Raúl Alejandro Mendoza

HCAF22: ‘The Inspection’ Review

Posted on January 20, 2023January 20, 2023 by Raúl Alejandro Mendoza in Festival Coverage, Reviews

The Inspection is an impressive directorial debut that loses its steam but is held afloat by its important thematic discussion of family, sexuality, and moving on.

7/10

For the second year in a row, I had the privilege of attending the 22nd Houston Cinema Arts Festival on behalf of The Nerd Corps as part of the accredited press. I loved attending last year and watching films such as Red Rocket and Luchadoras to name a few. It’s definitely hard to hold up this year’s festival to the last as we had a lot of great moments including getting to meet Sean Baker. Nevertheless, that is not to say that this wasn’t a good year for HCAF because the Houston Cinema Arts Society always manages to bring some gems to the Houston Metropolitan area! Opening night included Elegance Bratton’s The Inspection which was quite an underrated film from last year.

The Inspection is written and directed by Elegance Bratton. The film stars Jeremy Pope, Gabrielle Union, Bokeem Woodbine, and Raúl Castillo. The movie’s original score is composed by Animal Collective, and Bratton’s visual aesthetic is provided by the director of photography, Lachlan Milne. This is Elegance Bratton’s feature directorial debut and it is being distributed by A24. This film is special to Bratton as it is inspired by his real-life experiences of being homeless for a decade after his mother kicked him out of their home for being gay.

Elegance Bratton’s film takes a different approach though and showcases the journey of our protagonist Ellis French who joins the Marines after being kicked out by his mother, Ines. Ellis understands that life as an out gay black man will not be easy and the film showcases that notion as it provides obstacle after obstacle for Ellis French to handle. He develops feelings for Rosales and must deal with the toxicity of his fellow marines along with his commanding officer, Laws. Ellis is not the only one to overcome obstacles while in basic training, many of his fellow marines like Ismaili are falling under the pressure put on them. While all this is going on Ellis must also deal with the estranged relationship with his mother and her refusal to see her son as an out gay man.

I wasn’t completely a fan of The Inspection but I found myself really enticed by its visual language, and performances, as a directorial debut there is a lot of promise here for Elegance Bratton’s career. Jeremy Pope along with Gabrielle Union delivers one of last year’s best performances. Their chemistry is unmatched and they are undeniably the film’s standouts including Raúl Castillo. I was in love with the score provided by Animal Collective and felt that it matched the beautiful visual aesthetic provided by The Inspection’s rich lighting. Its story did not completely enthrall me and the pace held it down during the second act, but by the time we reached the concluding act, I was back on board with the film. There’s room for improvement but for his first feature film, Elegance Bratton provides a tense and tender look into a very real issue. The answers aren’t clear to Ellis and Inez’s relationship but sometimes it’s not always up to the son to put in all the effort. The thematic approach makes watching the film well worth the small number of flaws it has.

Watch The Inspection on video on demand through most rental services like Apple TV, Amazon, and YouTube.

NashFilm53: ‘Wannabe’ Review

Posted on October 27, 2022January 20, 2023 by Raúl Alejandro Mendoza in Festival Coverage, Reviews

Crafted with excellence and a pastel color palette, Wannabe, is a poignant look at the constraints on art placed by predators.

Courtesy of USC

8/10

The music industry much like the film industry is a space plagued by the predatory actions of some men with too much power on their hands. It’s a toxic environment that exists not only in the music industry but in a lot of aspects of the entertainment industry. Things are changing for the best but at times it feels like the progress is so slow that a lot of women continue to report misconduct in their work. Josie Andrews aims to explore that in her short film, Wannabe. A girl group of singers caught in the middle of slow traction is forced to the decision of working with the man who sexually assaulted one of their members or ignoring all that to chase their dreams of stardom. An important narrative unfolds itself through the use of tense storytelling and sharp cinematographic value.

Josie Andrews’ Wannabe is not an easy film to experience as it deals with a heavy trauma that leads our protagonists to a crossroads. Brilliantly directed by Andrews, the film never shies away from showcasing the inner and outer conflicts being experienced, coated in a rich visual style that highlights the glamour of the music industry inside the ugliness that surrounds it. Our protagonists are stuck making a decision that could change the trajectory of their careers. Josie Andrews and team masterfully craft a message beyond its runtime that even with the conclusion that’s made, the pain will continue to linger. I loved this film and hope for nothing but the best for the incredibly talented team that worked on this short.

VIFF2022: ‘Triangle of Sadness’ Review

Posted on October 11, 2022October 10, 2022 by Raúl Alejandro Mendoza in Festival Coverage, Reviews

Ruben Östlund’s award-winning film, Triangle of Sadness, is a poignant commentary on class structures.

