Director/screenwriter Shelly Chopra Dhar (center) and cast members on the set of Ek Ladki Ko Dekha Toh Aisa Laga, 2018. (Photo: BizAsiaLive)
Here are twenty new movies due to be released in theaters or via other viewing platforms this February, all of which have been directed and/or photographed by women. These titles are sure to intrigue cinephiles and also provoke meaningful discussions on the film world, as well as the world in general.
FEBRUARY 1 (in theaters & on VOD): Braid (dir. Mitzi Peirone) – Tribeca Film Festival synopsis by Matt Barone: “Lifelong best friends Petula and Tilda have been making ends meet by dealing drugs in New York City. But when a random drug bust results in them losing $80,000, they’re left with no choice but to flee town to evade both the police and their pissed-off dealer. Their hideout location is obvious: a mansion occupied by childhood friend Daphne, an agoraphobic heiress who teeters on the edge of sanity. At first, Petula and Tilda think they’ll just need to entertain Daphne’s seemingly playful world of make-believe; however, they soon come to realize Daphne’s mental state is, to put it lightly, wildly disturbed. What begins with innocent role-playing and dress-up quickly devolves into torture, madness, and bloodshed.
“Genre fans on the lookout for bold new filmmaking voices need look no further than first-time writer-director Mitzi Peirone. With the visually lavish and narratively head-spinning Braid, Peirone makes one hell of a first impression, applying a dizzying sense of dream logic and an uncompromisingly feminist edge to a Gothic, almost fairy tale-like psychological horror. Braid plays by no one’s rules but Peirone’s own. It’s one of the most eye-opening and wickedly singular genre film debuts in years.”
FEBRUARY 1: Daughter of Mine (dir. Laura Bispuri) – Quad Cinema synopsis: “In rural Sardinia, 10-year-old Vittoria (Sara Casu) has been raised by practical Tina (Valeria Golino) and her partner, only to learn that her biological mother is the village’s free-spirited party girl Angelica (Alba Rohrwacher). Tensions continue to mount between the two mothers when Angelica finds herself in financial trouble and claims the girl as her own. This vibrant, sunswept neorealist drama from director Laura Bispuri (Sworn Virgin) is a piercing inquiry into the trials and joys of motherhood.”
FEBRUARY 1 (streaming on Netflix): Dear Ex (dirs. Chih-Yen “Kidding” Hsu and Mag Hsu) – San Diego Asian Film Festival synopsis by James Paguyo: “Song Zhengyuan’s (Spark Chen) death has been difficult to process for his wife, Liu Sanlian (Ying-Xuan Hsieh). Only months earlier, Zhengyuan came out as gay and left his family to be with his partner, Jay (Roy Chiu). Sanlian’s anger reaches a breaking point when she discovers Jay is the the sole beneficiary on her husband’s life insurance policy and to get the money, she has to strike up a relationship with the man he was in love with. To complicate matters, her teenage son Chengxi (Joseph Huang), frustrated with the adults in his life, runs away from home and moves in with Jay, uninvited and unwanted, to learn more about the mysterious relationship his father had with this other man.
“What initially begins as a story of grief and betrayal slowly reveals a touching exploration of acceptance and sacrifice. Chengxi may be a typical moody teenager, but he is also a child confused about the world in which he finds himself. Sanlian lashes out in a constant state of pain, while Jay channels his grief by unexpectedly caring for Chengxi in his own way. At times heartbreaking, ironic, and playful, Dear Ex looks at the complexity of three people who must navigate strange living arrangements, fresh grief, and new definitions for love.”
FEBRUARY 1: Ek Ladki Ko Dekha Toh Aisa Laga (dir. Shelly Chopra Dhar) – AMC Theatres synopsis: “Some love stories are not simple, Sweety’s (Sonam Kapoor) is one such story. She has to contend with her over-enthusiastic family that wants to get her married, a young writer who is completely smitten by her, a secret that she harbors close to her heart and ultimately the truth that her true love might not find acceptance in her family and society. Resolving these issues proves hilarious, touching & life changing. Welcome to the most unexpected romance of the year!”
