FILMS from AFAR

A generation who came of age in the 1960s is going to love this personal take and behind-the-scenes view of the Fab Four's first visit to the USA. For younger viewers,  Beatles '64  might not have the same impact. That's because the film relies on testimonies from people who were actually there: now-elderly female fans explaining their teen crushes and male fans describing their overwhelming emotions at hearing the Beatles' new sound. One man snuck off with a friend to Liverpool, changing the course of his life. They're fascinating memories, but even the music (and film) industry insiders interviewed–including remaining Beatles themselves–could prove unknowns to younger audiences. It's an interesting twist because the film emphasizes that it was the youth who responded to the Beatles' music so exuberantly in their early days. Stodgy parents disapproved. The documentary captures the band's sheer energy and joy in 1964. They are extremely young, and almost giddy at their sudden fame. The Maysles' footage shows them off stage, in hotel rooms and on trains, reacting to what's happening outside their windows. The film also puts their tour into historical context, suggesting their vivaciousness and youth may have helped a generation process violent events in America in the 1960s. It's a unique insider view that captures a moment in time and reveals the power of music. And that's something even the kids can understand. Read the full review at Common Sense Media Images courtesy of Disney+

This intimate yet universal family tale was selected to represent Iran in the International Oscar category. The debut feature shows a lot of promise for writer-director Babak Lotfi Khajepasha. He’s also not the only Iranian nominee contending for the International Oscar; exiled director Mohammad Rasoulof’s also poetically-titled  The Seed of the Sacred Fig,  set against political protests in Tehran, was chosen to represent Germany. Although  In the Arms of the Tree   (Dar Aghooshe Derakht)  touches on divorce, it deals with less controversial subject matter. Its storyline suggests a strong support for the nuclear family, and the cinematography accentuates the beauty of the Iranian countryside. The film is full of symbolism, with the natural world playing a role in the characters’ lives and foreshadowing events to come. Kimia (Maral Baniadam) and Farid (Javad Ghamati) are seeking a divorce due to the wife’s mysterious illness. Showing signs of anxiety, she is unable to travel beyond the 15-kilometer sign on the road out of town, bites her fingers compulsively, faints occasionally and senses dread all around her (like noting the sheep are the color of gravestones). She says she’s “depressed” and “languishing,” and it’s out of her control. Farid seems to still love her and want for their relationship to work, though he’s also flirting with a much younger female employee. Their plans involve each parent taking one of their sons (Ahoura and Rayan Lofti) to live with them. But 11-year-old Taha and his five-year-old brother Alisan are inseparable. The mature Taha takes care of Alisan while his distracted parents are mostly absent and their makeshift babysitter-uncle’s carelessness borders on abuse – though Reza (Rouhollah Zamani) also loves the boys and spends significant time with them.  The parents are advised to implement “distance practicing” to get the boys used to being apart, but more than one person suggests Alisan will “die” without Taha to watch over him. Indeed, Taha saves Alisan’s life in an early scene. It’s one example of the use of foreshadowing in the film. Taha has spotted a white balloon Alisan always ties to his arm floating up into the trees. A crate of baby ducks entrusted to Taha’s care, and the near deaths of fish in the family’s fish farm, likewise parallel later events.  When Farid tries to take Taha away even just for a day, they get into a minor car crash. Farid explains the pending family separation as they sit together on a rock overlooking a river carved into a valley that represents another separation – the border between Iran and Turkey.  In the Arms of the Tree recently won the Special Jury Prize at the 10th Annual Asian World Film Festival in Los Angeles. The film constructs its story deliberately, sticking closely to the family members and revealing clues that build up to a powerful and excruciating third act that forces its characters, brought to authentic life in powerful performances, to reevaluate their lives. Review originally published at AWFJ.org Images courtesy of Luckymatrix

