Pojok Sinema

This classic work of Jean Renoir, for me, is still fresh and original, even after almost 80 years. I really don’t know how to label this film. Dramedy? Because the drama is not that heavy and even though there are some comedic scenes—and they’re funny—I don’t think that term could be applied. One thing for sure, though, this movie shouldn’t be overlooked!

This film is full of affairs among the bourgeoisie in France. What do you make of this scenario? André loved Christine, but Christine is married to La Chesnaye, and Octave—Jean Renoir himself played the role—a good friend of André, had a feeling for Christine, meanwhile, Jackie also fell in love with André. As it’s not enough, Christine’s lady-in-waiting, Lisette, married to Schumacher, but when a new staff was hired, Marceau, they fell in love. Such a complicated plot, doesn’t it? But, Jean Renoir managed to deliver one of the cleverest films I’ve ever seen without losing any of its charms. Without being overly dramatic—though it could’ve been made that way—instead he chose to make this film in a light tone with a touch of drama. This is the kind of film that Billy Wilder could’ve had made because it’s witty and clever.

I really can’t say much about this movie aside from loving it. There were some dialogues that got me cackles because they were really funny and smart at the same time, but I really really admire the storyline. This is definitely one of the best classic films I’ve ever seen. No doubt about that.

I don’t think I’ve heard about this film before, and at first, I thought this was going to be similar as Before Sunrise, as in taking one single evening. But after 5 minutes or so, I realized Metropolitan is a completely different movie. And turned out, it was a good thing!

This movie is definitely not everyone’s cup of tea because it doesn’t have a clear plot. It’s about some random rich kids meeting every night during the Christmas holiday and talking about anything, from the latest gossips to the next dances, about philosophy, and even about Jane Austen. In my own words, Metropolitan is the group version of Before Sunrise. But, on another note, Metropolitan is a great film to study characters because all the characters (even the supporting ones) are very distinctive. Though the chance to turn this film into drama with plot twists was wide open, there’s no such thing, except in the last 10 minutes or so towards the ending. Instead, this movie shows the life of bourgeoisie and their insecurities of being the rich kids in town—except Tom. And the romance is so subtle, that it doesn’t become the center of the attention of this movie. After watching this, my mind went to My Dinner with Andre (1981) another minimalist film which I need to re-watch again. Both films can be philosophical and to be honest, there were few scenes where I got blank because I didn’t know what they were talking about. I believe the film didn’t mean to be pretentious or snobbish, it was just my mind just couldn’t grasp the topic of their conversations.

  Among the 8 central characters—Nick, Tom, Fred, Charlie, Jane, Sally, Audrey, and Cynthia—my favorite is Nick. Cynthia despised Nick for saying bad things about Rick—a rich, spoiled, and womanizer guy—yet, I found his interaction with Tom is deeper than with the others in the group. Nick is also being the cynical one, always has this view of his circle of friends or other people. There’s just something about him that drew me. When his screen time ended, I didn’t want him to go. But, then, the film focused more on the relationship between Tom and Charlie—which I found annoying at first because how precise and his know-it-all attitude. I came to admire him. And once the holiday is over and they returned to their real lives, I found myself rooting for Tom, Audrey, Nick, and Charlie. In my opinion, among 8 people in the group, theirs—or at least Tom, Charlie, and Audrey—will be the ones who stay in touch and be friends for life.

Again, this is a great movie to study about characters and to those looking for plot-driven film is unlikely will find it here. Personally, I need to watch this film again to fully understand about some of their conversations, just like I experienced after watching My Dinner with Andre. But, this is for sure and without a doubt, a classic and great movie on its own merit.

I am not a documentary geek. I don’t even remember how many documentary movies I have watched in the past five years. I might even be able to count it with one hand. But, I was intrigued by this particular documentary simply because it’s based on unfinished work of James Baldwin about his three friends, who were assassinated during the period of civil rights movement: Medgar Evers, Martin Luther King, Jr, and Malcolm X.

I’ve only read Giovanni’s Room, but I’ve read many articles about James Baldwin and how he defied being pigeonholed for his race. I read somewhere that he even got scolded by his own community. But, this documentary isn’t about him, but really about his three friends, his view about how American governments and white American people treated black people. Some scenes in this film are way too brutal in my opinion, that I almost didn’t believe it happened in real life. It was the same feeling I got when I watched The Act of Killing, a documentary about genocide in Indonesia in the 60s. I was sick to my stomach that human could do such things to another human.

This movie gave me an understanding of why the election of Obama as a president was historical for black people because 50 years before, it was something unimaginable. America clearly still has homework to do when it comes to racism. When Obama won the election, many people believe it would be a turning point. In a way it is, but in so many ways, sadly, it wasn’t the case. This documentary showed me that America isn’t really a land of freedom, because black people still treated unfairly.

This movie gave me new information about World War II. The fact that 2430 pilots from Czechoslovakia went to England and helped RAF during the war is something new for me. I didn’t really expect anything before watching this film, but it turned out, I enjoyed it very much. I also learned that these pilots were jailed under the communist regime, thus, created a storyline that succeeded in putting emotional punch for me.

Story-wise, this movie had some moments to turn it into typical Hollywood-cliché, but fortunately, that wasn’t the case. Though the love story between Sláma, Karel, and Susan reminded me of Rafe, Danny, and Evelyn of Pearl Harbor—and these two films were released in the same year—in my opinion, Dark Blue World is less dramatic and feels more real. What I love about this movie is that the romance doesn’t overshadow the story of the pilots and their lives in England. The frustration of learning a new language and their small circle of friends were being highlighted in this film. The air battle sequence is the one that makes this film stand out. Though released in three different eras, the air sequence in Dark Blue World reminded me of the same sequence in Dunkirk (2017) and Wings (1927).