FEBRUARY 1: Miss Bala (dir. Catherine Hardwicke) – Synopsis from the film’s official website: “Gloria (Gina Rodriguez) finds a power she never knew she had when she is drawn into a dangerous world of cross-border crime. Surviving will require all of her cunning, inventiveness, and strength.”
FEBRUARY 5 (on digital & VOD): Anywhere with You (dirs. Hanna Ladoul and Marco La Via) – Cineuropa synopsis: “Amanda (Morgan Saylor) and Jake (McCaul Lombardi) are in love and want to start a new life in Los Angeles. Will they make the right decisions? The first 24 hours of their new life will take them all around the city, bringing them more surprises and frustrations than expected.”
FEBRUARY 8 (in theaters & on VOD): Berlin, I Love You (dirs. include Dianna Agron, Massy Tadjedin and Gabriela Tscherniak) – Cinema Village synopsis: “The latest installment of the Cities of Love franchise (Paris, je t’aime / New York, I Love You / Rio, Eu Te Amo), this collective feature-film is made of 11 stories of romance set in the German capital – with each segment handled by a different director.”
FEBRUARY 8 (in theaters), FEBRUARY 26 (on DVD): Holiday (dir. Isabella Eklöf) – Fantastic Fest synopsis by Alexandra Heller-Nicholas: “Pretty blonde Sascha (Victoria Carmen Sonne) is the epitome of mainstream attractiveness, and is invited to join her Danish criminal boyfriend Michael (Lai Yde) on a no-expense-spared summer holiday on Turkey’s idyllic Turquoise Coast. The young woman’s presence requires her to take on the role of a human trinket, a girl-shaped bauble whose inclusion in the titular getaway with Michael and his colleagues comes with unspoken expectations and demands. And she knows it.
“The feature film debut of Swedish director and writer Isabella Eklöf, Holiday is marked by a fashion magazine gloss with its aesthetic of hyper-commodified femininity. The look of the film feeds shrewdly into a fearless critique of what happens to a young woman who has been objectified to the point where she can only understand her own identity through the very terms of her objectification. At the heart of the film lies an undeniably brutal rape scene that makes explicit the until-then ambient, rumbling suggestion of violence and threat that surrounds Sascha: as a young woman in this man’s world, violence is not just a possibility, but a day-to-day reality.
“The neon-colored bikinis, nightclubs, fancy drinks, and crystal-clear swimming pools lie in sharp contrast to the dark revelations of Sascha’s journey, sparked into action when she meets free-spirited Dutchman Thomas (Thijs Römer). In the hands of a less capable, thoughtful, and original director, this scenario could easily collapse into the terrain of the cliched love triangle trope, but Eklöf knows the world is never so simple or clear-cut for women in situations like Sascha’s. Rather, violence becomes viral — a way of maintaining the status quo, even if that comes at the loss of agency and the acceptance of an identity that transcends two-dimensional commodified womanhood.
“Like so much in Eklöf’s film, the title is both an invitation and a provocation: HOLIDAY is no escape, but rather an unflinching, urgent, and desperately important statement about the world so many young women find themselves in.”
FEBRUARY 8 (streaming on Netflix): ReMastered: The Two Killings of Sam Cooke (dir. Kelly Duane de la Vega) – Tribute Magazine synopsis by Alexandra Heilbron: “Sam Cooke is profiled in this episode of the documentary series featuring famous stories about music’s impact on society. The most influential black musician of the Civil Rights Movement, Sam Cooke advocated for the rights of his fellow black musicians. An investigation into the circumstances surrounding his shooting death include theories that he was robbed and ‘trick-rolled’ by a prostitute. But many believe he was targeted by music industry moguls with links to the mob who wanted him dead for emerging as a totem for black musicians’ rights.”
FEBRUARY 8 (in theaters & on VOD): Untogether (dir. Emma Forrest) (DP: Autumn Durald) – The Hollywood Reporter’s Tribeca Film Festival review by John DeFore: “A handsome relationship drama about four fantastic-looking people whose interior lives are something of a wreck, Emma Forrest’s Untogether has its share of life/art parallels beyond the fact that the sisters at its core are played by real-life siblings Lola and Jemima Kirke. That excellent bit of casting, along with that of co-stars Ben Mendelsohn (the director’s ex-husband) and Jamie Dornan, should make the debut feature considerably more attractive to indie distributors, who will also respond to its smart, uningratiating screenplay and polished look.
