Thursday, June 23, 2016

Hunt for the Wilderpeople: Is the Funniest Manhunt Movie Ever

By José Alberto Hermosillo

“Hunt for the Wilderpeople” is truly the funniest and wildest manhunt adventure ever to come out of New Zealand. 

From accomplished director Taika Waititi (“What We Do in the Shadows,” “Boy,” “Eagle vs. Shark,” and the upcoming Marvel superhero adventure “Thor: Ragnarok”) comes this incredible adventure, “Hunt for the Wilderpeople.”


This New Zealand smash hit opens with a beautiful landscape that looks like it’s from a scene in “The Hobbit” movies, where our adventure begins.

Classified by the authorities as a menace to society, Ricky (Julian Dennison) is sent to a farm-based foster home. 


The film shows, in a vivid flashback, the kid’s criminal record: cursing, graffiti, and spitting, among other big felonies committed in his elementary school and on the streets. 

As the vehement social worker takes those offenses seriously, she becomes an obsessive vigilante of the kid’s conduct from beginning to end.


Ricky gets a new chance to live on a modest farm with Aunt Bella (Rima Te Wiata) and the crabby Uncle Hec, wonderfully played by Sam Neill, who emotionally cares for the kid.

On that remote farm, they don’t have any modern devices to entertain this young punk who likes hip-hop.


In a marvelously welcoming scene, they receive Ricky with open arms, a birthday cake, and a precious gift: a dog he names Tupac.

When he gets used to the new lifestyle, something freaks him out, propelling his escape into the wild. 


After a few days alone, Uncle Hec joins him. As they share the road, the adventure turns amusing, and the manhunt goes viral because the odd couple becomes a famous outlaw and the most wanted people on the entire Internet.


“Hunting for the Wilderpeople” raises some underlying questions that are hard to see in a Hollywood movie: What is an ethnic child doing with an older white male alone in the woods? Who is wilder, the runaways or the hunters? Who always pushes Ricky aside as a troubled kid? The people or the system?


Ricky is wonderfully played by a very young, enthusiastic, and talented Julian Dennison (“Chronesthesia,” “Paper Planes,” and “Shopping”). His confidence and charisma go beyond expectations; he is hilarious. 

What is more important, Ricky’s self-esteem never goes down because Ricky is a warrior and never gives up.
Julian Dennison, photo by José A Hermosillo, Copyright Festival in LA 2016

Contemplating the breathtaking landscape, Uncle Hec tells his little companion: “This place is “majestical,’” the kid corrects him: “Majestic” is the right word. Now Ricky is learning.


In every chapter,
the film has an incredible new adventure, with clever references to “Rambo,” “The Terminator,” and “The Lord of the Rings” trilogy. Also, the car chase is as spectacular as any in Australia’s “Mad Max” movies.

“Hunt for the Wilderpeople” remarkably shows children in everyday situations becoming extraordinary, as in the 2004 British film “Millions” by the Oscar-winning director Danny Boyle (“Slumdog Millionaire,” “Trainspotting”) or the 2004 film “Whale Rider.” Also, it has similar humor to the 2013 Eugenio Derbez Mexican hit “Instructions Not Included.”

“Hunt for the Wilderpeople” rightly emphasizes universal values of acceptance, tolerance, diversity, respect, and, above all, love for one another.


Taika Waititi (“Eagle vs. Shark,” “Boy”). Critic José Alberto Hermosillo.

Copyright © Festival in LA, 2016

Sunday, June 19, 2016

Heis (cronicles): Wins Los Angeles Film Festival World Fiction Award - Is it a Movie or Is It Art?

By Kenny Hargrove, 

HEIS (chronicles) Copyright 2016

LOS ANGELES FILM FESTIVAL - MOVIE REVIEW.  Los Angeles, June 13, 2016 – “Heis (cronicles)”, the debut feature film from writer, director, cinematographer, and actress Anaïs Volpé, is a beautiful, poetic and contemplative collage of visual storytelling. It is as much a work of art as it is a very personal heartfelt family portrait.
Anaïs Volpé, “Heis (cronicles)” Photo by Kenny Hargrove, Copyrights 2016

The impressive debut from the young French woman was awarded the coveted World Fiction prize when it premiered at the Los Angeles Film Festival last week. 

The multi-layered cross-media film tells the story of a young woman, forced to return home by a string of bad luck, who then makes a tortured decision to leave her family in France to move to China to pursue her art.  

“It’s all about the duty to stay versus the right to go”, said Volpé, who is also the star of the film.

For Volpe, who returned to France to pitch new projects before the awards were announced, it was a big surprise.   “I was already very happy to be in the selection but now, my joy is so big!  I didn't expect so much,” she said.

The very personal movie achieves its poetry from its unique history and masterful juxtaposition of images, which include fantasy characters, angels, monkeys and a video within the film about the protagonist’s mother.

What began as a Web series when Voplé visited Beijing and began to think about home, became a feature film that was crafted and re-crafted and then embellished with visual arts components that have been viewed in art galleries and at various exhibitions.   