I love the ending of this film. It can be overly dramatic, but it wasn’t. Everything falls in the right proportion. Karel’s heroic act for saving Sláma and then the disappointment of finding Sláma’s dog had already been claimed by the son of his former lover, who thought he was dead … for me is really heartbreaking. And then the final scene—which I found really brilliant—I was weeping. The beauty of Karel and Sláma’s friendship is depicted beautifully in that final scene.

Phantom Thread is a not a usual movie. It’s either you love it or hate it. Even Jennifer Lawrence only managed 3 minutes of it. But, in my opinion, the greatness and beauty of this movie don’t lay on the surface. This is the kind of movie where you can analyze every scene and form your own theory as to why. Phantom Thread is a feast for the eyes, ears, and soul.

I don’t know if I can form words long enough to describe this film because when I finished watching it, I was in awe. Such a gorgeous film! The clothes play important role as it is about a fashion designer, but the best thing about this film is the relationship between Alma and Reynold. Some people see it as bizarre or even toxic, but I see it as a beautiful relationship. Reynold Woodcock is the type of person you dislike easily because of his cold and tough façade, and Daniel Day-Lewis played him in such way that you know why this man has won 3 Oscars. He inhabited the role of Reynold like gloves. Knowing how methodical he is as an actor and prepared a year before shooting this film, I’m not surprised one bit. Reynold and Alma’s relationship is one of a kind and as I said previously an unusual one. He found his match on Alma. Alma is strong willed, doesn’t give up easily, and as tough as him, though she can appear naïve. If Cyril was the only who can slow him down with his work, he found it in Alma as well. I just found their relationship is beautiful.

What I love about this movie is the way Paul Thomas Anderson utilized the sound in certain scenes, as in the breakfast scene where Reynold hates any noise. And then the score! It wasn’t too orchestra-y, yet it fits the mood of the movie perfectly. Acting alongside Daniel Day-Lewis should be a terrifying experience, yet, Vicky Krieps held her nerve in every scene she had with the legend, particularly the dinner scene.

That scene is probably my favorite in the movie because how tense it is and how Alma and Reynold didn’t want to lose any argument. Especially this particular line when Alma said “I’m waiting for you,” to which Reynold replied, “Waiting for what?” It’s such a clever line. I don’t know why, but Alma knew all along that she was just a property.

Vicky Krieps should be considered for Best Actress because matching Daniel Day-Lewis clearly wasn’t an easy task. And Lesley Manville! I’m glad she got nominated for the Oscar because she was controlled freak and as cold as her brother. Maybe that’s the reason why she was the only one who can slow Reynold down.

As I said previously, this movie isn’t everyone’s cup of tea, but if you really look for something different, a true art in cinema, then look no further. This really is a gorgeous film.

The close-up shot of Jeanne Moreau opened this movie, before Maurice Ronet appeared and we are shown they were talking to each other on the phone. Slowly, the sound of trumpet filled our ears and the shot slowly faded out while Mile Davis’s composition became clearer.

What an opening!

I’m not familiar with Louise Malle’s works but My Dinner With Andre (1981) which become one of my favorite movies because it’s stage-like setting and the limited time range. From his Wikipedia page, this is actually his first feature movie, adapted from a novel by Nöel Calef, which was published in 1956. Wow! I also don’t know much about cinema history and how many eras were there, but this movie, alongside Hiroshima, Mon Amour, were deemed as the first movies in the French New Waves era. What I know is, this movie is brilliant. Every little scene serves purpose. No scenes were wasted.

The story is also very simple. Julien (Maurice Ronet) works for Simon Carala, but he had an affair with Simon’s wife, Florence (Jeanne Moreau) Then, they plotted Simon’s murder to be together. The plan was going smooth after Julien killed Simon and staged it as a suicide, but when he realized he left a clue to his crime, everything started to go wrong.

One of my fav scenes is this:

I don’t know whether this scene is in the novel or not, but I found this scene to be brilliant. Julien didn’t escape easily, but the lift stopped in the middle so he couldn’t get out is simply magnificent.

The scene jumped from Julien to Florence who wandered alone at night, from bars to bars just to look for Julien. From Julien to Véronique and Louis, a young couple who stole Julien’s car, and then, they involved in a murder of a German couple. The whole film only revolves around these 4 people, but the way Louis Malle shot every scene is just amazing. As if the gorgeous black and white were not enough to give a somber atmosphere, this film has the audacity to insert Miles Davis’s composition, making this movie is not only pleasant to the eyes, but also to the ears. The ending was the best! Though somehow I felt there could’ve been more, but it was perfect.

After watching this movie, I was reminded by Paris Blues (1961) a film set also in Paris, with Paul Newman, Sidney Poitier, and Joanne Woodward. Aside from using Paris as a background, both films also used jazz compositions, Miles Davis for this movie and Louis Armstrong for Paris Blues. Though they’re very different pictures, I just couldn’t help to think Paris Blues and Elevator To The Gallows are like two sisters.

Acting wise, Jeanne Moreau really acted from her facial expression and her body language. When she was walking around Paris, her whole body radiated loneliness, frustration, and hope. As for Maurice Ronet, his handsome face really masked the devil inside. Who was actually the evil one, Julien or Florence? Hard to tell.

Every element of this movie (music, cinematography, lightning, and the script) is just superb. This is really typical European cinema when not many things happen, yet everything happens. I need to dig out any other French classic cinemas from Truffaut and Goddard.

