Cinema In Context

Mother times two. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films mother! (2017) and Madeo, or Mother (2009). The discussion starts around mother! (2017) and unpacks its more horrific elements. We then have a back and forth discussion around the merits of Jennifer Lawrence’s character and the strength of her performance. We then jump into the allegory of the film, wondering whether it is a commentary on the experience of women, a commentary on Darron Arronofsky’s romantic relationships, or a commentary on Man’s treatment of the planet. Perhaps it is about obsession with a person’s own creation, whatever the context… Our discussion then moves onto Mother, or Madeo, from Korean director Joon Ho Bong. We start by unpacking the central mother character, played wonderfully by Hye-ja Kim. The portrayal of the young women and their sexualisation is discussed, with the film coming across as immature in this regard. The character of the son and the way his mental disability is dealt with is

Luc Besson Space Operas. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Valerian and the City of a Thousand Planets (2017) and The Fifth Element (1997). The discussion touches on gender politics and romance stories in both films. We talk about the connections to other films, like Blade Runner, Stars Wars, Avatar, Indiana Jones and Singin’ in the Rain. Luc Besson clearly loves the story he is telling in both films. We discuss other visual directors, like Peter Jackson, Terry Gilliam, Sam Rami and George Lucas, and how too much money makes their films too long. Both films have strong female actors in the central roles, with Mila Jovovich and Cara Delevingne. We compare the casts in both films, with limited strong performances in Valerian, and a strong cast in The Fifth Element. We return to the gender politics in both films, initially around the juvenile depiction of the female leads and the non-traditional depiction of specific male characters. We compare the music in both films: th

Heist films with music. Max Tarrant, William Chen and Jeremy Downing discuss the films Baby Driver (2017) and Reservoir Dogs (1992). The discussion begins by talking about the tightly woven nature of both films and a clear confidence in each. We focus initially on Reservoir Dogs, talking about the strength of the characters and relationships, particularly the work of Harvey Keitel, Tim Roth, Michael Madsen and Steve Buscemi. We then talk about how the narrative is constructed, with the large number of cut-aways that reveal the characters. We discuss Reservoir Dogs in relation to Quentin Tarantino’s other films, like Django Unchained, Kill Bill, Pulp Fiction, The Hateful Eight and Inglourious Basterds. We also talk about the intensity of Reservoir Dogs, particularly the large amount of shouting. This develops into a discussion around violence and how violence is used in Tarantino’s films, as well as other films like The Dark Knight, and Guillermo del Toro’s films Pans Labyrinth and The Devil’s Backbone. We the

William, Jeremy, Max and Sarah discuss their best and worst cinema experiences.

Comic book action heroines. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Wonder Woman (2017) and Barbarella (1968). The discussion touches on the fun to be had in both films, as well as its exploration of female empowerment, sexual politics and the qualities of both title characters. Sex plays a prominent role in the cult classic sexploitation Barbarella, while careful discussion of sex is explored in the mainstream Wonder Woman. The production design in Barbarella is impressive, which develops into a discussion around the strengths and weaknesses of visual and special effects. We compare the strength of the music in Barbarella to the forgettable music in Wonder Woman. We discuss the female gaze and male gaze in the compared films, and how much the traditional male gaze influences the choices made in the female directed Wonder Woman. Sarah wraps up the discussion with her own personal visceral reaction to seeing a strong female hero on the screen and realising how much a characte

Bringing racial tension home. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Get Out (2017) and Guess Who’s Coming To Dinner (1967). The discussion touches on: uncovering racial prejudices in society that both films investigate; how the films shift social perceptions on issues like interracial marriage, and both the problematic and successful aspects of that; the gap between generations, when social expectation ideals are different between parent and child; the connection between films Night of the Living Dead (1968), Stepford Wives (1975), Dawn of the Dead (1978) and Keanu (2016); the role of the maid in both films and how it comments on the expected social position of African Americans; the strength of the performances from Catherine Keener, Alison Williams and Daniel Kaluuya; the lens from which we watch a film and investigating how things have or haven’t changed.

William, Jeremy and Max discuss Alien: Covenant (2017). Warning: Spoilers!