HEIS (chronicles) Copyright 2016

“It is like a puzzle.” “During three years I did a lot of layers,” she explained.    

As a result, the final film is as much a work of art as it is a multilayered story. The textured work by the visual artist moves seamlessly between past and present, dreams and reality. While offering the innermost thoughts of the character through multi-layered visual images.  
  
“Heis” is a Greek word meaning to complete oneself but, like the works of veteran art-house auteurs Wim Wenders, Peter Greenaway, and Terrence Malick, Volpé’s film achieves a dream state that you won’t want to end.  

Volpé refers to her unique filmmaking style as “emergency cinema”, based on her urgent need to communicate this story of millennial malaise that affects an entire generation.  
    
She credits her close-knit team for the film’s success, including actor and co-cinematographer Alexandre Desane and actors Matthieu Longatte, Emilia Derou Bernal, Laura François, Malec Demiaro, and Akéla Sari (who died earlier this year). 
   
Volpé hopes that winning the Los Angeles Film Festival award will inspire other emerging independent filmmakers who are seeking to tell cinematic stories but struggling with very low budgets and little likelihood of other support.    
 
"With all the talk about diversifying Hollywood, the LA Film Festival provides proof that talented filmmakers with new voices are out there, they just need a platform and that's what we are providing," said LA Film Festival Director Stephanie Allain, herself the producer of the Oscar-winning "Hustle and Flow" and Sundance Film Festival favorite "Dear White People". 
   
“Heis” is an excellent example. “Winning this award means that everything could be possible”, said Volpe. “With a lot of work and patience, we can reach some of our goals”. However, instead of resting on her new laurels, Volpé is eager to create new work. 

 She recently pitched projects at the Cannes Film Festival market.  She is also hard at work writing two new screenplays, including a story about expatriates that she hopes to shoot in New York. 

                         Copyright © 2016 Festival in LA

Thursday, June 16, 2016

Desde Allá: Confronts the Macho Stereotypes in Venezuela

By Jose Alberto Hermosillo

The macho stereotypes of Latino men had never been shown so vividly and questionably in a movie until “From Afar” or “Desde allá” came into the game.

“From Afar” is a sensual, risqué, and sexually divergent. It is a hyper-realistic motion picture that illustrates how raw and volatile the sexual life of Latin men is.

Lorenzo Vigas, AFI FEST, photo by Jose Alberto Hermosillo, Copyrights 2016 
 
The winner of the Golden Lion at the Venice Film Festival had a sold-out screening at the AFI FEST 2015 in Los Angeles, where we met the visionary director Lorenzo Vigas.

Lorenzo Vigas, director, “Desde allá.” Photo Jose Alberto Hermosillo
 
Vigas’s first work is masterful and very realistic. He takes us on a trip inside the box of the conglomerated geography of Caracas - showing the massive contrast between the affluent areas and the slums of the city, where young men steal, do drugs, and beat themselves to death - while the rich pass by indifferently.

The exciting camera work depicts the city as crude and depressing, highlighting its social divisions and contrasting environments.
 

The action starts with the fetishism and sexual deviations of an uneasy middle-aged denture artisan named Armando, marvelously portrayed by the renowned Chilean actor Alfredo Castro (Tony Manero, The Clan, Neruda, “No”). 

Alfredo Castro is one of the best actors in Latin America. His performance in “Desde allá” is immaculate.

Armando’s family is wealthy, but he lives as a middle-class person in a strategically located apartment downtown.
Armando, afraid of intimacy, has an infatuation for young guys, whom he pays to show their naked backs while he enjoys masturbating. 
The rule is to watch, not touch; everything must be done “From Afar.”
 
When Armando bumps into a young guy named Elder, extraordinarily played by newcomer Luis Silva, his world is turned upside down.  

Elder has all the characteristics of the traditional macho, tough Latino man with nothing to lose, but the need for money leads him to prostitution because of his economic condition.
 
 
Silvio imparts liveliness, impetuosity, sensuality, and fresh air into the film. 
 
Natural obsessions and social prejudices severely affect newly made relationships.

The tension builds up at Elder’s sister’s Quinceañera when he and Armando show up elegantly dressed for the “Barrio’s” celebration.  
 
“Desde Allá” German poster.

Elder, naively, doesn’t know how to show his gratitude. After a few drinks, he publicly expresses his feelings for his benefactor, becoming a new world of discovery and contradictions.
 
Homophobia rules the streets, and people see the same gender love as treacherous.  
 
They struggle to become intimate in the bedroom, and the mystery breaks the enchantment when the couple has sex for the first time.
 
“Desde allá” French poster.
 
Armando is obsessed with viewing naked men but cannot relate to anyone physically, placing emotional barriers on the people who are rare to him.
 
“Desde allá” Italian poster.
 
The Elder is impulsive and uses his body to express intense gratitude and contempt.

“Desde allá” accurately and seamlessly handles the universal themes of loneliness, lack of communication, and fear of expressing emotions, which are paradigms of our times.
 
