematography: Moritz Schultbieb
Editor: Heike Gnida 

Cast: Julius Feldmeier, Sascha Alexander Gersak, Annika Kuhl, Gro Swantje Kohljof, Daniel Michael

The young Tore seeks in Hamburg a new life among the religious group called The Jesus Freaks. When he by accident meets a family and helps them to repair their car, he believes that a heavenly wonder has helped him. He starts a friendship with the father of the family, Benno. Soon he moves in with them at their garden plot, not knowing what cruelty is there to come. True to his religious belief he stays with them although the increasing violence by Benno is torturing him. Tore is fighting the torment with his own weapons. So a dangerous struggle between libidinous actions and altruism begins. Inspired by true events.

This is a film that took me by surprise. I only heard about it recently.

This is a horror tale that sneaks up on you in the worst way, in plain sight. As it seems like a drama at first. As it isn’t a horror film Filled with slashers or any supernatural evil.

It all boils down to being a movie about faith about a character who has an unwavering faith and no matter how bad things get beloved he is being tested for a higher purpose. He encounters a man who is a sociopath and just so filled with hate and evil that he makes it his mission to try and get him to stop believing and take out His anger on him whenever frustrated.

Even if he hadn’t encountered this teenager the sociopath would bring those around him down and finding these victims might have saved others from his terror.

The Second half of this movie is brutal and upsetting. So that once the film is over you feel dirty or somehow stained from the experience.

The teenage character believes he has to accept these punishments. To save others. So they are safe but by witnessing it hopefully, they will finally be brave and strong enough to run away. As the family seems to stay with him out of survivor’s syndrome. Some prove to be just as evil as accomplices who just need a bit of a push or to be led into that behavior. The teen sees the main character as a challenge eventually instead of being afraid and realizing how disturbed this guy is.

It also doesn’t help that the sociopath is obviously jealous of the teen in a few ways. Especially when it comes to his teenage daughter. 

He sells to prove him wrong. As the teen stays true to his faith and religious convictions that ultimately he seems he can never defeat. Even as he seems hell-bent on trying to punish him for his beliefs. Truly showing strength of conviction. Leading the movie to some dark and disturbing places.

What is upsetting about this film is that it is supposedly based on a true story and also it’s a. Martyr tale that is upsetting as there is no comeuppance. So no sense of justice and no emotional or tension release. 

What is scary is the terror through the movie is so matter of fact. That sets the tone. As there is nothing necessarily heightened. It is all in plain sight. Little by little, we can tell something isn’t right. It stays believable

The wife tries to say that nothing has been right since the teen got there. Though things seemed already a bit off. The addition of him only adds an adversary for him to lord over and make a slave maybe just for his faith or showing him up in a brief random meeting in the begging getting his car to work. 

Though at times the cruelty comes out of nowhere like selling him off, if only for extra income. It infuriates the audience when he has a chance to escape but see’s all of this as his mission. 

It’s filmed more like a docudrama, though it can feel like torture porn. To get there seems to be a point to it all. 

The acting is spot on and believable. No performance rings false. 

There is some hope at the end but only born out of tragedy. As all around are made into an accessory. Very disturbing. This plays like a Michael Haneke Film that tries to mix with a Lars von Trier movie, but those films can come off as natural. This seems cruel to be cruel. Sadistic and just when you think there will be somebody to save him or some hope. It shows how cruel that world and environment are.

Grade: B

LOVE, LIZA (2002)

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Directed By: Todd Louiso
Written By: Gordy Hoffman 
Cinematography: Lisa Rinzler 
Editor: Katz & Anne Stein 

Cast: Philip Seymour Hoffman, Kathy Bates, Jack Kehler, Stephen Tobolowsky, Erika Alexander, Sarah Koskoff, Kelli Garner 

Following the unexplained suicide of his wife Liza, a web designer turns to gasoline fumes and remote-control airplanes while avoiding an inevitable conflict with his mother-in-law.

Philip Seymour Hoffman takes a stoner character who could have easily been more a comedic performance on any other film. Despite the tragedy that surrounds him and makes him heartfelt and all too human that is recognizable. 

It’s a poignant performance where we find out the cause of his addiction. We see the beginnings and the depths he goes through to feel numb to hide from fears and emotions. After the death of his wife.

