NashFilm53: ‘Wannabe’ Review

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

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

CREDIT: Neon Rated

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

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

Courtesy of Wild Bunch

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.