10/10

It wasn’t long ago that I experienced my first film from Swedish director Ruben Ostlund, Force Majeure. I was left captivated by such a profound film that managed to capture conflict in a way that I have never seen before. Östlund is not the type of filmmaker that comes up out of the blue. His style and precise storytelling abilities are one of a kind, so it was no surprise that I was eagerly awaiting the next film from one of the few directors who has won the Palme d’Or twice in their career. The social satirist has not disappointed yet, and I have experienced my second favorite film of the year. Ruben Östlund has delivered once again thematic messages worth noting as we dissect the parasitic relationship of classism.

Triangle of Sadness is written and directed by Swedish filmmaker Ruben Ostlund (Force Majeure, The Square). The film stars Thobias Thorwid, Harris Dickinson, the late great Charlbi Dean, Jiannis Muostos, Vicki Berlin, Dolly De Leon, Timeleon Gketsos, Alicia Eriksson, Woody Harrelson, and Zlatko Buric. Ostlund pairs up with frequent collaborator cinematographer Fredrik Wenzel who was responsible for directing the photography of his last two films. This is Ruben Ostlund’s English language debut film and marks his return to the silver screen since 2017’s The Square.

The film follows a couple, Carl and Yaya, both supermodels who are having a hard time with the power dynamics of their relationship. The couple is invited on a super-rich private cruise through their influencer lifestyle. The boat is filled with an eager crew destined to make money off their potential tips, a Russian oligarch, tech mogul, arms dealers, and a Marxist drunk captain. Well, things of course do not go well as they rarely do in Östlund’s filmography. The ship goes under with some of the crew and guests arriving on a “deserted island” where the limits of their lavish lifestyles are tested. Lines get drawn and the structures of classism are explored as the characters begin to switch roles with each other.

What Östlund is able to craft is nothing short of perfect as the Swedish auteur finds invigorating ways to dissect his favorite subject, power. Triangle of Sadness’ technicality is superb as its visual language and framing are so exquisitely unique to Wenzel and Östlund. The film is also paired with fluid editing by Östlund and Mikel Cee Karlsson. Where Triangle of Sadness excels the most is in its intelligent screenplay that dissects the parasitic relationship of class and the role that privilege plays in power. Östlund takes his time yet the film feels like it’s rightfully paced to the beats he’s trying to play. One cannot simply leave out the marvelous performances by Harrelson, De Leon, and sadly Dean who passed away earlier in the year. One sits and wonders what greatness such a young and talented actress was destined for. Once again Ruben Östlund’s storytelling abilities shine bright in the most chaotic of ways and the quietest of moments. The film is a monstrous achievement that explodes through its narrative structure to create one of the best films I have seen this year. One thing is for sure when you sit down to watch this where it deserves to be seen, on the big screen, make sure to sit out on buying that large popcorn. Let’s just say that you have been warned.

Watch Triangle of Sadness in theaters on a limited release and when it expands to a wide release soon.

VIFF2022: ‘Holy Spider’ Review

Posted on October 11, 2022November 16, 2022 by Raúl Alejandro Mendoza in Festival Coverage, Reviews

Ali Abbasi’s Holy Spider is a masterfully crafted valuable film detailing the violent nature of the patriarchy.

8/10

It’s important to know as much about the world that we inhabit. We’ve convinced ourselves through years of being force-fed individualism that we should only care about what happens to us individually. It’s a culture that you find a lot of in the United States and some of the Western World. Why care about what happens in countries that you have nothing to do with? The answer is really simple. We are one collective of human beings and attacks on others should be met with solidarity because when the time comes who will be there to help us? At the moment, Iran is going through a social revolution after the murder of 16-year-old, Masa Amini. Denmark’s official submission for Best International Feature at the 96th Academy Awards, Holy Spider, is not based on these recent events but it offers a different lens at the violence caused by the patriarchy. I was already interested in this film since I make it a mission to watch as many submissions for this category as I can. Well, it’s safe to say that I have watched one of my favorite movies of this year.

Directed by Ali Abbasi (Border, Shelley) and written by Abbasi along with Afshin Kamran Bahrami. The film stars Zar Amir-Ebrahimi (The Survivors, Tehran Taboo), Mehdi Bajestani (These are the Things You Don’t Know), Arash Ashtiani (Only Sound Remains, The Tunnel), Forouzan Jamshidnejad (Miltra), and Sina Parvaneh (The Interpreter, Nocturnes). The film has been picking up a notable amount of steam since its premiere at Cannes where Amir-Ebrahimi took home the Best Actress award. The film received walkouts over the graphic nature of its sexual violence. One would think that this is a Lars Von Trier film after hearing about such acts. Yet the graphic nature is just as important as the tame parts of the film. You must not look away from the reality of the world Holy Spider is in.

