Tag Archives: Tilda Swinton

Quick ‘n’ Dirty: February at the pictures

The last month has been mostly about Oscar nominated films… surprise, surprise! So without further ado here’s February selection of speedy reviews:

The Danish Girl: the life of Danish painter Einar Wegener/Lili Elbe, pioneer transgender, and his wife Gerda, also a talented painter. I know that this is considered an Eddie Redmayne’s film, whose performance is both convincing and effective, but the one that truly shines is Alicia Vikander as Gerda. She embodied the role of loyal, supporting wife and her struggle to make sense of her life and her husband’s. I must say that she’s the one who really sold me the story and ended up making it convincing and gut-wrenching. Tom Hooper skillfully handles this dramatic tale and beautifully recreates both Copenhagen and Paris in the 1920s. Affecting —7/10



Carol: Todd Haynes gives us an artfully shot, intense period drama with two great actresses (Rooney Mara and Cate Blanchett) at the top of their game. Therese, shop girl and aspiring photographer, meets and falls in love with the titular Carol, an older woman trapped in an unhappy marriage. Set in the fifties, this love story has all the complications that come with the social mores of the time and strongly reminds of Far From Heaven, however it’s a little more hopeful but less powerful. Cate Blanchett should always dress as a New Yorker in the 1950s, she’s spectacular. Kudos also go to Kyle Chandler for his solid performance as the abandoned husband and Sarah Paulson as Carol’s best friend. Interesting —7/10



Anomalisa: the quirky genius of Charlie Kaufman takes the viewer along for a ride in a weird world. Using stop-motion animation he tells a story of alienation and loneliness (which are recurrent themes in his films): a customer service guru, Michael Stone (David Thewlis), feels detached from everything but, on a business trip, meets Lisa (Jennifer Jason Leigh), his anomaly, and things suddenly change for the better…at least that’s what it seems. While the plot is rather straightforward, the storytelling is multi-layered as is Kaufman’s wont and the different media is meant to add an additional twist. Unfortunately, the latter completely backfires (at least for me) because I found the facial features of the puppets utterly distracting and not in a good way. Unexpected —6/10



Hail, Caesar!: Eddie Mannix’s (Josh Brolin) life as fixer for a major Hollywood studio is very complicated and demanding. He has to deal with a difficult director (Ralph Fiennes), a pregnant starlet (Scarlet Johansson), nosy gossip journalists (Tilda Swinton), the kidnapping of a movie star (George Clooney) and his inner demons. The Coens brings back the lights and shadows of Hollywood’s golden era with their usual humour and manage to coax great performances out of Clooney, Brolin, Ehrenreich and the rest of the cast. There’s a cornucopia of references to different film genres and their cliches as well as to the lives of celebrities, mostly what should be kept from the public. I particularly enjoyed the discussion about religion with a rabbi and representatives of the different christian confessions. Lighthearted —7.5/10




Filed under Animation, Seen at the cinema

The Grand Budapest Hotel

Director:  Wes Anderson, Main Cast: Ralph FiennesTony RevoloriSaoirse RonanF. Murray AbrahamJude LawAdrien BrodyWillem DafoeEdward NortonTom WilkinsonTilda Swinton;


This is the story of Gustave H. (Fiennes), renown and beloved concierge at the legendary Grand Budapest Hotel between the two wars, and Zero (Revolori), who starts as a lobby boy and then become his protégé and most trusted friend. As is Wes Anderson’s wont a voice-over narration begins the tale, in this movie he chooses to built it as story within a story, using an old writer (Wilkinson) who remembers meeting an aging Zero (Abraham) when he was still young (Law). Old Zero will recall his youth and tell his story to the writer. Gustave takes Zero under his wing from the very beginning and start schooling him in the delicate art of running a luxury hotel flawlessly, while he takes care of every need of the guests: Gustave is a full monty concierge, especially with the ladies. This might be considered the root cause of the adventures and mishaps that follows, with a touch of Buster Keaton’s humor. The death of Madame D. (Swinton), a longtime guest at the hotel and dearly attached to Gustave, sets in motion a battle for her very large estate and the possession of a priceless Renaissance painting (bequeathed to Gustave and stolen by him right after the reading of the will, in a genius move). Dmitri (Brody), Madame D’s son, will not stop at nothing to get it all, including murder by proxis, since his faithful henchman Jopling (Dafoe) will do all the dirty work. He manages to frame Gustave for Madame D.’s murder and send him to prison, allowing the audience to be delighted by a cameo by Harvey Keitel, as fellow conscript and means to Gustave’s escape. Zero and his resourceful girlfriend Agatha (Ronan), the pastry apprentice, are essential in helping Gustave to evade, to clear his name and collect what is due to him, but the secret society of the concierges of European luxury hotels will play a key role as well (and we get a Bill Murray’s cameo). By the end, the viewer will finally be able to piece together all the different parts of the story, it does feel like a bittersweet ending after such a roller-coaster of adventures, but it is always the case when one has to part ways with such great characters. We get all the trademarks of Anderson’s style: static camera, artful use of colours and photography, quirky characters and subtle humor. It is one of his best films to date, also helped by an amazing cast: Fiennes above all. Hilarious, amusing and inspired —9/10


Filed under Seen at the cinema

Only Lovers Left Alive

Director: Jim Jarmusch, Main Cast: Tom HiddlestonTilda SwintonMia WasikowskaJohn HurtAnton Yelchin;


Every film by Jim Jarmusch feels like discovering a hidden treasure. The indie auteur par excellence gives us a story about love, darkness and the beauty of simple things, an extremely unusual take on a current mainstream theme: vampires. I know what you are thinking: “Vampires, seriously! Haven’t we seen and endured enough!?!”; well this is Jarmusch, give him a chance, you won’t be disappointed. The viewer is introduced to the titular lovers with a few masterful scenes. Adam (Hiddlestone) is a reclusive, underground musician with a penchant for science and technology who settled in Detroit (do I see a subtle homage/reference to Terry Gilliam in Adam’s tech contraptions? Maybe, maybe not). Eve (Swinton) is a book-lover (I used to pack like her before the advent of e-readers) and an aesthete, who resides in Tangier. They are both centuries-old vampires but they have found a non-violent way to feed, with the help of compliant doctors, not so much for moral qualms but to avoid hassles and prevent disruptions of their quite life. The audience makes also the acquaintance of Ian (Adam’s agent/helper), friendly, solicitous and  human, and Kit Marlowe, vampire, writer and old friend of Eve. Adam and Eve (always appreciate Jarmusch’s irony) have been together for a very long time and when Eve realises that Adam is depressed (again) about the state of the world, she rushes at his side.  We see them spending time together, in contented simplicity, talking about their past and present and sharing their interests. It is a rather alluring description of long-lasting love and friendship, that will go on with its perfect harmony, as in “my vegetable love should grow, vaster than empires, and more slow” (Andrew Marvell). Their domestic bliss is however shattered by the arrival of impulsive and reckless Ava, Eve’s sister. A poor judgement call on Ava’s part forces Adam and Eve to flee Detroit and go back to Tangier, where more woes await them. It is a haunting film, it feels like that place between sleep and awake. The captivating shots of a deserted Detroit and teeming Tangier tell a whole story by themselves, juxtapose as metaphors for Adam and Eve’s state of mind. The magnetic performances of Hiddlestone and Swinton (eerier than ever) and a mesmerising soundtrack complete the movie and make it a little gem. Beguiling —8/10



Filed under Seen at the cinema