It’s a mesmerizing performance that brings an extra sadness knowing his own tragic end in life. Making you wonder how parallel it close might have been to this performance. 

We see his mother-in-law’s emotional reactions. She wants to be nurturing but is also falling apart and is looking to him to help her grieve but finds nothing. 

At times the film veers close to seeming like it will be a quirky slice of life that will teach the character life is worth living and appreciating for so many unpredictable reasons, but the film is smarter than that and brings him back to reality after time to time finding peace on a lark. Like his developing friendship with a fellow recluse. 

The film explores how the world reacts and moves on as normal, but he is stunted or held back in his grief. Whereas his addiction is as odd as it is. Seems to be the only way for him to move forward. Even if in destructive ways. 

It’s a film built more on performances and the strength/Charisma of the lead actor than a conveniently plotted three-act structure.

It’s a lonely journey barely populated but it does certainly meet the characters. Who brings a little definition to a wide-ranging performance and film that likes to wander with no clear path. It constantly feels strong yet singular as one of the fears of the main character is that he caused his wife’s death or he wasn’t good enough for her when she needed him.

These darker films are built on characters and performances. Seems to be like most actors more the type he preferred. That offers a more intimate experience and more richness for an actor to offer. Performances that feel more lived in, like in the film JACK GOES BOATING that can come off as tragedies.

A tragedy, desperation not a movie to see cinematic beauty necessarily more organic. At one point it becomes a road trip movie 

In the end, the film actually does have a symbolic ending. Starting over a new at first thought we should never find out what was in the letter left for him that he carries throughout  but by actually revealing the contents of the letter it allows for closure and an ending of sorts 

Grade: B-

BLACK BEAR (2020)

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Written & Directed By: Laurence Michael Levine

Cinematography: Robert Leitzell

Editor: Matthew L. Weiss

Cast: Aubrey Plaza, Christopher Abbott, Sarah Gadon, Paola Lozaro, Grantham Coleman, Jennifer Kim, Lindsay Burge, Lou Gonzalez, Shannon O’Neill, Alexander Koch

At a remote lake house in the Adirondack Mountains, a couple entertains an out-of-town guest looking for inspiration in her filmmaking. The group quickly falls into a calculated game of desire, manipulation, and jealousy, unaware of how dangerously convoluted their lives will soon become in the filmmaker’s pursuit of a work of art, which blurs the boundaries between autobiography and invention.

This film is experimental in the best kind of way. A fractured meta-narrative that makes us examine the relationships between the characters and what we have seen or have been told.

The first half is more of a slow burn of hidden emotions, ambitions, and attractions. Where Aubrey plaza is more of a seductress and coveted by the male half of the couple. While the female is more jealous of her and her accomplishments.

Where in the second half the flip is switched and we realize the first half was the film the second half characters were making. So while the first half might seem UNFINISHED as they are in the middle of filming the second half gives it an ending while continuing the drama. Even now all the actors are in different roles. Aubrey plaza goes from being the director in the first half to be the star of the film who is having a breakdown as her partner is directing the film but seems to be oblivious to her feelings and needs. While trying to nurture the ingenue in the film. Whereas in the first half the ingenue played by Sarah Gadon was the put upon the pregnant wife of the male. Who was neglected once plaza’s character comes into the picture literally. 

The film lightens up a little in tone in the second half with more humor centered around the crew making the film. As it shows the little problems and culture that goes on such an independent project. 

Which actually perfectly offsets and magnifies Aubrey Plaza in these scenes. As she goes from easy going to emotionally tortured and while they seem more in a comedy. Her raw performance is so dramatic it offsets them and makes their dilemmas all the more shallow. 

The film lets it’s casa averted fixations be known in the second half. Plaza’s performance does remind the audience of Gena Rowlands in A WOMAN UNDER THE INFLUENCE the raw emotions as she continuously drinks and becomes more emotionally open but also has more despair.

The second half of the film also allows for more side stories and ongoing jokes with the characters. Whereas the first half is more solitary and focused on the core three actors. The second half while focused allows for more of an ensemble m. 

This film is quite the experience that you might need to watch a few times to get your head around and fully understand the film.

GRADE: B