#abiyasha

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.

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!

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.

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.

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.

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.

Saya nonton Miss Stevens karena penasaran dengan penampilan Timothée Chalamet pre-Elio. Tiap kali suka dengan sebuah film, apalagi terkesima dengan penampilan aktornya, saya biasanya langsung cari dan baca profil mereka buat nyari tahu film apa aja yang udah mereka buat. Biasanya, saya justru nemu film-film favorit karena ini. Miss Stevens mungkin nggak akan jadi film favorit saya, tapi penampilan Timmy (panggilan Timothée) di sini buat saya seperti sebuah rehearsal buat penampilannya di Call Me by Your Name. Adegan monolog Billy—karakternya—seperti mempersiapkan Timmy untuk memerankan Elio dengan segala emosinya, terutama adegan penutup Call Me by Your Name. Talenta dia keliatan banget di film ini.

Anyway, secara cerita, Miss Stevens bagi saya kurang dalem. Premisenya menarik, tapi eksekusinya seperti nanggung. Jika saja screen time Timmy diperbanyak, mungkin akan beda jadinya. Dari tiga karakter murid dalam film ini (Billy, Margot, dan Sam) buat saya dialah yang paling memungkinkan untuk dieksplore karena sebagai Billy, dia dikatakan sebagai remaja yang punya masalah dengan kepribadiannya. Namun, sepanjang film, saya nggak terlalu ngeliat itu, jadi saya wondering apakah itu cuma dijadikan tempelan atau memang saya yang nggak nangkep? Peran Lily Rabe sebagai Rachel Stevens atau Miss Stevens, seorang guru bahasa Inggris pun sebenernya bisa lebih dieksplore lagi. Meski ada satu plot yang bagi film ini penting untuk menunjukkan betapa kesepiannya Rachel, tapi buat saya jatuh dalam klise yang udah sering dipake. Saya justru lebih tertarik dengan karakter Margot, Sam, dan Billy daripada Miss Stevens itu sendiri. Tapi, film ini jelas berfokus pada Miss Stevens, yang buat saya kurang menarik aja.

Miss Stevens deals with loneliness and how the comfort was found in the most unlikely place. Fondasi film ini kurang kuat menurut saya, dalam membangun hubungan antara Miss Stevens dan Billy. They had a moment where Miss Stevens opened up about her late mother, and that was a good one, but I still think, there was another moment where the filmmaker could actually explore their relationship: when they went to replace the tire and Billy skipped his rehearsal. Saya berharap ada interaksi lebih pada adegan itu, tapi nggak ada. Oh ya, durasi filmnya mungkin bisa sedikit diperpanjang karena bagi saya, kurang banget. Mungkin ditambah 10-15 menit lagi. Oh ya, juga dengan bikin Billy nggak juara—he came in 2nd place—itu bikin saya lega. It didn’t fall into cliché after all.

Karena alasan saya nonton ini karena Timmy dan pengen liat penampilan dia, jadi saya cukup puas. He really stood out, but sadly, he wasn’t given more screen time to show his talent.

Raped while dying

And still no arrests?

How come, Chief Willoughby?

Three Billboards outside Ebbing, Missouri … judul yang cukup panjang dan nggak begitu catchy menurut saya, hahahaha.

Film ini tuh beneran bikin saya nggak bisa bersimpati dengan satu pun karakternya. They’re all unsympathetic. Meskipun mereka punya alasan untuk melakukan apa yang mereka lakukan, tetep aja buat saya nggak bisa bersimpati. It’s just one of those movies for me.

Kisahnya sih, tentang seorang ibu (Mildred) yang anak perempuannya diperkosa lalu dibunuh dan setelah 7 bulan, dia tetep nggak denger apa-apa dari kepolisian Ebbing. Jadi dia mutusin buat pasang billboard dengan tiga kalimat di awal post ini. Mildred berhasil menarik perhatian kepala kepolisian setempat (Chief Willoughby) tapi nggak ada clue yang bisa menggiring mereka buat menangkap pelakunya. Secara garis besar sih, film ini berkisar tentang usaha Mildred agar kasus putrinya tetep ada di publik.

Pendapat saya soal film ini? I’m not a fans. Ada terlalu banyak kekerasan dan rasisme yang seolah-olah terjustifikasi karena karakter-karakternya punya alasan untuk melakukannya. Mildred yang ngebakar kantor kepolisian karena dia tetep nggak denger apa-apa soal kasus putrinya dan sikapnya yang penuh kemarahan. I tried to understand her anger, but when that anger turn into violence, then I lost my sympathy. Kemudian ada Dixon, polisi yang sangat rasis tapi kemudian digambarkan berhati baik. Apa yang dia lakuin di ending menurut saya adalah usaha Martin McDonagh, sang penulis naskah dan sutradara, untuk membuat penonton bersimpati dan memaklumi semua kekerasan yang dia lakuin. Lalu soal penyakit Chief Willoughby yang menurut saya … a bit lame, seperti aksinya di pertengahan film adalah usahanya keluar dari frustasi karena sakitnya. Singkatnya, film ini justru seperti mengadvokasi kekerasan serta balas dendam.

Three Billboards menang 4 Golden Globe kemarin, buat Best Picture (Drama) Best Actress buat Frances McDormand, Best Supporting Actor buat Sam Rockwell dan Best Screenplay dan termasuk film yang dipuji banyak kritikus di US. Saya nggak tahu kenapa. Mungkin karena film ini ditulis dan disutradarai oleh non-Amerika, jadi orang Amerika seperti ditunjukkin “Oh, ini loh orang non-Amerika ngeliat Amerika” atau memang kondisi sosial di Amerika sana yang sangat mirip dengan yang digambarkan di film ini, tapi saya nggak dapet apa-apa. Three Billboards memang nggak diragukan lagi adalah film yang sangat bergantung pada karakter-karakternya, akting para cast-nya sungguh ciamik. But, that’s it. It relies on the actors’ ability to bring the characters into life. Mungkin ini masalah selera, tapi saya beneran nggak nemu sesuatu yang wow dalam film ini.

Film ini diprediksi bakal berjaya di Oscar nanti, tapi nunggu pengumuman nominasinya aja dulu tanggal 23 nanti. Tapi saya yakin kalau film ini bakal dapet nominasi buat Best Picture, Best Actress, Best Supporting Actor, Best Original Screenplay, dan Best Director. Saya nggak liat film ini dapet nominasi buat technical.