July Jung’s Next Sohee is a story told in two nearly equal halves. In the first half, high schooler Sohee (Kim Si-eun) is awarded an externship to work at a call center office. Conditions at the call center are tense and only get worse as Sohee tries to acclimate to a highly competitive environment and training which has her doing everything in her power to delay unhappy customers’ service cancellations.
The Diabetic is screening as part of the 2022 Fantasia International Film Festival, which runs July 14 – August 3.
Shot on Hi-8 and transferred to 16mm, The Diabetic is hazy and grainy, a distinct aesthetic choice to mirror the protagonist’s harried state. His name is Alek (James Watts), and he seems dead-set on going on a bender.
The near-future of Crimes of the Future is marked by the progression of medical technology. And the progression of human evolution in the form of biological mutations. For some, vestigial organs and appendages serve as performance art pieces. Inner beauty takes on new meaning in a world like this. Saul Tenser (Viggo Mortensen) and Caprice (Lea Seydoux) have grown a reputation in the art world by performing live surgeries, during which Caprice removes useless organs which Tenser’s body spontaneously produces.
When I went to see Dr. Strange in the Multiverse of Madness, I was more excited by the “extended look” at Top Gun: Maverick than I was by the movie I had come to the theater to see. The ad was the dogfight training montage sequence that occurs early in the film, in which Tom Cruise’s Maverick hunts the helpless young Top Gun graduates with an all-out aerial assault, all set to the tune of The Who’s “Won’t Get Fooled Again.”
It is a cracker jack sequence, very exciting and well-edited. Within the context of the film, you realize that the joke of the sequence—that the first person to get “shot down” by Mav has to do 200 push-ups—doesn’t track across the entire montage. For some reason, the rules change halfway through the montage so that everyone who gets shot down by Mav has to do push-ups. But as an isolated sequence where the rules are not very important, it is a superb set piece.
I have a distinct feeling that Alex Garland planted things in Men, the writer-director’s new film starring Jessie Buckley and a bevy of Rory Kinnears, which I have not entirely picked up on. Namely, allusions to religion and mythology which fly outside my knowledge structures. Yet what I did understand about Men, what was left after those allusions are stripped away and narrative and theme remain, was altogether so blunt and superficial that I in moments thought I was watching a parody of a specific breed of arthouse film. A parody of the exact film Men is.
Audrey Diwan’s Happening, which won last year’s Golden Lion at the Venice Film Festival, finds itself with a U.S. release date incidentally coinciding with legislative changes which make it all the more timely. It is a frank film about unwanted pregnancy and rigid abortion laws in 1960s France. Viewing it with American eyes, I imagine one’s appreciation for the content in the film may rest on individual politics. That, or one’s patience for quiet drama and arthouse chic.