Like Crazy is one of my favorite films because it deals with long distance relationships, something I was familiar with when I first saw it. And that movie brought my attention to Anton Yelchin (may his soul rest in peace) and Felicity Jones. As for Newness, I didn’t even know about this movie before yesterday when I stumbled upon it and decided to give it a try. I didn’t know Drake Doremus helmed Like Crazy, if I had known before I would have watched it right away. The premise looked promising but I didn’t set any expectation. And boy, this movie really blew me away!

From the surface, Newness is almost similar to Weekend, which is one of my favorite films ever. The story of a hook-up turned into something emotionally deeper is intriguing and Weekend handled it exceptionally well, even though Newness tackled the relationship issues deeper than Weekend. Newness may as well have another title called Nowness because it really depicts the current landscape of dating. Though I’m not a dating apps user and not familiar as how it works or the etiquettes of it, this movie still gave me something rare. Just as 5 to 7 (another movie starring Anton Yelchin) Newness challenged my views about open relationships in particular and relationship in general. Though the characterization of Gabi is a bit neurotic (it dawned on me her character reminded me of Penelope Cruz’s Maria Elena in Vicky Cristina Barcelona, which is funny because Gabi is from Barcelona) and can be tiring to watch as she always looks for newness, I really think her character represented all of us in a way or another. She always confronted Martin to be truthful, yet, she didn’t seem to follow her own rules when Larry gave him a necklace. Martin, on the other side, has a baggage everyone has: a past. In my opinion, his dating habit was the result of his failed marriage. Their relationships also showed me, that honesty is a fragile thing. Gabi wanted Martin to tell her everything because that’s what couples do, but Martin thought his past wasn’t important factor in their relationships. And doesn’t matter how couples vow to be honest to each other, there will always be something they can’t share. We have secrets we just can’t share.

This movie also showed me, you can always find comfort when you’re distraught, basically at everything. You never think twice about the consequences as long as you find what you want. In Newness, it’s Gabi and Martin’s relationships. They decided to start a relationship without really getting to know each other. Gabi didn’t even know Martin’s mother had dementia and his sister died and the settlement money was used to pay his education. I sensed Martin’s guilt and maybe, his way to close off that guilt was by not talking about it. And then, Gabi ran to Larry as a temporary comfort. When she realized how different they were, she just ran away again.

I see Gabi as the insecure one between her and Martin, and her insecurity explained her hysteria about almost everything. The ending, to me is one of the most realistic ending I’ve ever seen. Their willingness to accept boredom as part of relationship is the result of disappointments of always looking for newness.

One of the things that I really love about this movie is how Drake Doremus shot some scenes as if we were peeking into Martin and Gabi’s lives. It gave the sense of rawness and also intimacy.

I really didn’t expect much when I watched the trailer, but even before the credit rolled, I knew this is one of those rare movies I’m willing to watch more than once and I will revisit in the future. It left a clear and deep mark for me, that I still think about every stage of their relationships long after the movie finished.

Nicholas Hoult and Laia Costa were perfect, as their chemistry just clicked from the first moment they met. And thanks to this movie, I just realized how gorgeous Nicholas Hoult is. I’d never really paid attention much to him, but thanks to so many close-up shots, this movie showed me what a great looking man he is. And how similar his face is to Sam Claflin. Now, a movie with these two will definitely a dream!

I don’t think it’s an exaggeration by saying 2017 was one of the best years for gay themed films. After Moonlight won Best Picture at Oscar, it was like paving the way for more gay themed movies WITH quality. Call Me by Your Name, Beach Rats, God’s Own Country, BPM, and after watching Tom of Finland, I have no doubt to put this movie on the same league of the other gay themed films.

Tom of Finland was Finland’s this year’s Oscar submission for Best Foreign Film, but it was not nominated. I wasn’t (and still is) not familiar with Touko Laaksonen or his homoerotic art, but this movie really put me in that state of curiousness. I watched this movie right after Final Portrait, without realizing that I was watching two films about artist! Though their similarity ends there, Touko inspired me more than Giacometti.

Tom of Finland told the story of Touko Laaksonen, a war veteran who suffered from PTSD and found solace in sketching. I’m not going to reveal the story line or the detail of every scene—because this movie is better to be experienced without reading any synopsis—but I will underline the importance of his art and why it inspired me.

Touko was a talented man. There was no doubt about that. But, what’s the use of it when you can’t even show it? Touko lived when homosexuality was still seen as taboo in Finland. Though he had a small gay community—thanks to his former captain in the army, Heikki—where he can show his talent, it wasn’t long before the gathering got raid and he went back to square one. He kept on drawing and an opportunity finally came to him in the United States. He was well-known as Tom of Finland, and his homoerotic art was worshipped in the gay community and though I wasn’t sure, his arts probably creating a leather community among gay people. Though he found his inspirations mainly in men who wore specific clothing (uniform, leather jackets) it was his first inspiration, a Russian soldier he killed, that really moved me. He turned his trauma into art, and that’s what real artists do. They create art even when their real life suffers.

What inspired me about Tom of Finland and his journey of becoming an icon within the gay community is the way his art was appreciated. His own sister belittled his talent just because he created homoerotic contents, while around the world, he got appreciation and was seen as some sort of a hero.

This scene really got to me because the way Kaija, Touko's sister, said the line as if she was disgusted by what he did.

So, why Tom of Finland inspired me more than Final Portrait? Because of my preference writing gay themed stories rather than straight ones. To some people, it might not make difference, but to me, it does. I’m not saying that my writing is not appreciated—though not in the same level of Touko—it is appreciated, but it is still overlooked in the publishing world. Unless the gay characters in that story marries a woman or dies, then there’s a little chance the manuscript to be published in Indonesia. The persistence of Touko in keep on creating what he loved, reminded me to be persistence as well with my writing. I might not find fame the way Touko did, but it makes me believe that my stories—hopefully—in a way, will change someone’s life.