“The Kirkes play Andrea (Jemima) and Tara (Lola), daughters of a deceased musician who evidently left them both a Los Angeles house and left Tara some daddy issues as well: She has lived here for a while with a much older man (Mendelsohn’s Martin) who was himself a two-hit wonder musician long ago. Now Andrea has come to stay with the couple, a year into recovery from heroin addiction and many years past the publication of her only novel.
“Andrea falls into a relationship with the much more successful Nick (Dornan), a physician who struck gold with a memoir about an affair he had while doing volunteer work in the Gaza Strip. Declaring from the start that he’s emotionally unavailable, Nick enjoys having Andrea on call, watching her dance for him in vintage lingerie (the script is oddly attentive to her retro wardrobe) and, in an echo of Dornan’s most famous role, sometimes tying her up with silk stockings. Though their personality defects aren’t identical, the two are enough alike to fall into something like doomed love.
“Meanwhile, though Martin is more emotionally mature than one expects a midlife rocker to be, Tara needs something beyond their relationship. A Jew who’s never participated in religion, she discovers a congregation led by a rabbi (Billy Crystal’s David) who radiates moral integrity; she begins spending free time at his synagogue, being carried away by the music. Kirke is persuasive as a woman so ready for deeper meaning in life that she may latch onto the first big idea she encounters.
“An early cross-cutting sequence hints at Forrest’s intent to mix things up for these rootless characters: Tara lingers after hours with David, listening to his earnest talk of social justice and activism; Andrea takes Martin to an insufferable book party after he casually points out some of the things wrong with her life. The film hops back and forth between the conversations, showing the sisters attempting to connect with moral or professional aspirations that their love lives may be hindering.
“The story’s least engaging character, Nick, hovers outside the moral orbit of the others, but Forrest has plans for him. A controversy awaits that will make his interactions with Andrea more meaningful, and whether they point toward a healthy relationship or not, the script pulls its elements together pleasingly in the end.
“Forrest started off as a music journalist, and occasionally seems to go out of her way to shoehorn some personal favorites into the plot. It’s eyebrow-raising, though of course not impossible, that 30-ish Andrea quotes the Manic Street Preachers (a band whose fans lean considerably older) and plays late-period Siouxsie and the Banshees on the bus; when the film needs to reveal the presumably decades-old song that made Martin a star, it appropriates an excellent 2007 composition by Austin’s Okkervil River that is probably too meta to fit the character or his period.
“But the film’s emotional intelligence gets it past the occasional false note, and the strength of its central performances keeps us engaged even when the characters themselves might not deserve our sympathy. ‘Untogether’ here isn’t a reference to relationship status as much a verdict on whether our protagonists have their acts together. Though they’re far from settled when the credits roll, they’re at least more pleasant to be around.”
FEBRUARY 13 (NYC), FEBRUARY 15 (LA): Birds of Passage (dirs. Cristina Gallego and Ciro Guerra) – The Playlist’s Cannes Film Festival review by Jessica Kiang: “We humans have a mania for classification. We divide things into epochs and eras — Triassic, Jurassic, Cretaceous; Elizabethan, Victorian, Edwardian. We draw borders around regions, cutting rivers in half, like the flowing waters care, and creating nations so notional that a sneeze in one can bury a town beneath an avalanche in another. We boil sprawling cultures and variegated ethnicities down to single words, the better to pop up on census forms with a little checkbox next to them, waiting for your x. And if we’re not careful, if we’re not frequently reminded of their artificiality, we can start to see those divisions as real and defined. With the stunning Embrace of the Serpent, Ciro Guerra did a mournfully psychedelic job of exploding that misconception a little, imagining the tragedy of colonialism as a long, drawn-out process more defined by the inevitable transformation of an ancient way of life than its annihilation, as though the modern era was hallucinated into being by a past that, as Faulkner said, is not dead; it is not even past. And with Birds of Passage, the new film Guerra co-directed with his Embrace producer and partner Cristina Gallego, that beautiful and strange project is continued and expanded upon, into the troubled and often violent Colombia of the late 20th century, an era when airplanes and mirrored sunglasses and foreign exploitation commingled with the beads and silks and superstitions of tribal life, and gave rise to the phenomenon we recognize today as the Colombian drug trade. This is an absolutely extraordinary film.