Oscar winners of the Best Foreign Language Film Academy Award: the first winner and the latest winner. Jeremy Downing, Max Tarrant and Sarah Watt discuss the films The Salesman (2016) and La Strada (1954). The discussion touches on the treatment of the women in the films and the meta quality of Federico Fellini. The connection between the theatrical in both films is discussed, with the travelling circus in La Strada and the play “Death of a Salesman” in The Salesman. Both films are working just beyond a Neo Realist style and melding it with more fantastical influenced genres. Both films also use children in interesting ways, physically wrap up the female characters in clothing, have a significant second man and reflect the sociopolitical contexts of their times.

Protagonists struggle with sanity. William Chen, Jeremy Downing and Max Tarrant discuss the films A Cure For Wellness (2016) and Repulsion (1965). The discussion focusses on protagonists that struggle with their sanity or their perception of sanity. The conversation touches on a number of different areas, starting off with a discussion around Roman Polanski’s cinematic work, how his films endure beyond their time and connections to other director’s works, such as David Lynch and Alfred Hitchcock. The discussion then focussed on the strong visual imagery in both films, including cracking walls, a candlestick, a bloody book, a photograph, an eye and eels! The conversation then delves into A Cure For Wellness and how the film goes for broke with its imagery, including the impressive cinematography and visual style. Gender politics and the Bechdel Test is brought up, but challenged by the messy management of topics in Wellness. Connections are made between the two films and Rosemary’s Baby (1968), Housebound (201

Trainspotting times two. Jeremy Downing, Max Tarrant and Sarah Watt discuss the films T2: Trainspotting (2017) and Trainspotting (1996). The discussion touches on the films of Danny Boyle and his fall out with Ewan McGregor. The strength of T2 as a sequel, with themes of reconciliation and redemption, as well as the questioning of one’s past and how they have spent their time. Talk then continues into the uncomfortably of films dealing with drugs, but then Danny Boyle’s mastery in creating an enjoyable experience in both films. Respect is lavished on Danny Boyle, in creating both a brilliant first film and a creatively successful second film. Nostalgia is discussed and how it is intertwined into the second film, including shots from the first film and new footage of the characters’ childhoods. The talk touches on the strengths of Kelly McDonald and her character. Both films have fantastic cinematography and equally impressive soundtracks, which is identified and then develops into a discussion around the aes

Musicals on film. William Chen, Jeremy Downing, Max Tarrant and Sarah Watt discuss the films La La Land (2016) and Singin’ In The Rain (1952). Both films are movie musicals about filmmaking. The discussion touches on the magic of musicals, while both films deconstructing the magic of cinema. Nostalgia for older cinema, in both films. The suspension of disbelief in musical films and the grey area between fantasy and reality. The Academy being behind the eight-ball and taking a year or so to catch up. The potential renaissance of musicals in Disney Animation Studio films, particularly Moana (2016). The message of La La Land is problematic, while the female representation of Singin’ In The Rain is equally problematic. The impressive technical achievements of both films. The strength of Jean Hagen in Singin’ In The Rain and her underrated performance as Lina Lamont. There is comedy in Singin’ In The Rain that has or hasn’t dated, while the Broadway Melody sequence being out of place.

Top 2016 films. In this double episode William Chen, Jeremy Downing, Max Tarrant and Sarah Watt share their top films for 2016. Max’s picks: 1. The Salesman 2. The Lobster 3. Zootopia 4. Tickled 5. The Handmaiden Wildcard: Eat That Question: Frank Zappa In His Own Words William’s picks: 1. The Handmaiden 2. Hunt For the Wilderpeople 3. Kubo and the Two Strings 4. 10 Cloverfield Lane 5. Green Room Wildcard: Gods of Egypt; League of Gods Sarah’s picks: 1st equal: The Revenant; Green Room 3. Room 4. Zootopia 5. Doctor Strange Wildcard: Train to Busan Jeremy’s picks: 1. Finding Dory 2. The Hateful Eight 3. Fantastic Beasts and Where To Find Them 4. Hunt For the Wilderpeople 5. Zootopia Wildcard: Poi E Cinema in Context Film of the Year: Zootopia