I really love this movie for the message that I received, though I have a doubt that I will watch it again. But, it’s inspiring nonetheless.

Though I knew in advance Final Portrait was directed by Stanley Tucci (Nigel in The Devil Wears Prada) I sort of immersed in the movie from the first minute and forgot completely it was directed by an actor. It felt so raw, artsy, and down to earth, while maintaining the 60s atmosphere so perfectly.

The story is actually very simple: an artist wanted to make his final painting after he abandoned it for years to focus on his sculpting. The whole movie is really about Alberto Giacometti (Geoffrey Rush) struggling to finish the portrait of James Lord (Armie Hammer) who posed for him. Lord was baffled at first by Giacometti’s inability to focus on the painting, while at the same time, he was distracted by his sort-of-mistress, Caroline. When a day stretched into 3 weeks, Lord’s life started to be affected because he kept on postponing his return to USA.

The set mostly was inside Giacometti’s studio, while occasionally showed the café where Giacometti usually eat and the cemetery where they took a walk and talk about Picasso and arts. What amazed me was the 60s atmosphere of this movie. Though it wasn’t really shown like, say The Man from U.N.C.L.E, but its presence was so strong that it was hard to ignore it. There were some unsteady shots, which according to my personal opinion, worked and added to its rawness. As for the story itself, Final Portrait really showed the ugly part of being an artist. A great artist like Giacometti couldn’t be forced to finish his works. He worked when he got inspiration, add that with perfectionism (he condemned the first portraits were bad and he even burned some of his old sketches!) then you know how messy his life was.

One of the great things about this movie is casting Geoffrey Rush as Giacometti. Man, he was so perfect in his role, even his physicality is close to real Giacometti. He really owned the role and too bad, the movie isn’t released in the US yet. If it was released last year, he can really be a contender for this year’s Oscar. Armie Hammer continued to impress me with his subtle acting. Though he wasn’t given as many emotional scenes to work on like the one he did in Call Me by Your Name, I can really see Armie doing this kind of movie in the future. It seems he really fits into European cinema.

This movie is definitely not for everyone, as not many things happened in Final Portrait, but somehow, I enjoyed it so much! It’s a film that not only showcased the Geoffrey Rush’s masterful acting, but also tackled the side of an artist in his last years. As a biopic, Final Portrait is very unusual.

The Post is the kind of movie I needed to watch because the political situation in Indonesia. Though I’m not a journalist, the story of The Post really resonated with me, in a strange way. I’m not gonna talk about the acting, because Tom Hanks and Meryl Streep are the giants of acting, not to mention two legends, so talking about their acting, to me personally, will be an insult to their legend status.

If you haven’t read this movie and planning on watching, please prepare All The President’s Men as a follow up, because the ending of The Post linked to the movie released in 1976, starred Dustin Hoffman and Robert Redford. I wasn’t hooked in the first minutes of this movie, but after minutes 20, I couldn’t take my eyes off the movie. I’m not really a fan of political film, but something about The Post really hooked me. The fact that some elements of this movie can be applied in Indonesia in 2018, is probably one of the reasons why this is one of my favorite movies of 2017.

Okay, let me give you some ideas about current situation in Indonesia. The government of Indonesia is trying to pass the laws that will criminalize same-sex relationship, extramarital sex, and also other laws that will put women and children in danger of being prosecuted. Most of Indonesian citizens still view homosexuality as something abnormal, a disease, a mental illness, and it’s curable. The media is not doing much better, at least the media that is widely read. They helped promoting the hate for gay people, that we really on the brink of moving way backwards. Some judges in Supreme Court even sided with the majority of the people, not to mention the government officials. And that is where The Post resonated with me.

The Post is a story about the power of media and how their efforts in unveiling the government’s secrets that had been kept for so long. When The New York Times published the Pentagon papers, the US government decided to bring them to the court. The same thing happened to The Washington Post when they published the materials. And when their case was brought to Supreme Court, other newspapers did the same thing. I saw it as a solidarity movement and their loud statement that government can’t silent the media. One of my favorite scenes is when Ben Bradlee (Tom Hanks) laid out the papers in front of Kay. I could see the relief on Kay’s face that she might have done the right thing.

This scene stayed with me, because it gave me a sense of solidarity among the press.

When Supreme Court decided to protect the press as part of democracy, I was almost in tears. Part of me was hoping the Supreme Court in Indonesia has the guts to go against the government and protects the citizen, but part of me knew it was probably a wishful thinking. Shouldn’t the press also play a part in telling the truth? In Indonesia, when it comes to homosexuality, the press did the opposite. The Post really left a mark in me that I’d never thought would appear.

Sometimes, I wonder why some classic movies have such a long running time. I had the same hesitancy before watching this movie the way I felt with Funny Girl. At 2 hours and 55 minutes, this film kind of testing my patience, hahahaha. But, since I really wanted to watch it, I tried to sit still and enjoy the movie. Did I enjoy it? Not quite as enjoyable as Funny Girl, but at least, now I can say “Yeah, I watched A Star Is Born” if someone asks me, hahaha.

What can I say about a classic? It doesn’t really matter, right?

Personally, this movie can be cut into shorter version as there were some unnecessary scenes. The “Born in Trunk” number was waaaaaay too long, without having the real purpose of the story line. If that scene got cut, I think the movie would do just well. But, since we’re talking about Judy Garland and it’s a musical, I guess the producers (or the studio) wanted to showcase her talents more than the story line itself. Then, the chemistry between James Mason and Judy Garland was almost invisible because this is more like a one woman film. This is Judy Garland’s movie from beginning to end. James Mason, in my opinion is more like a supporting actor than lead, even though his character is the reason behind Vicki Lester’s actions. Judy Garland really carried this movie on her shoulder, and though she was captivating, I only cared for her character in the last one hour of the movie. If she’d won the Oscar, her Oscar moment would be this particular scene:

This whole scene was really great in my opinion, because after she broke down in the dressing room, she had to continue shooting. Singing and smiling, while her heart cried out.