“On one level it is easier to embrace than Embrace, given that it unfolds as a kind of dynastic rise-and-fall story, a Colombian Godfather spanning the late ’60s and ’70s, divided into 5 lyrically named chapters, or ‘cantos’: Wild Grass, The Graves, Prosperity, The War and Limbo. It starts, as do most such epics, with a young man who craves social betterment. Here it is Rapayet (José Acosta) the nephew of a respected ‘word messenger,’ who exists on the periphery of the Wayuu tribe of northern Colombia, and wants to consolidate his standing by marrying the beautiful Zaida (Natalia Reyes), a young Wayuu woman to whom we’re introduced in a glorious billow of blood-red silk and face paint during her ritual ‘coming out party.’ Reluctant to give Zaida’s hand in marriage to someone not in the inner circle, her mother Ursula (a blazing Carmiña Martínez, giving us the best ruthless clan matriarch since Jacki Weaver in Animal Kingdom) sets a near-impossible dowry. But Rapayet, along with his loose-cannon friend and business partner Moises (Jhon Narváez) makes a deal with some Peace Corps soldiers, stationed in the area ostensibly as a bulwark against communism, but really just looking for a regular supply of weed. And with a few quick flips, Rapayet has not only made the money to meet Zaida’s dowry, he’s made the connections that will soon make his extended family the most powerful in the region.
“But not everyone is as level-headed as Rapayet. The alijuna (outsider) Moises quickly becomes a trigger-happy liability and later Ursula’s younger son Leonidas (Gredier Meza), a dyspeptic brat of a child, will grow up into a sociopathic, cruel, bottle-blond Crown Prince, a kind of Colombian Commodus, giving the family dynamics of Birds of Passage the dimensions of a Greek tragedy. And throughout it all, Ursula and Zaida are beset by portentous dreams in which their children’s faces wear shrouds, and Rapayet is haunted by the yoluja (ghost) of the friend he betrayed in the name of family honor.
“The Coppola parallels are writ large, but the early portion also owes a great deal to the Scorsese of Mean Streets in its depiction of the bonds of brotherhood among low-level hoodlums on the make, while the film is also saturated with imagery from genre westerns — John Ford doorway silhouettes and Sergio Leone widescreen vistas that echo with sussurating crickets and the screeching of unseen animals, as well as with the exotic instrumentation and pounding tribal percussion of Leonardo Heiblum’s uncanny score. But in the ethnographic strangeness that lurks in the corner of every frame, there is also something of Nicolas Roeg’s Walkabout, and not since Zhang Yimou’s House of the Flying Daggers has there been a film more sensuously dedicated to the texture and colors of richly dyed fabrics and traditional textiles.
“DP David Gallego (who also shot Embrace and Rungano Nyoni’s I Am Not a Witch and must surely now be counted among our foremost working cinematographers) finds explodingly colorful compositions that embody the tension between old and new, and between the often tacky trappings of Western-style new money, and the untameable natural world with which the Wayuu used to live in harmony. The greatest example is the folly of Rapayet’s flashy mansion, looking like something out of the ‘The Real Housewives of Beverly Hills,’ standing white, spare and architect-designed on baked earth cracked like pottery glaze, with the hot, crazy-making desert wind blowing ceaselessly though even its interior corridors.
