Canibal Networks

I, Daniel Blake

Link posted on by moviebloke

(UK/France/Belgium 2016)

I Daniel Blake.jpg

Ken Loach’s I, Daniel Blake has gotten a lot of attention and praise. Good: it wrestles with a topic that’s timely on both sides of the Atlantic—and elsewhere, for that matter. A political and poweful message, Loach has touched many a nerve. Case in point: I, Daniel Blake won the Palm d’Or at the Cannes Film Festival, where it finished with a 15-minute standing ovation (http://variety.com/2016/film/global/palme-dor-ken-loach-rebecca-obrien-1201785482/). 15 whole minutes?! Wow.

Daniel Blake (Dave Johns) is a kind of antihero. He’s gruff, he’s private, he’s not handsome or young. He probably goes to church. A heart attack seems like the thing that would change his life, but what really does is a new neighbor (Hayley Squires) and her two kids (Briana Shann and Dylan McKiernan).

I didn’t stand up, but I get it. Bureaucracy versus common sense is always fertile ground for storytelling. I applaud Loach for what he’s saying here, I really do. I, Daniel Blake is a good film: it’s engaging, brave, and relatable. The acting is good all around. So is the premise.

In my opinion, though, it just isn’t a great film. We’re talking shades of meaning here, so if you have five seconds to spare, I’ll tell you why. First, I’ve seen this device many times before—in the last year, even. A cranky old man meets a character that represents youth and hope, and it totally melts the icy facade and changes his life. Well, OK. This sense of hope is usually personified by the very person society looks down on. Next?

Second, I saw where the plot was going way before I got there. Again and again. Predictability is never groundbreaking.

Third, I can’t help but think that this film takes the easy way out. A heart attack in a movie ends only one way. And it’s only a sad ending. Yeah, I, Daniel Blake is emotionally manipulative.

So, my issues center on Paul Laverty’s writing. I wish I had a better way to tell this story. I don’t. For all its pluses and minuses, though, I’d rather watch something more intense. Overall, I, Daniel Blake is disappointingly soft.

With Kate Rutter, Sharon Percy, Kema Sikazwe, Steven Richens, Amanda Payne, Chris Mcglade, Shaun Prendergast, Gavin Webster, Sammy T. Dobson, Mickey Hutton, Colin Coombs, David Murray, Stephen Clegg, Andy Kidd , Dan Li, Jane Birch, Micky McGregor, Neil Stuart Morton

Production: Sixteen Films, Why Not Productions, Wild Bunch, British Film Institute (BFI), BBC Films, Les Films du Fleuve, Canal+, Ciné+

Distribution: Entertainment One Films (UK), Le Pacte (France), Cinéart (Belgium/Netherlands), Cinema (Italy), Feelgood Entertainment (Greece), Prokino Filmverleih (Germany), Scanbox Entertainment (Denmark), Sundance Selects (USA), Transmission Films (Australia), Vertigo Média Kft. (Hungary), Canibal Networks (Mexico), Cine Canibal (Mexico), Imovision (Brazil), Mont Blanc Cinema (Argentina), Longride (Japan)

100 minutes
Rated R

(Music Box) B

https://www.wildbunch.biz/movie/i-daniel-blake/

Raw [Grave]

Link posted on by moviebloke

(France/Belgium 2016)

“An animal that has tasted human flesh is not safe.”

—Father

To borrow a phrase from Morrissey, meat is murder, which is a lesson that goody-two-shoes strict vegan Justine (Garance Marillier) learns the hard way when she goes away to join her older sister, Alexia (Ella Rumpf), at veterinary college. Like a lot of young people away from home for the first time, Justine is lost and wants to fit in. She’s she’s got her work cut out for her: she’s nerdy, sheltered, and a total virgin.

Like a lot of other schools, the upperclassmen at this one have a hazing ritual to break in newbies. It’s pretty aggressive. Prompted by her sister, Justine goes along with it without objection—that is, until she’s pushed to eat raw rabbit kidney (never mind the blood splattered all over her and her “fresh meat” first year classmates). Alexia is the one who ultimately cajoles her to eat it; it’s nasty and it makes Justine sick. Not long after, she develops a gross and severely itchy rash brought on from food poisoning.

Soon, Justine finds herself craving meat. Her impulses are irresistible. First, she eats raw chicken. Then her own hair. Eventually, she works up to human flesh—after developing a fetish for car crashes, of course. As she gives in to her carnivorous urges, her lust for her cute and easygoing gay roommate, Adrien (Rabah Naït Oufella), gets stronger—and Alexia appears to be turning into a greater and greater adversary.

Screenwriter/director Julia Ducournau has a lot on her mind here: peer pressure, body image, sexuality, sibling rivalry, the food we eat. She’s gutsy, and for the most part her risks pay off. It’s not the same story, but Raw has something in common with Goat (https://moviebloke.com/2016/09/24/goat/), another histrionic college drama that gets at kids, tribalism, and cruelty. Raw is very Lord of the Flies. Ducournau paces the story well and picks interesting things—a bikini wax, a horse being sedated—to make us squirm.

I love Ducournau’s sense of humor: it’s dry, icky, and sadistic. The indignation of Justine’s parents over a piece of sausage in her mashed potatoes when they’re eating in a cafeteria as the film begins brilliantly sets up what follows. Marillier seems to have some fun with her role, playing Justine as a creepy, awkward junkie who maybe bites off more than she can chew. Rumpf has fun with her role, too, playing Alexia as a Heathers-like mean girl. They do a nice job working the love and the hate in their relationship. Smartly, they’re both restrained, carefully steering clear of camp.

Visually, Raw reminds me a lot of David Cronenberg and David Lynch, but it still has its own unique look and feel. There are a lot well done scenes here—one under Justine’s sheets, another on a campus plaza with a horde of students moving like zombies, and another at a rave in a morgue all stand out in my mind. Cinematographer Ruben Impens uses lots of bright colors that work nicely with all the dim light to make the school look like a nightmare or a drug trip. There’s a definite sense of this not being real.

Raw is bloody and gory, but nothing here made me want to pass out or call an ambulance  (http://www.indiewire.com/2016/09/raw-tiff-2016-toronto-film-festival-pass-out-cannibal-julia-ducournau-1201726575/). I liked it, but I have one beef: I wish it was a little less predictable.

With Laurent Lucas, Joana Preiss, Bouli Lanners, Marion Vernoux, Thomas Mustin, Jean-Louis Sbille

Production: Frakas Productions, Petit Film, Rouge International, Wild Bunch, Canal+, Ciné+, Centre National de la Cinématographie (CNC), La Wallonie, Bruxelles Capitale, Centre du Cinéma et de l’Audiovisuel de la Fédération Wallonie-Bruxelles, Radio Télévision Belge Francophone (RTBF), VOO, BE TV, Arte/Cofinova 12, Torino Film Lab

Distribution: Wild Bunch (France), O’Brother Distribution (Belgium), Focus World (international), Canibal Networks (Mexico), Cinemien (Netherlands), Seven Films (Greece), United International Pictures (UIP) (Singapore), Universal Pictures International (UPI) (UK), Monster Pictures (Australia)

99 Minutes
Rated R

(Music Box) B-

http://focusfeatures.com/raw

http://www.rawthefilm.co.uk