From this point forward, Judy Garland really showed her ability. She was fragile, she was frustrated, she was hopeless, she was helpless, but at the same time, she was determined to stay by Norman’s side, even if she had to throw her career out of the window, because without Norman, she was nothing. What I really love about the movie was the portrayal of public figure. I have never seen a movie about a star that close to A Star Is Born, in term of how close it is to reality. It was, is, and will always be relevant. Vicki’s life had always been scrutinized, moreover after Norman was released from jail and during the funeral scene. What came into my mind was how hard it is being a celebrity when you really have to face the public, when all you really want is just stay away from public. Just as the picture above, public figure has to lock up their feelings and their problems and be ready for the camera. That’s a hell of tough job!

My favorite moment probably this number, Somewhere There's A Someone:

During this number Judy Garland and James Mason really had fun I can just tell from their body language. And it’s probably their only sweetest moment in the film. I love it.

And also The Man That Got Away number. I don’t know how many times I have listened to this song, even long before I watched the movie. And in my opinion, Judy Garland should really sing this again in the end of the movie, because the lyrics captured her character’s emotion too well. It also seemed fitting to close the movie with a song that got Vicki Lester the attention of Norman Maine. Anyway, it’s just my opinion.

When she did this number, I couldn’t shake the thought of watching Lize Minelli in Cabaret. The whole mannerism, her face, even her hair in this scene really reminded me of Sally Bowles when she belted Maybe This Time. See the resemblance? Even the way Liza sang this song was similar to Judy’s The Man That Got Away. I wonder what traits of Vincente Minelli that Liza has, because physically and vocally, she was like the copy of her mother.

I don’t love this movie, but I don’t hate it, either. One thing for sure, I will not watch it again if I can. Aside from being too long, nothing really grabbed me until the last 60 minutes. If I have to watch it again, I think I’m going to stick to that last one hour.

I’ve been looking forward for this movie in a long time. The running time (2 hours and 35 minutes) got me a bit hesitant, as lately, I’m not keen on watching movies with long running time (and I still have A Star Is Born—1954 version—with close to 3 hours, whew!) But the weather last night (raining and cold) was a perfect one to watch a musical. So, I dug in!

Turned out—even though it was way too long—I enjoyed the movie. Since Lea Michele belted Rain on My Parade on Glee years ago, the songs from the movie have been on my playlist, so I could hum a bit when the songs came out (especially Funny Girl, My Man, I’d Rather Be Blue and of course, Rain on My Parade) And Barbra Streisand was extraordinary as Fanny Brice. I was skeptical when she won the Oscar, tying with Katharine Hepburn, as there were rumors she voted for herself. But after watching the movie, she really deserved that Oscar. She played Fanny Brice with undeniable charm, with, and charisma, that I will find a hard time to imagine another actress playing her (in case Hollywood wanted to remake this movie, you know, after all Spielberg is going to remake West Side Story) And classic movies tend to be over acting, that sometimes, it’s hard for me to believe their characters. But Barbra was natural, as if she were born to play the role. Her voice was powerful, belting every song (especially on People and My Man) and I wonder why she didn’t win Tony for this role.

Aside from the story line that seems way too long and after I read a little bit about the real story of Fanny Brice and Nicky Arnstein, this movie falls into Hollywood cliché, of glossing the real events. I know it’s a movie, I know it had to be dramatized, but when so many facts were altered, then the sense of the story becomes fictional to me. In Funny Girl, I won’t remember the movie as one of my favorites, but I will remember Barbra Streisand as Fanny Brice. End of discussion.

Funny Girl is definitely one of the best musicals come from the 60s. Will we ever see the trend again? I don’t think so, though I hope I will live long enough to see the revival of musical film, as I love musical. In the decade where there were West Side Story, Mary Poppins, The Sound of Music, Oliver!, Thoroughly Modern Millie, Hello Dolly, and of course, My Fair Lady, Funny Girl stands out because in my personal opinion, Barbra Streisand’s portrayal is the only one that stuck in my memory, alongside Julie Andrews’s Mary Poppins. Though not as grand as My Fair Lady, the costume in Funny Girl is to me one of its strongest aspects. This is the scene where the costume really shines the brightest because in my opinion, this isn’t only showcased the dress of Barbra, but the most of the girls in the Ziegfield follies.

And this is probably one of my favorite shots from the movie.

Funny Girl is an enjoyable musical film, but the second part of the movie, wasn’t really that funny because it centered more on Fanny and Nick’s relationship. Tone-wise, it reminded me of Cabaret, which probably one of the musicals that has bleak atmosphere to it. Again, since many facts were altered for the drama purpose, I feel less enthusiastic about this movie.

God’s Own Country dubbed as the British version of Brokeback Mountain. Judging from the surface—two guys fall in love in the farm—it’s rightly so, but that’s where the similarity ends. God’s Own Country doesn’t have the depth of Brokeback Mountain, but I’m not saying it’s a bad movie. I enjoyed it very much, but I’m not sure if it will stay with me in the long time. And not because it has different ending than Brokeback Mountain, but I feel this movie is way too … simple. Or maybe because it doesn’t really speak to me, the way Lady Bird or Get Out got unanimous praise. I know I can’t compare them, but I just couldn’t find the perfect description of what I feel after watching God’s Own Country.