“By locating this story within the indigenous population who become as much the architects of their own downfall as the Westerners they supply (who only exist on the periphery of this film), Guerra and Gallego along with screenwriters Maria Camila Arias and Jacques Toulemonde, have written Colombia’s tribal history back into the story of Colombia’s conflicted present. The Wayuu here are neither exploited innocents nor backward savages, but flawed humans indulging recognisable human instincts of greed and rapaciousness, and who have a hierarchical social system in place that is not so exotically alien that it cannot be easily crossbred with Western-style wealth and corruption. And so Birds of Passage is not squeamish about violence, and does not ignore the bigger sociological and geopolitical forces at work. But it does march to its own, slow, chantlike rhythm, depicting not a clash, but a continuity where colonialism seeded capitalism, which in turn bred conflicts in which ethnic Colombians were as complicit as they were victimized. The lack of sentimentality is startling.
“And that clear-eyed revision of accepted history has resonance far beyond the borders of Colombia. You do not have to have Wayuu ancestry, or any connection to the region to understand the broader implications of this epic story of haunted druglords and ruthless power grabs that are partly predicated on traditional beliefs and shibboleths. Guerra and Gallego’s film is no dusty period piece, it is wildly alive, yet it reminds us that no matter how modern we are, there are ancient songs our forebears knew whose melodies still rush in our blood. We are not creatures of one era or another or of one place or another, we are only ever birds of passage between our mythic pasts and our unwritten futures, being tossed around by the wind.”
FEBRUARY 15 (streaming on Netflix): The Breaker Upperers (dirs. Madeleine Sami and Jackie van Beek) (DP: Ginny Loane) – Variety’s SXSW Film Festival review by Amy Nicholson: “Got a thousand bucks and a yen to be single? Call The Breaker Upperers, two nihilistic New Zealand best friends and roommates who will knock at your soon-to-be ex’s door, hand them your watch, and announce you drowned. Writer-director-stars Jackie van Beek and Madeleine Sami play Jen and Mel, who committed exclusively, if platonically, to each other 15 years ago when they found out they were dating the same man. Now, both are so soured on love that their hearts have curdled, making it easy to stick fake pregnancy bellies under their shirts and shatter strangers’ lives.
“Too bad for lovelorn rubes who here look like fools, but hooray for audiences discovering that the Wellington comedy scene has launched a female version of Taika Waititi and Jemaine Clement. (Waititi signed on to executive produce.) The Breaker Upperers has the increasingly familiar patter of Kiwi comedy: dogged naivety, nervous politeness, hazy thoughts that trail off like vapor.
“Their business takes on all kinds of clients: straight, gay, male, female, old and angry, and young and stupid. Their newest client, 17-year-old rugby jock Jordan (Boy star James Rolleston, all grown up), can’t understand why his temperamental girlfriend Sepa (Ana Scotney) didn’t realize he broke up with her using emojis. He texted her a broken heart and a thunder cloud — take the hint. He’s as dumb as, well, pretty much every other character in the film, and he falls in love with Mel on sight. ‘Is that short for Melon?’ he asks. Sigh. But when Mel and Jen interrupt his game to give Sepa the bad news, Mel can’t help staring lustily as he swigs a soda in slow-motion and then sensually pours the fizz all over his head.
“That’s the kind of surrealist touch that makes The Breaker Upperers sparkle. It sputters along with an alt-world logic where a sucker like grief-stricken Annie (Celia Pacquola) truly believes her husband is at the bottom of the sea, not partying it up in Brazil. Annie will blunder back into Mel and Jen’s lives causing a minor crisis of conscience — or really, the realization that one of them still has a conscience — and along the way, she’ll set a penis hat on fire, blurt out too much about her gynecological health, and scramble Jen’s brain by putting on a ’90s Celine Dion karaoke ballad that will cause the cynic to hallucinate walking arm-in-arm with her ex (Cohen Holloway). In flashbacks, we see van Beek allow her face to soften. She plays most of the film on edge, accusing Mel of breaking company rules she’s just invented on the spot in order to make sure her only friend sticks with her. Someone’s got to be there for the awkward dinners with her sex-mad mom who refuses to frame pictures of Jen solo because her singleness makes her sad.
