For some, a debilitating chronic disease is nothing more than a death sentence. For others, it's an invitation to dance with destiny – and with the Devil.
World of Tomorrow Episode Two: The Burden of Other People’s Thoughts is one of the best things I saw in 2017. Don Hertzfeldt's remarkable new animated short is mature science fiction, poignant and wry, as filtered through a kindergartner’s kaleidoscopic imagination. And this is less of a metaphor than you may assume.
Verónica had its Midwest premiere at the Cinepocalypse genre film festival, held at the Music Box Theatre in Chicago. The film's director, Paco Plaza, is mostly known for the solid [REC] series. Unlike those films, Verónica does not use the found-footage conceit, though it’s apparently (and dubiously) based on a real-world case documented by police in 1990s Madrid, Spain.
Not even the remote forests of the Austrian Alps could escape the Black Death.
A young goatherd, Albrun, attempts to care for her plague-stricken mother during a harsh mountain winter, as superstitious local clans accuse them of heathenry. Two female goat farmers, living alone in a cabin in the Alps? In the Middle Ages, maybe this alone was enough to arouse suspicion of witchcraft.
A gray cat watches impassively as sickening sounds of assault are heard off-screen. An intruder flees, and it's clear Michèle (Isabelle Huppert) has been raped in her home. Michèle's immediate reaction is as affectless as her cat's gaze: she stands, momentarily collects herself and calmly sweeps up the shards of a broken vase. The police are not called.
Not all civil rights heroes have been firebrand iconoclasts. Sometimes the effort to live an ordinary life in peace could lead to monumental changes, and Jeff Nichols' Loving dramatizes one such story with uncommon respect for its characters' perspective.
On August 1, 1966, a sniper opened fire from the University of Texas Tower in Austin, shooting 49 people. The harrowing and emotional film Tower is the first factual documentary made about this massacre, and takes the unusual step of putting the perpetrator aside and letting survivors tell their stories.
Mel Gibson's first film as director in 10 years opens with a brutal, slow-motion battlefield tableau. Soldiers become fountains of blood. Limbs are separated by grenades. Human shapes engulfed in flames tumble through the air. Hacksaw Ridge, by the way, is about a soldier who refuses to harm another person. Mel Gibson is back, for better or worse.
Hacksaw Ridge tells the true story of Desmond T. Doss (Andrew Garfield), an American conscientious objector during World War II. As a Seventh-day Adventist, Doss refused to handle a firearm, even during basic training, but overcame the resulting court martial to serve as a combat medic in Okinawa. He then single-handedly saved 75 soldiers during the battle at Hacksaw Ridge.
Godzilla – or Gojira, as it's more commonly called in Toho's new reboot – may be the thing knocking down high-rise apartment buildings. But Japanese bureacracy is the real villain of Shin Godzilla. That, and (of course) mankind's dubious control over nuclear technology.
There's a geyser-like eruption in Tokyo Bay, and the Aqua-Line, an undersea highway, begins to flood. Japanese bureaucrats are scrambling to identify the problem when a tail begins thrashing around in the plume. Soon enough, an enormous creature emerges from the sea to force its way down canals and city streets, pushing a gathering wall of boats and cars.
Ayatollah Khomeini's portrait gazes over an Iranian bureaucrat and a woman who sits opposite him, slouched in deference. It's Tehran in 1988, and Shideh (Narges Rashidi), a young married mother, wants to resume her medical training. Shideh began medical school at the encouragement of her recently-deceased mother, but was suspended for being “politically active.”
This violation marks her forever, the bureaucrat explains. She can never go back. Though it's daytime and the office is well-lit, her black hijab might as well be made of shadow.