The character of Johnny is a complex one. Abandoned by his mother and always been looking for approval from his demanding father, he became a man of no affection. Josh O’Connor’s portrayal of Johnny showed why he got so much praise for this movie. If I have to draw a parallel, his is similar to Harris Dickinson’s Frankie in Beach Rats. Before he met Gheorghe, his whole personality gave me the vibe of an asshole. His curt remarks and his indifference really annoyed me at some points, and that showed how great Josh O’Connor’s acting is. But, to me, the real star of this movie is Alec Secareanu as Gheorghe. He didn’t get as many lines as Gheorghe, but with the lesser screen time than Josh O’Connor, he made the best of it. His facial expressions really showed the great range of emotions. From annoyed, curious, anger, and tenderness. It reminds me a bit of Timothée Chalamet in Call Me by Your Name. Though he seemed overshadowed, to me he’s the real star of the movie.

God’s Own Country is the great example about character’s development because I don’t see many of that in a movie, not as swift and natural as Johnny. When they made love the first time, it was still full of anger from Jonny’s side, but the second time, he let go of his guards because Gheorghe really pushed him into it. That physical connection can be beautiful and tender. Gheorghe changed him in the way he had never expected. The scenes after their connection is built just showed the real personality of Johnny. How his mother’s abandonment affected his way of living. The most powerful scene for me is near the end when he confessed his feeling for Gheorghe. If Josh O’Connor was up for Oscar, it would be his Oscar moment.

As with other British films that set in the countryside, God’s Own Country spoils us with the vast and beautiful landscape. But my favorite has to be this one:

To me, this scene is another Gheorghe’s effect on Johnny as he felt his life on the farm is some kind of trap, without realizing that he was surrounded by the beauty of nature. Gheorghe showed that beauty to him through this scene.

God’s Own Country is no Brokeback Mountain aside from the farm setting. It has a happy ending and though I wished Alec Sacereanu’s screen time was longer, I find this movie is quite enjoyable to watch. The sex scene wasn’t too graphic, but rather beautifully shot. But I still hold on to my opinion that Alec Secareanu is the real star.

After watching Beats Per Minute (or to shorten it, BPM) I felt that 2017 was one of the best year in queer cinema. Last year, some of the gay themed films got recognitions and so often, appeared on the Top 10 list in publications. For me, it showed that queer cinema has reached another level after the success of Moonlight. Call Me by Your Name, God’s Own Country (which I’m going to review next) BPM, and A Fantastic Woman, give me hope that in 2018, there will be more queer movies like these.

BPM tackled the issue that has been done so many times in the cinema (and literature), albeit with different approach. AIDS epidemic will always be part of gay history and there are always stories to tell, but most of the movies which deal with AIDS, always focus on the relationships of the main characters, but BPM took different approach. The movie is about ACT UP Paris, a group of activist who fight tirelessly to get the attention of government and pharmaceutical about AIDS and how to treat the patients. Love story in BPM acted as a side story rather than central one and that’s why BPM is different.

Their act might be look to violent, but I understand the desperation. It was their only way to get attention from the concerning parties. Throughout the movie, I wasn’t only sympathized and empathized with their fight, but I felt the admiration and the urge to do similar things because of what happened in Indonesia lately. It won’t be a fight against AIDS, though, but a fight against homophobia. What I love about BPM is the truthfulness of it, because it felt way too real for me. The scene of Nathan and Sean when they made love didn’t feel staged. It felt so natural, just like how real people make love. Their emotions were raw. Thanks to the cast, especially Nahuel Pérez Biscayat and Arnaud Valois who played Sean and Nathan with such tenderness and determination. And BPM showed me the sense of unity in a community where they had the same purpose. There were few scenes that got me tear up: when they marched on the street behind Jeremie’s dead body and this one:

The way Sean said the words, the way he looked at Nathan, saying that line … it really broke my heart. No one wants to leave the one they love, moreover when they knew their time is limited. It’s like apologizing for something that shouldn’t be.

I understand the reason behind Nathan’s act near the ending. He did that because he knew he couldn’t stand seeing Sean in such condition. Even the scene afterwards, felt way too real that I couldn’t help but staring at the screen, lost for words.

I wish there were more queer movies like this, which highlighted the struggle and fight of equality, because believe me, there are many stories that haven’t been told. BPM might sound too political for some people, but for me, it’s also one of the realest movies I’ve ever watched.

Alasan utama saya nonton film ini adalah Luca Guadagnino. Setelah I Am Love dan Call Me by Your Name, dia jadi salah satu sutradara yang film-filmnya pasti masuk daftar buat ditonton. Luca bakal ngerilis remake Suspiria tahun ini, jadi sebelum filmnya keluar, saya pengen nonton versi aslinya, yang dirilis tahun 1977 dan merupakan besutan Dario Argento.

Saya bukan penggemar film horor, nggak peduli siapa pun sutradara atau siapa yang main. Horror film is a no for me. Makanya, saya bener-bener beraniin diri nonton Suspiria demi Luca. Saya sebenernya udah pengen berhenti nonton setelah 14 menit pertama film dimulai. I kept on cursing “Why the hell am I watching this?” and hoping my timid soul could handle the entire movie. I even closed my eyes few times when the details got too much for me. Seriously, this movie is one of the goriest films I’ve ever seen. Bayangkan aja, 14 menit pertama udah disuguhi dua wanita yang terbunuh dengan cara yang sangat brutal.

Yep, those scenes were in the first 14 minutes of the movie.

Rupanya, itu belum apa-apa, karena sepanjang film, saya beneran nggak bisa tenang nonton. I kept on wishing the movie to end soon because I couldn’t bear the thoughts of another scene full of blood. Score-nya pun semakin nambah aroma horor film ini hingga saya beneran bersumpah nggak akan mau nonton film ini lagi. Luca bilang, versinya akan berbeda dengan versi Dario Argento, jadi saya kemungkinan akan berani-beraniin nonton juga demi Luca dan Tilda Swinton.