“Van Beek and Sami are clearly banking their careers on their debut feature helping them become known names in America. (They’ve both cameoed in What We Do in the Shadows and Eagle vs Shark, but, as Sami joked after the film’s SXSW premiere, you’d only spot her if she wrote down the timestamp.) Even so, they’ve let their film feel marvelously shaggy around the edges — their personalities pop — until after a whiplash-funny first hour, they play it safe with an everyone-gets-a-hug Paul Feig-style climax. (The movie literally ends with a soul train.) Still, it’s a terrific showcase for the duo and their entire cast, which, besides a pop-up bit from Clement, is curated from a local talent pool that Hollywood has yet to spelunk. After this, it should.”
FEBRUARY 15 (in theaters & on VOD): Patrick (dir. Mandie Fletcher) – Time Out London review by Olly Richards: “If you’re not dog mad then there is absolutely nothing for you here. If you are then you’ll ‘aw’ and ‘ooh’ yourself silly at Patrick, a very gentle, quite adorable little film that essentially boils down to the story of a pug helping a sad teacher compete in a fun run.
“Beattie Edmondson (daughter of Jennifer Saunders and Adrian Edmondson) plays Sarah, whose life is, she thinks, not going well. Her boyfriend has left, her parents think her work as a comprehensive teacher makes her a failure and she’s starting to think they might be right. She also somehow lives in a huge flat in Richmond on her teacher’s salary, which withers your sympathy somewhat. Sarah’s misery is made worse when her late grandma bequeaths her Patrick, a very badly behaved pug. Sarah hates dogs, but perhaps Patrick can change all that…
“The dog, or in fact dogs, who play Patrick are, frankly, BAFTA-worthy. He’s a character that packs the charisma of a much larger beast into his tiny, wrinkly body. Credit for that, of course, should really go to director Mandie Fletcher (Absolutely Fabulous: The Movie, ‘Blackadder’), who’s made a selection of well-trained tricks look like a performance. Patrick’s presence serves as a boost to every joke in the script, making them all just a little funnier because his presence is so delightful. He’s surrounded by a cast of excellent comic actors – Jennifer Saunders, Tom Bennett, Adrian Scarborough, Gemma Jones – but they’re all mere support. The pooch is the star.”
FEBRUARY 15: The Unicorn (dirs. Isabelle Dupuis and Tim Geraghty) – Anthology Film Archives synopsis: “This extraordinary, years-in-the-making documentary grabs hold of a truly unique central figure: outsider musician Peter Grudzien, the one-man musical force behind ‘The Unicorn,’ which has been described as possibly the first openly gay country album. But country doesn’t begin to describe the dizzying range of music included on this 1974 release. Peter composed, performed, and recorded ‘The Unicorn’ entirely in his childhood home in Astoria, Queens, and sold the 500 pressed copies out of a suitcase on the streets of the city. Despite this unpromising genesis, the album was rescued from oblivion and re-released in the 1990s, prompting the music critic and collector Paul Major to declare it the ‘greatest New York LP since the first Velvet Underground or first New York Dolls.’
“By the time filmmakers Isabelle Dupuis and Tim Geraghty encountered Grudzien, though, mainstream recognition remained elusive, with Peter himself living a marginalized and paranoia-fueled life in Queens with his forbidding, nonagenarian father, Joseph, and his schizophrenic twin sister, Terry. The Unicorn immerses us in Peter’s life, a hermetic world transfigured by his musical talent and stubborn resilience, but full of shadows both real and imagined.
“The Unicorn is at once an invaluable act of cultural excavation, an unforgettable character study, and a cracked family portrait in the vein of Terry Zwigoff’s Crumb. But while it may superficially resemble other biographical documentaries, it’s unusually alert to the messy contradictions and intermingling of creative inspiration and mental psychosis that characterize its remarkable subject, his even more unhinged family members, and by extension American culture itself. Ultimately it’s a powerful depiction of a troubled soul for whom music represents a vitally important survival mechanism in the midst of a difficult existence.”
FEBRUARY 22 (in theaters & on VOD): The Changeover (dirs. Miranda Harcourt and Stuart McKenzie) – New Zealand Film Commission synopsis: “Based on the acclaimed novel by Margaret Mahy, The Changeover tells the story of Laura (Erana James), who loses her little brother in earthquake-scarred Christchurch. A decrepit old man (Timothy Spall) marks the child’s hand with a noxious stamp. Jacko (Benji Purchase) sickens quickly while the man grows younger. The doctors insist Jacko needs a bone marrow transplant — and Laura is the only donor. But Laura becomes convinced a mysterious older boy (Nicholas Galitzine) can help her ‘change over’ and become a witch, defeating the evil spirit sucking the life out of her brother.”