The film follows a journalist who is trying to uncover the truth about Saeed Hanaei nicknamed the “Spider Killer” who is responsible for the murders of sex workers during the early 2000s. The acts happen inside Mashhad, the second most populated city in Iran. Throughout the film, we follow both perspectives of Rahimi and Hanaei as the thriller continues to uncover the truth behind the serial killer’s despicable actions. An important commentary on society that makes sure that its audience doesn’t look away.

Ali Abbasi’s film is one of the best I’ve seen this year. It’s woven together by a plot that you can’t look away from. The film’s tight visual language creates a tense atmosphere that the picture follows until the closing credits. It is Zar Amir-Ebrahimi and Mehdi Bajestani’s performances that stand out from the rest, providing some of the best actings this year alone. Hanaei’s motives are laid out and the corruption of the system is on full display. Yet the film reminds us that violent and oppressive governments will always work in their own interests. Holy Spider provides the necessary mirror to its intended audience and points it towards them to dissect how people like Hanaei can be bred in the underbelly of their society.

Watch Holy Spider during its continued festival run.

‘The Woman King’ Review

Posted on September 30, 2022September 29, 2022 by Raúl Alejandro Mendoza in Reviews

Gina Prince-Bythewood’s epic historical drama shines bright with fierce direction and stellar performances.

7.5/10

The days of epic historical dramas have truly come and gone. From early Hollywood classics like Ben-Hur to contemporary epics like the Ridley Scott’s Kingdom of Heaven. It’s a genre that used to dominate the cultural zeitgeist and the box office prominently. Consumer patterns started to switch past it when the age of the superhero movie began to take shape, and a once-grand successful genre became rare on the silver screen. Ridley Scott’s The Last Duel even though a masterfully crafted film, bombed at the box office causing us to evaluate whether historical epics will ever be successful in this modern landscape of Hollywood. Maybe it’s the oversaturation of Western and Northern European-focused historical films that have turned off audiences. That’s where Gina Prince-Bythewood’s newest film, The Woman King, comes into play and reinvigorates a once dominating genre.

The Woman King’s script is written by Dana Stevens from contributions via the story by Stevens and Maria Bello. The film stars Viola Davis (Fences, Widows), Thuso Mbedu (The Underground Railroad), Lashana Lynch (No Time To Die, Captain Marvel), Sheila Atim (Bruised, The Underground Railroad), and John Boyega (Star Wars: Episode VIII – The Force Awakens, Attack the Block). Gina Prince-Bythewood directs the film after her Netflix superhero film, The Old Guard. The Woman King made its premiere at the Toronto International Film Festival this year and has since been playing in cinemas worldwide. The film is well on its way to making its 50 million dollar budget back at the box office at the moment.

The Woman King concentrates on the Agojie, an all-woman warrior unit responsible for protecting The Dahomey Kingdom in West Africa during the 17th to 19th centuries. The Dahomey Kingdom is led by King Ghezo (John Boyega) in 1823 who is looking to expand his kingdom but is met with challenges by The Oyo Empire and their roles in The African Slave Trade with the Portuguese as described within the film. Nanisca (Viola Davis), the general of the Agojie and responsible for training the next generations of warriors as impending war looms over them. The Agojie takes in a young woman who refuses to marry abusive men picked by her father, with who Nanisca may have a close history. The plot revolves around the historical atmosphere of this incoming war, honor, love, and the sacrifices women must make to satisfy power dynamics.

Wrapped in its fierce direction, stellar cinematography, and monumental performances, The Woman King, is a grand achievement from Gina Prince-Blythewood and her extraordinary team. Viola Davis steals the show with one of her best performances along with her counterparts Thosu Mbedu, Lashana Lynch, and John Boyega. The atmosphere and locale of The Kingdom of Dahomey are one of exquisite production design, sets, and rich costuming that is bound for Academy Award consideration. It is from the get-go that you are invested in this story and I found myself falling more in love with the aura of Prince-Blythewood’s picture. It feels like the epic it deserves to be with the help of some of the best-looking fight sequences I have seen this year. The Woman King is brutal jaw-dropping cinema that cements itself as one of the best films of this year. I eagerly anticipate the many nominations that will follow this marvelous piece of art. Polly Morgan’s cinematography paired with one of the best scores of the year by Terence Blanchard creates an environment like no other.

The film meanders a bit during its second act, but it recuperates with a masterful and emotional third act. There are not a lot of things to fault the film for other than its pace. It’s a film worthy of your trip to the nearest cinema to watch. I hope for nothing but success for this film once awards season starts to ramp up!