It’s rare that a film can be edgy and entertaining, and at the same time educational. Ireland’s early submission to the International Oscar race, Kneecap is an in-your-face romp packed with sex, drugs and Irish hip hop, starring the real-life members of the band at its heart. It might be a tough sell to aging Academy voters, but it’s a raucously fun ride, and one with a serious message about preservation of the Irish language and the impact years of fighting has had on the Irish people. As young boys, Naoise Ó Cairealláin and Liam Óg Ó Hannaidh are taught the Irish language by Naoise’s militant nationalist father Arlo (Michael Fassbender). Fast forward, and the boys are now hard-partying twentysomethings in constant trouble, and Arlo has become a legend – a political martyr who is either dead or on the run. One night after Liam is arrested and refuses to admit he speaks English, local Irish language schoolteacher JJ Ó Dochartaigh is called in to translate. He’s given a notebook containing Liam’s writings and is later inspired to put his words to music. When Liam is released, JJ convinces him and Naoise to start a band, and JJ joins as manager, mixer and eventual third performer, DJ Próvaí. Under the constant watch of the authorities, especially stern Detective Ellis (Josie Walker), the band begins gaining in notoriety – as much for their rebellious music as for their “anti-social” antics, anarchic concerts and defiantly superfluous drug consumption. The script gives all three characters their own storylines – JJ’s home life and career, Liam’s relationship with a local Protestant girl and Naoise’s emotionally absent parents. Liam’s first-person narration is used sparingly and wittily. He and Naoise explain to the camera in a documentary-style split-screen that they’re part of the “ceasefire generation.” In their typical flippant style, one spits, “The Troubles? I’ve got fucking troubles!” The political is painfully personal for these kids. Director Rich Peppiatt, who wrote the script with band members Móglaí Bap and Mo Chara (Naoise and Liam’s stage names), throws all kinds of fancy camerawork and framing at viewers, set to the band’s own pumping rap. Somehow it works perfectly with the material. Cinematographer Ryan Kernaghan makes it seem like the camera is inside a character’s nose as it sniffs white powder, in his eyes during a hangover, or even inside a slot machine looking out at three perfectly framed band members. One highlight is a cheeky foot-chase scene through the streets of Belfast, with the diagonal white lines on Liam’s green tracksuit conspicuously matching railings and wall paintings and tilted camera angles. Another highlight is one of many drug trip sequences – in this one, the characters turn into Claymation figures in their delirium. It’s hilarious, even though deep down you know there’s really nothing funny about the stars’ compulsive drug consumption. The band is all they’ve got in a gloomy town of stifling police oppression and few opportunities. In this, the film has shades of Trainspotting . Mix in a bit of The Commitments – or, in the case of the uninspired schoolteacher who rediscovers his joy for life, maybe Another Round . The difference is that this one also has a message about the fight to sustain indigenous languages (and, by extension, cultures). End credits close with facts about the passage of the Irish Language Law in 2022 and the fast disappearance of indigenous languages worldwide. It’s a message that never gets lost amid the high jinks of the band members, although the filmmakers have smartly kept the didacticism fully encased in an entertaining package. This review originally ran on AWFJ.com Images courtesy of Sony Pictures Classics

This documentary boasts impressive behind-the-scenes access and deft editing with significant archive footage and animated sequences, but it's also one-sided and overly long. Still, considering the fame of this film's subject, and the controversy surrounding her very public court case against another rapper, Megan Thee Stallion: In Her Words should draw a broad audience. She opens up in interviews and reveals very personal feelings and experiences, letting the camera into her bedroom and behind the scenes with her. You know you're not getting the full story, but you do get an inside view. It also takes guts to show such vulnerability, and she seems to want to help others by telling her story. The film relitigates the case against Megan's shooter and shows the impact of public and industry backlash on her mental health. He was convicted in a court of law; maybe this documentary will give her another victory in the court of public opinion. The film also tells the rapper's life story, marked by the early loss of both her parents and a controversial career built around highly sexualized performances and lyrics. The animated sequences are stylish and haunting. You walk away with the sense of a young woman still growing up, learning to handle the pressures of fame, and taking pride in the career and public profile she has constructed. Read the full review on Common Sense Media Images courtesy of Amazon Prime Video

Gripping and unexpected, this film blends brutality and tenderness into a two hour-plus musical saga that's impossible to turn away from. Emilia Pérez tackles Mexican corruption and narco-related violence in a wholly unique package. The goriest of images give way to gentle ballads and lullabies. Mexico's mass graves of tens of thousands of murdered or disappeared citizens contrast with the delicate tale of Emilia's gender dysphoria and transformation (Gascón, stunning in dual roles as the dangerous Manitas and the likeable Emilia). That a film can evoke sympathy in its viewers for a violent mafioso is a testament to its power of persuasion, an intention underscored in closing scenes involving a saint-like statue. While Gomez may give the most memorable musical performances, this film's heart belongs to Saldaña, whose steely Rita journeys alongside Emilia, turning from hostage to friend. Saldaña's singing is forgettable, but her ability to convey complex emotions in a single look–and her dance moves–are not. Many of the set pieces contain striking choreography and haunting tunes, with lyrics sometimes whispered or spoken. French director Audiard 's first foray in Spanish, the melodrama could be reminiscent of the work of Spanish auteur Pedro Almodóvar . Read the full review at Common Sense Media Images courtesy of Netflix.

A well-paced but overly lengthy documentary about a fascinating woman, this film does what you hope it will by offering new information about a very public figure. Martha director Cutler has included dozens of audio interviews to complement the on-camera interview with the woman herself. Martha has also provided what's billed as "never-before-seen photos, letters, and diary entries." There are insights into her childhood, what drives her, how she feels about her perfectionism and her romantic relationships, how she experienced her months in prison. But the film runs long, and some of the same images are shown again and again. You can't help but wonder how the self-proclaimed perfectionist might have edited this film differently, were she given the chance. Read the full review at Common Sense Media Images courtesy of Netflix