FEBRUARY 22: The Competition (dir. Claire Simon) (DPs: Prisca Bourgoin, Pierre-Hubert Martin, Aurélien Py and Claire Simon) – DOC NYC synopsis: “In this Venice Film Festival winner, director Claire Simon goes behind closed doors during the months-long admissions period at France’s most selective film school, La Fémis, where thousands of hopefuls apply for only 40 available slots. The state-run institution, which teaches aspiring filmmakers their craft through handson training with working professionals, also turns to the latter to evaluate applicants. Simon captures entrance interviews and candid discussions among the selection committee, creating a revealing portrait of an institution and its gatekeepers.”
FEBRUARY 22 (streaming on Netflix): Firebrand (dir. Aruna Raje) – PopSugar synopsis by Corinne Sullivan: “Following the success of her National Award-winning Marathi-language film Ventilator, Priyanka Chopra teamed up with director Aruna Raje for another Marathi production, which follows a successful lawyer and sexual assault victim (Usha Jadhav) as she tackles difficult cases, as well as intimacy issues with her architect husband (Girish Kulkarni).”
FEBRUARY 22 (streaming on Netflix): Paris Is Us (dir./DP: Elisabeth Vogler) – Netflix synopsis: “Dreams and reality collide as a young woman (Noémie Schmidt) navigates a tumultuous relationship and rising social tensions, protests and tragedies in Paris.”
FEBRUARY 22 (streaming on Netflix): The Photographer of Mauthausen (dir. Mar Targarona) – From a Cineuropa article by Alfonso Rivera: “El fotógrafo de Mauthausen, which is based on real life events and was written by Alfred Pérez-Fargas and Roger Danés,stars Alain Hernández, Macarena Gómez and Richar Von Weyden. The film narrates how, with the help of a group of Spanish prisoners who lead the illegal organization of Mauthausen, Francesc Boix, an inmate working in his photo lab, risked his life to plan the release of some negatives that would demonstrate to the world the atrocities committed by the Nazis in the hell that was the Austrian concentration camp. The photographs they managed to save were decisive in condemning Nazi officials in the Nuremberg trials in 1946, where Boix was the only Spanish witness.
“The producer of El cuerpo and The Orphanage and director of Secuestro [Mar Targarona] stated ‘I was very moved when I read about the story of Francesc Boix and the 7,000 republicans who were in Mauthausen, which is not a very well-known historical event in Spain. It is shocking to see Boix testify in the Nuremberg trials and point out the executioners, evidently demonstrating that they knew what was happening in those camps. It is a historical example in which criminals were brought to justice thanks to the courage of a few. I wanted to honour those heroes and all the victims of Mauthausen with this film.'”
FEBRUARY 23 (airing on HBO at 10:00 pm): O.G. (dir. Madeleine Sackler) – Tribeca Film Festival synopsis by Loren Hammonds: “Jeffrey Wright delivers a powerful performance as a maximum-security prison inmate named Louis, who, 24 years after committing a violent crime as a young man, finds himself on the cusp of release from prison, facing an uncertain future on the outside. He encounters Beech (Theothus Carter), a newly incarcerated young man who offers him much needed-friendship, though it’s not without unfortunate complications. The younger inmate echoes of his older counterpart, stirring instincts within Louis that had long been buried beneath a tough exterior. Sackler’s film is a taut prison drama that follows the seemingly mundane countdown of days before Louis’s release, until, almost imperceptibly, it transforms into a thriller, suddenly crackling with intensity. Filmed on location in an actual maximum-security prison with inmates participating as actors, the film lays bare, with remarkable realism, the very specific complexities of existing as an incarcerated man in America. Sackler’s background as an esteemed documentarian influences her first fiction film, a portrait of a proud yet regretful soul at a crossroads.”