The intricate screenplay, written by award-winning Mexican screenwriter Guillermo Arriaga (“Babel” and “The Burning Plain”), is based on an original story by Lorenzo Vigas.
 
 
The hyperrealistic style of “Desde Allá” is strident. It exposes the characters in focus, blurs the background, washes out the colors, and creates a closer connection between the actors and the audience.

The new fearless filmmakers pouring out of Latin America are revolutionizing how stories are told on the big screen. Many of those hyper-realistic movies maximize artistic value and lower production costs.

The award-winning Latino filmmakers that are taking the world by storm: Carlos Reygadas’ “Post Tenebras Lux,” Amat Escalante’s “Heli,” Gabriel Ripstein’s “600 Milles,” Michel Franco’s “Chronic,” Jairo Bustamante’s “Ixcanul,” Ciro Guerra’s “The Embrace of the Serpent,” Sebastián Silva’s “The Maid,” Lisandro Alonso’s “Jauja,” Sebastián Cordero’s “Cronicas,” Dana Rotberg “White Lies,” Alvaro Brechner’s “Mr. Kaplan,” Anna Muylaert’s “The Second Mother,” and David Pablos’ “Las elegidas/The Chosen Ones.”
 

“Desde allá” flows with authenticity and realism, showing the characters’ complexity with a humanist lens. It expands the cultural horizons of the viewers who may think, in this day and age, that to love another person from the same genre is insane, immoral, and, in some countries, a crime.
 
This Venezuelan film raises many questions: How much do homophobia and prejudices affect a person’s growth? Why do so many stigmas, discrimination, and stereotypes affect our society? How far can you go for someone you love? How would you love someone “from afar” if you were so close and afraid to be in love?
 
After the horrific attack in Orlando on the LGBTQ community, the timing of this movie from Venezuela couldn’t be any better because “Desde allá” puts the finger in the wound.

Desde Allá - From Afar, official trailer (2015) Venice Film Festival

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Tuesday, May 24, 2016

The Final Master: A Cinematic Feast of Martial Arts

 By Jose Alberto Hermosillo
“The Final Master” A Cinematic Feast of Martial Arts


“The Final Master” is a stylish, fast-paced, perfectly choreographed, action-packed flick.
 
The story is set in 1912 in Tianjin, where two martial arts schools will fight for honor and freedom.
 
Master Chen (Liao Fan) is the last warrior who holds the secrets of the Wing Chun school. He is searching for a new pupil to teach his arts and skills to a young, brave local fighter.

Master Chen (Liao Fan), THE FINAL MASTER © United Entertainment Partners

The tension arises when the Master is caught in a war between the Military School and the Academy of Martial Arts.
 
“Knowledge is power.”
 
“Wisdom comes with experience.”
 
The Master must decide whether to vanish with his knowledge into oblivion or to wait two years until a new master is trained and ready for action.
 
But first things first, the Master has a tactical plan to redeem his past and restore his honor after the offense he suffered years ago in his homeland.
 
One of those steps is to marry a local girl. The bar waitress seems a good prospect, but it won't be easy. The ambitious woman hates freeloaders who order nothing and only eat the complimentary bread on the table.
He must convince her to agree to the arrangement.
 
She has two conditions: to be a wife, not a concubine, and to have crab for dinner every night. He has no money – she suggests going fishing in the river. Another of the many tasks to help improve his endurance, elevate his spirit, tame his temper, and strengthen his body.


Song Jia as Mrs. Chen in THE FINAL MASTER © United Entertainment Partners

The wife becomes a vital part of the story, as she reflects: “The flowers of the garden without the gardener will die, as women do without men.”
 
Master Chen wants to live in austerity, away from the mundane world, and focus on training his pupil. 
 
The young apprentice looks at the beauty of the Master's wife and teases her. He is extremely skilled, but he must focus his training if he is to win a battle of his own.
 
The fights become more complicated when they involve knives.

  Song Yanm Tratebbr Andng as Geng Liangchen in THE FINAL MASTER
© United Entertainment Partners

Then the story becomes more strategic and scheming as militaries and politicians seek to take over, and the groups prepare for the fight. The Master fights solo.


In this exciting film, the battles feel more realistic and physically demanding than in other action movies full of fantasy and special effects, like “The House of the Flying Daggers.”


Director Xu Haofeng (writer of "The Grandmaster") controls all aspects of the production to perfection.


In the well-developed Wu-Join script, all the characters are well-developed. They have a definite purpose and a shadowy past, and their actions reinforce how they deal with their present.


Not only is the story well told, but the excellent cinematography, music, sound design, set, costumes, makeup, and performances also add excitement. 


THE FINAL MASTER © United Entertainment Partners 

All the elements in the production work well together to enhance the viewers’ experience and to make "The Final Master" a beautiful, action-packed martial arts flick.
 
When the warriors’ honor is at risk, The Final Master must put his body and soul into fulfilling his destiny.
 
"The Final Master" is an authentic period piece of art worth your time. Its open ending leaves room for a new, exciting sequel and many more to come.

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