Cerita film ini pun nggak rumit-rumit banget. Seorang balerina, Suzy, berangkat ke Freiburg, Jerman, dari New York untuk masuk Tanz Dance Academy. Kedatangannya disambut hujan lebat dan begitu sampai di akademi, dia ngeliat seorang wanita—Pat—yang keluar dari pintu akademi dan meneriakkan kata ‘secret’ dan ‘iris’ dengan histeris sebelum Pat pergi. Keesokan harinya, Pat ditemukan terbunuh (gambar wanita yang tergantung di atas) Dari situlah, Suzy mengalami semua keanehan, mulai dari kepalanya yang tiba-tiba pusing tanpa sebab, pemain piano tunanetra—Daniel—yang dipecat kemudian ditemukan terbunuh oleh anjingnya sendiri, sampai temen sekamarnya—Sara—yang tiba-tiba menghilang. Horornya memang ada di akademi itu dan setelah Sara hilang, Suzy mutusin buat nyari tahu apa yang salah dengan akademi itu. Dia kemudian dapet informasi dari salah satu temen Sarah, Frank, bahwa menurut legenda, Tanz Academy didirikan oleh Helena Markos, yang dicuragi masyarkat sebagai seorang penyihir. Suzy mulai ngerasa keanehan yang terjadi ada hubungannya dengan Helena Markos dan sejarah Tanz Academy. The ending answered all the horrors in the academy.

Saya nggak tahu film horor tahun 70-an seperti apa (saya cuma tahu The Exorcist dan The Omen) tapi sepertinya, tema supernatural merupakan tema yang lazim. Tapi, fil ini justru ngingetin saya dengan Rosemary’s Baby, film karya Roman Polanksi yang dirilis tahun 1968, karena keduanya berhubungan dengan sebuah cult. Untuk zaman sekarang, tema witch dan cult mungkin agak dated. I see why Luca said, his Suspiria will be different than Dario Argento’s, maybe it has something to do with the cult theme that is, in my opinion, quite dated.

Satu yang menonjol dari film ini adalah permainan warna-warnanya. It was so colorful, that it reminded me of Wes Anderson’s The Grand Budapest Hotel for its vivid colors. Tapi justru nggak lebay menurut saya. Penggunaan warn-warna yang mencolok itu, strangely, sangat cocok diterapkan buat film ini. Satu yang mungkin buat saya nggak terlalu sreg adalah warna darahnya. It wasn’t red enough to be believable as blood. Yang lainnya, saya nggak bisa komplain apa-apa. It’s really pleasing to the eyes. These are some of my favorites shot from the movie.

Colorful banget ya? Buat saya, ini mungkin yang ditunggu penggemar Suspiria dari Luca. The use of colors and how vivid they are. Meskipun horor, keindahan film ini tuh nggak bisa dipungkiri. It’s not grim or bleak, but the opposite. Saya juga suka banget akting Jessica Harper di film ini. Wajahnya yang polos bener-bener ngewakilin Suzy dengan sempurna. Saya agak skeptis Dakota Johnson bisa ngasih ‘nyawa’ Suzy mendekati apa yang dilakukan Jessica Harper. She was perfect as naïve American.

Setelah dua kali kecewa dengan period film (Goodbye Christopher Robin dan Professor Marston and The Wonder Women) Frantz menebus kekecewaan saya dengan luar biasa. Bukan karena sebagian besar filmnya hitam putih, tapi karena semua aspek dalam film ini bener-bener ngebawa saya ke tahun 1919. Everything was simply gorgeous as period film.

Cerita film ini cukup sederhana. Seorang perempuan—Anna—yang ditinggal mati tunangannya—Frantz—saat dia jadi prajurit pada saat Perang Dunia I berlangsung. Setiap hari dia ke makam tunangannya—yang hanya berupa simbol karena jasadnya dikubur massal—buat naruh bunga. Suatu hari, dia ngeliat seorang pria—Adrien—ngeletakkin bunga di pusara Frantz. Dari situlah kisah bermula. Anna tinggal bersama orang tua Frantz di Quedlinburg, Jerman, dan karena kehilangan Frantz, mereka justru menyambut Adrien dengan tangan terbuka karena lewat Adrien, mereka ngerasa memori Frantz tetep hidup. Saya nggak mau cerita lebih banyak biar nggak kesannya ngasih terlalu banyak spoiler. Yang bisa saya bilang, film ini bener-bener memanjakan mata. Sinematografi, costume design, production design, bahkan aktor-aktornya pun, sangat pas dengan era tersebut. Ngeliat Pierre Niney, saya seperti ngeliat Adrien Brody. Nggak tahu kenapa, mungkin karena bentuk tulang muka dan hidungnya mirip. Sedangkan Paula Beer, saya kayak ngeliat Berenice Bejo (yang main di The Artist). Ngebandingin Pierre Niney, Paula Beer, serta produksi film ini dengan Goodbye Christopher Robin dan Professor Marston and The Wonder Women beneran jauh.

Satu yang menurut saya unik, tapi mungkin buat beberapa orang ganggu, adalah beberapa adegan yang berwarna. Meski dasarnya film ini adalah hitam putih, ada beberapa adegan yang berwarna. Ini adalah adegan pertama yang bikin saya cukup kaget. 

Peralihan dari hitam putih ke berwarna pada adegan ini buat saya sangat brilian. Saat Anna dan Adrien masuk ke semacam goa, yang tampaj di layar masih hitam putih dan ketika mereka keluar, layar berubah menjadi berwarna.

Meski begitu, saya tahu pasti ada tujuan kenapa François Ozon—sang sutradara—memasukkan adegan berwarna. And I was right. Adegan ini memperjelas semuanya.