It takes a while, but this family dramedy with endearing characters finds its rhythm midway through the story and builds to a fairly predictable but enormously gratifying ending. The pace of the first act of  Nutcrackers  feels slightly off. Scenarios meant to be funny feel overly scripted or awkwardly staged to elicit an easy laugh. There's the occasional unnecessary use of slow mo, and who paddleboards across a lake to find cell phone bars when they could easily take a car into town? Characters are set up as more locked into archetypes than they turn out to be: the big-city businessman versus the crazy homeschooled kids (played by four real-life brothers). In act two, when they're getting to know each other, more genuine moments unfold. Details about the family's background emerge, adding complexity. The parents' experience in a cult explains the children's homeschooling (in which little to no actual schooling takes place, but at least nobody is brainwashing them). The sibling relationship between Michael and Jan comes into focus, as does Michael's lonely, work-obsessed lifestyle–no friends to even water his plant while he's away. The emotional closing sequence, deftly filmed and set to inspiring music, ties all these pieces together. Justice heartbreakingly asks, once again, "When I wake up tomorrow, are you still gonna be here?" And Michael literally awakens to his future. Read the full review online at Common Sense Media Images courtesy of Hulu

Even the most respected literary works don't always translate well to screen, and this is an example of a very challenging adaptation. Magic realism in particular can be quite evocative on page but confusing on screen, seen in Pedro Páramo 's narrative time switches, ambiguous dialogues, and elements of fantasy. The film's cast and visual team have done an inspiring job conveying the darkness, fear, and superstitions of the times, and the dread of confronting the worst of human nature. It may be that this film will speak strongly to a local audience familiar with the original work and its deeper significance within Mexican culture. For other viewers, it could present a demanding – and lengthy, at two-plus hours – watch. Read the full review at Common Sense Media . Images courtesy of Netflix

Work-life balance may be a multimillion-dollar industry, but it's not a new concept. Experts say it's also achievable. Read the full article below.

If you paid attention at the time of the controversy around the "kiss" mentioned in the title of this film, you'll appreciate this play-by-play of the events surrounding it. It's All Over: The Kiss That Changed Spanish Football could have been titled "The Kiss that Changed Spain" because of the event's broader social ramifications. It was Spain's #MeToo reckoning, as at least one headline called it. "The kiss of death for Spanish machismo," another declared. Yet even so, this 95-minute documentary might appeal most to soccer fans. This is a settling of accounts, with the film standing squarely behind the women athletes and telling their side of the story. But they also talk about much more than just the controversial kiss. Multiple female athletes, past and present, recount years of indignities the Spanish national women's soccer team lived for the better part of a decade, leading up to the 2023 World Cup, from no changing rooms or gym access to arriving jet-lagged to matches. The film serves as a companion piece to LFG , a 2021 documentary detailing how the US Women's National Soccer Team commanded equal pay. The closing scenes offer a rousing reminder of how social change impacts subsequent generations, and why strong female role models are essential for young girls. Read the full review at Common Sense Media Images courtesy of Netflix

Recognizing the country’s film industry as a key driver of a potential post-pandemic recovery, the government is setting its sights on rapid growth. In March 2021, after months of industry talks, Spain Prime Minister Pedro Sanchez unveiled a multipronged plan to bolster the country’s audiovisual sector. Four months later, while visiting the U.S., he upped the ante by vowing to convert Spain into the “Hollywood of Europe.” His dreams appear to be — by many measures — coming to fruition. Insiders chalk it up to the new public-private collaboration via what has been dubbed the Spain Audiovisual Hub plan, which treats the industry, finally, as a strategic one that isn’t dependent on subsidies — as critics have long barked — and becomes something that can play an important role in the country’s post-pandemic recovery. “The implementation of the Spanish government’s Spain Audiovisual Hub plan is crucial for the Spanish industry since it arose to meet the historical demand of the sector,” says Elisa Garcia Grande, executive director of ICEX-Invest in Spain, a division of the country’s export and investment board. “For the first time, it concedes the industry’s strategic role within the Spanish economy.” Launched in March 2021 with a public investment of 1.6 billion euros ($1.56 billion) through 2025, the Hub has been working on four key areas: attracting foreign investments and shoots; improving financial and tax instruments; training talent, with a special focus on women; and implementing regulatory reforms and eliminating administrative barriers. The plan’s stated objective is to increase film and TV production in the country by 30 percent by 2025 to solidify Spain as both a production leader and an attractive location for investment, talent and international shoots. Included in these measures is the launch of the Spain Audiovisual Bureau to answer questions and facilitate collaborations. The Hub’s multilingual website is averaging about 50,000 unique monthly visitors since its May launch, according to Garcia Grande. “This government is much more aware of the benefits of the film industry than previous governments,” says Peter Welter Soler, a partner in Spanish production services outfit Fresco Film and current vice president of the national producers association Profilm, a key mediator between the government and the industry. He suggests that the fact the AV industry kept working during the pandemic contributed to the new vision of its strategic advantage in a country traditionally reliant on tourism, real estate and agriculture. The new perspective sees the industry as one “that can bring a lot of benefits, jobs, money and well-being to the society in general,” he says. Read the full article at The Hollywood Reporter . Click the image below for the print version.

Read the full story in The Hollywood Reporter's 2023 Cannes Dailies .