First alien encounters. William Chen, Jeremy Downing and Max Tarrant discuss the films Arrival (2016) and Close Encounters of the Third Kind (1977). Both films have the premise of human first contact with aliens. The discussion touches on connection between humanity’s fascination with aliens being metaphor for relationships. We also talk about the exploration of mental health issues in Close Encounters of the Third Kind. Fantastic cinematography and lighting. The balance of having a lyrical pacing and mood, and keeping the plot interesting enough. The ‘idiot authority’ trope. Our excitement and fears around Blade Runner 2049 (2017). Comparing Arrival to Interstellar (2014) and Gravity (2013). The strength of Amy Adams’ performance. Alien fascination being a metaphor for distraction from relationships. Comparing Close Encounters of the Third Kind with Jaws (1975) and what Steven Spielberg is exploring with his early films. Enjoy!

Our discussion of these two Woody Allen films touches on Allen’s films touring around the world, female characters used as a trope to motivate the male characters, the laws of relationships in Allen’s films, bad use of voiceover, quantity producing quality, Allen’s storytelling style, the beautiful photography in both films, the complication of reading a film in a disconnected way from the director’s private life, our commitment as teachers to young people and how that impacts on our reading of the films, the different expectations of relationships from the 1970s to now, whether or not Allen’s characters are designed to be likeable, the manic-pixie-dream-girl trope, and the endings of both films. William Chen, Jeremy Downing, Max Tarrant and Sarah Watt discuss the films Café Society (2016) and Manhattan (1979).

Sarah Watt, Jeremy Downing and William Chen discuss the films Captain Fantastic (2016) and A History of Violence (2005), two films that star Viggo Mortensen in unorthodox father roles. The discussion touches on the talents of Viggo Mortensen, the brilliant children actors in Captain Fantastic, what matters in raising children, the tension between discussing heavy issues and telling the audience what to think, David Cronenberg’s cinematic style, copycat musical scores, issues with temp track film scoring, the different music choices in Captain Fantastic, the struggle with sincerity in Captain Fantastic, the casting in both films, and the use of sex in film.

Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Ghostbusters (2016) and Ghostbusters (1984). The discussion touches on nostalgia, the strangeness of the original film, the baffling sexism the stars of the new film have been facing, the radicalisation of pop culture, Ghostbusters hate stepping into Gamer Gate territory, the new film’s meta quality of addressing the kick back towards the film, the logic of ghost busting, the influence of women collaborating in film, the over-analysis of female roles, who should feel entitled to ‘claim’ the film, and institutionalised sexism.

William Chen, Jeremy Downing and Max Tarrant discuss the films Independence Day (1996) and its sequel Independence Day: Resurgence (2016). We discuss nostalgia, fast food, over-the-top-ness, practical visual effects being more tangible that CGI, Roland Emmerich’s connection to Steven Spielberg, pacing, films both pre and post 9/11, international box office strategies, diversity and globalisation, and the future of blockbusters.

William Chen, Jeremy Downing, Max Tarrant and Sarah Watt discuss the films Tickled (2016) and Catfish (2010). Both films are documentaries and deal with online manipulation. The discussion touches on a number of topics, including: how film creates a sense of place; the universal struggle of bullying; how truth is created in documentary filmmaking; creating online personas with varying levels of resources; differences in class; tension in documentary; the desire to investigate the truth when you have been “duped”; “catfish” becoming a verb; what is morally okay to reveal in documentary filmmaking; how both films capture a sense of humanity; the various uses of a camera in a coffee cup; and the ethics of recording people without their knowledge.

William Chen, Jeremy Downing, Max Tarrant and Sarah Watt discuss the films Zootopia (2016) and The Lion King (1994). Both films were produced by Disney Animation Studios and deal with anthropomorphic characters. The discussion touches on the technology behind “world building” and animation, the history of Disney, story structure expectations, the trend of musical animation, the “milk toast” hero archetype, the urban landscape of modern animation cinema and the motivation of villains.

Jeremy Downing, Sarah Watt and Max Tarrant discuss the context around and connections between Lee Tamahori's films Mahana (2016) and Once Were Warriors (1994). The conversation touches on New Zealand cinema, depiction of Māori in film, strong female characters in film, the changing face of cinema and the careers of New Zealand directors.