Di sini, Adrien diminta buat main biola oleh kedua orang tua Frantz karena Frantz sendiri suka main biola. Adegan ini juga kemudian berganti menjadi berwarna.

Kesimpulan saya setelah liat adegan kedua di mana hitam putih menjadi warna? Hitam putih mewakili kesedihan Anna (karena point of view film ini berasal dari Anna) dan kondisi sekitar setelah Perang Dunia I berakhir. Gimana sentimen orang Jerman terhadap orang Prancis (Adrien adalah pria Prancis) dan juga sebaliknya (ada adegan Anna naik kereta menuju ke Paris dan saat kondektur meminta paspornya dan tahu Anna orang Jerman, ada ekspresi menuduh pada wajah kondektur itu) tapi yang terutama adalah kesedihan Anna dan orang tua Frantz. Hitam putih disimbolkan mewakili kesedihan mereka. Sedang adegan yang berwarna, menyimbolkan saat-saat bahagia dalam film. Buat saya, apa yang dilakukan François Ozon di film ini tuh brilian karena saya belum pernah liat film yang seperti ini.

Kalau kalian penyuka film hitam putih, Frantz ini akan bener-bener memuaskan kalian. I, for one, is in love with this movie. Film ini juga sangat tenang, bahkan adegan-adegan emosional pun nggak ditunjukkan dengan emosi yang berlebihan.  

Wow!

I couldn’t find any other word to describe what I feel after watching this movie but wow. I’m totally, undoubtedly, and unbelievably speechless. This movie is extremely good that I’m still trying to find the flaws and I couldn’t find any. The Invisible Guest is perfection as a cinematic experience.

Where do I start? The screenplay? The acting? The psychological trick? The twist ending?

Saya beneran nggak nyangka sebelum nonton film ini kalau efeknya bakal begini. I’m lost for words. Film Eropa memang nggak bisa disamain dengan Hollywood, itu udah pasti. There’s just something about European cinema that I always find fascinating. Bahkan cerita paling sederhana pun bisa ngasih pengalaman luar biasa jika ditangani oleh orang Eropa. Mungkin keberagaman yang ada bikin perfilman Eropa jadi nggak monoton, meski saya yakin banyak film Eropa yang juga biasa-biasa saja, bahkan bisa dibilang jelek. But, The Invisible Guest is definitely far from a bad movie. Saya nggak gitu familiar dengan sinema Spanyol, bahkan saya udah nggak inget apakah ada film Spanyol lain yang saya tonton selain Volver—dan itu udah lama banget. Saya nonton film ini tanpa ekspektasi apa pun and it clearly was not a disappointment—udah berapa kali sih saya ngomong betapa bagusnya film ini? Lol.

Satu tagline yang bisa saya kasih buat film ini: an affair went wrong. It’s a crime thriller seperti Wind River dan sepanjang film, saya beneran deg-degan karena saking nggak bisa nebak arah film ini. Satu tebakan saya yang bener adalah tentang Doria dan apa yang dia lakuin, selebihnya beneran bikin saya melongo. Premisnya sederhana sebenernya, kasus tabrakan yang berbuntut panjang hingga kehidupan Doria yang sebelumnya tenang, berubah jadi mala petaka. Adrian Doria digambarkan sebagai pria muda yang sukses, entrepreneur sejati, dan sekalipun dia udah punya istri dan anak, dia berselingkuh dengan Laura. Kehidupannya berubah ketika sepulangnya dia dari sebuah kabin—di mana dia menghabiskan waktu di sana bersama Laura—terjadi kecelakaan karena ada rusa lewat. Kecelakaan itu melibatkan satu mobil lainnya dan penumpangnya tewas. Dari situlah cerita ini dimulai dan saya nggak bisa cerita banyak tanpa harus ngasih spoiler.

Film ini menurut saya sangat cerdas. Seperti saya bilang sebelumnya, hampir nggak bercelah—kalaupun ada, berarti saya nggak perhatiin—karena tiap keraguan atau pertanyaan yang muncul di kepala saya, terbantahkan. Dari awal, saya digiring buat percaya dengan Doria dan ngerasa simpati kepadanya. Tapi mendekati ending dan dugaan saya yang muncul setelah film jalan satu jam terbukti, semua simpati itu berasa seperti sebuah tipuan. This movie did that flawlessly in shifting my opinion about Doria. Saya beneran ngerasa ditipu—in a good way—karena ending-nya yang bener-bener nggak terduga. Ending-nya pun bukan yang sengaja dimunculin buat ngasih kesan film ini ‘beda’ tapi emang udah dibangun sejak awal, cuma saya—dan mungkin penonton lainnya—nggak perhatiin. Saya pun percaya, film ini punya efek psikologi yang kuat karena opini saya beneran digiring ke sebuah konklusi yang salah.

The Invisible Guest juga ngasih tahu tentang the truest nature of human. Bahwa sebenernya kita ini akan ngelakuin apa aja buat survive, seperti yang dilakuin Doria. He did everything to cover his crime just because he thinks he’s wealthy and powerful enough to do so. Apa yang dia lakukan, secara moral memang nggak bener, tapi bisa dipahami juga kenapa dia ngelakuin itu: buat ngelindungi kehidupan yang udah dia bangun supaya nggak hancur. It’s really about the monster within us all and whether we choose to tame it or feed it. Doria is the perfect example of the one who feeds it. The Invisible Guest beneran merhatiin setiap detail hingga saya nggak mungkin punya argumen buat nyari kesalahannya. It is that perfect. Saya jarang ngerasa fulfilled seperti ini dengan sebuah film and I know, this movie will stay with me in a long time.