Spaceship

[2.5 stars]

Imagine, if you will, a mash-up of Skins and How to Talk to Girls at Parties. If you’re picturing a painful look at adolescence, loss, and love with some truly odd ideas bolted on, you’re not going to be far off.

There is something wonderfully lyrical about Spaceship, Alex Taylor’s first feature as writer/director. It clearly expands on themes in his previous shorts and feels very personal. He also manages to make it all feel very unscripted, but controlled. And, while the story leaps from perspective to perspective in a sort of epic piece of spoken word theatre, it all inter-relates and builds as as the short movie goes on.

Despite the literary aspects, it is also a very bald look at teenage life and thoughts. Some of which is likely to be, well, alien to a portion of the audience. But that is part of the point. Taylor found a solid younger cast to pull off the challenge. Alexa Davies (Mama Mia: Here We Go Again) drives a good part of the story, with assistance from Tallulah Haddon (Black Mirror: Bandersnatch), Lara Peake (How to Talk to Girls at Parties), and a very important cameo by Steven Elder as well as a quiet thread kept in tact by Antti Reini.

This isn’t a great movie, but it is mesmerizing and, blessedly, only 80-ish minutes, so it really doesn’t overstay its intent or welcome. You have to be in a weird mood for this one, but it is an interesting experience if you’re ready for it.

Oscars 2019 – The Nominations

Below is a recap of the nominations. Generally I fared pretty well at predicting them. I’m afraid I didn’t have time to go on record before they were announced, but I promise I’m being honest in my commentary as to what I had thought.

I will say it is one heck of an open field in a lot of categories, which is exciting. It speaks to a volume of talent. Of course, this also means a lot of people who are really good at what they do will not be going home with statuettes. But that’s the biz.

So here are my preliminary write-ups. I’ll update as I see some of the missing films and, as usual, I’ll post a final call before the awards night. The show itself may not be great this year, but the choices are certainly going to keep me interested.

THE MAJOR AWARDS

Actress in a Leading Role

Yalitza Aparicio, Roma
Glenn Close, The Wife
Olivia Colman, The Favourite
Lady Gaga, A Star Is Born
Melissa McCarthy, Can You Ever Forgive Me?

This is one of those rare times where I wouldn’t be upset by any one of these people winning. They were all great performances, and all very different. To my mind, it is between Colman and Close. But McCarthy was also excellent and Aparaicio may have some momentum (and was a wild card for me in terms of getting on the list). And, of course, Gaga. Close has yet to win, so that may get her votes, but Colman’s performance is just so funny and powerful, it may win the day…and her movie was much better received.

My choice: Glen Close
Likely win: Olivia Colman

Actor in a Leading Role

Christian Bale, Vice
Bradley Cooper, A Star Is Born
Willem Dafoe, At Eternity’s Gate
Rami Malek, Bohemian Rhapsody
Viggo Mortensen, Green Book

This is by no means a lock for Bale, but he so disappears into his role that it is astonishing. I am not a huge Bale fan, but he had me utterly mesmerized and not even able to see him under all that makeup. In terms of the field, only Dafoe’s name surprised me, though that last slot was somewhat open.

My choice: Christian Bale
Likely win: Christian Bale

Actor in a Supporting Role

Mahershala Ali, Green Book
Adam Driver, BlacKkKlansman
Sam Elliott, A Star Is Born
Richard E. Grant, Can You Ever Forgive Me?
Sam Rockwell, Vice

Supporting roles are hard to pin some times. These were all good performances, though I think Elliott isn’t necessarily to the same level (and I didn’t expect him on the list over Chalamet), nor was Rockwell’s performance that brilliant, though it did win me over as it went on. But Mahershala Ali was incredibly affecting and Richard Grant, equally so, but with much less screen time. That said, Green Book is hitting headwinds due to aspects unrelated to the movie…but which are likely to affect its chances in any category. And while Driver is excellent, the character just never really got to fully develop for me.

My choice: Mahershala Ali
Likely win: Richard E. Grant

Actress in a Supporting Role

Amy Adams, Vice
Marina de Tavira, Roma
Regina King, If Beale Street Could Talk
Emma Stone, The Favourite
Rachel Weisz, The Favourite

This is a brutal field. Stone and Weisz should have to mud wrestle for the win here and that is likely going to split the vote. Tavira was solid, but it wasn’t break-through and I was surprised to see her here rather than Clare Foy. Adams was also really good, but felt in the background most of the time…even though she really wasn’t.

My choice: Rachel Weisz (but only because I had to pick one)
Likely win:  Regina King

Adapted Screenplay

The Ballad of Buster Scruggs, Joel Coen & Ethan Coen
BlacKkKlansman, Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee
Can You Ever Forgive Me?,  Nicole Holofcener and Jeff Whitty
If Beale Street Could Talk, Barry Jenkins
A Star Is Born, Eric Roth and Bradley Cooper & Will Fetters

Again, so much to consider here. BlacKkKlansman was a great movie, but, like Green Book, it remade the facts freely. Which is fine, but that is being used as a wedge against Green Book, so not sure how to parse that effect. Star is Born is a great reinvention of the story, but it isn’t brilliant, however entertaining. I am surprised that Black Panther didn’t make it on, even though I didn’t think it should. I’m still behind on the other two at present, but hope to close that gap…but in the meantime I can make some guesses.

My choice: Can You Ever Forgive Me?
Likely win:  If Beale Street Could Talk

Original Screenplay

The Favourite, Deborah Davis and Tony McNamara
First Reformed, Paul Schrader
Green Book, Nick Vallelonga, Brian Currie, Peter Farrelly
Roma, Alfonso Cuarón
Vice, Adam McKay

Another interesting field. Green Book was one of the best films I saw this year. It was unexpected and complete. Favourite is hugely popular and darkly funny, but I think flawed. Was expecting Stan & Ollie and Eight Grade over Roma and First Reformed, but that was a tight race. However, of the remaining choices, Roma’s script is just too spare in comparison and Vice a bit too political and nauseating, while First Reformed is just too dark. So…

My choice: Green Book
Likely win:  The Favourite

Cinematography

Cold War, Lukasz Zal
The Favourite, Robbie Ryan
Never Look Away, Caleb Deschanel
Roma, Alfonso Cuarón
A Star Is Born, Matthew Libatique

Roma for me. Hands down just a beautifully shot film. The others are nice as well, but Cuarón’s use of the camera was just brilliant and the result gorgeous.

My choice: Roma
Likely win: Roma

Directing

Spike Lee, BlacKkKlansman
Pawel Pawlikowski, Cold War
Yorgos Lanthimos, The Favourite
Alfonso Cuarón, Roma
Adam McKay, Vice

I’d have said this was Lanthimos’s to lose if it weren’t for the ending of his latest film. It is a brilliant bit of satire; just not a perfect one for me and some of the movie just doesn’t fit well together. Roma is brilliant on so many levels, but a bit self-indulgent in its direction. Vice is great, but mostly about the editing and script (and some performances). BlacKkKlansman, however, is really all about the performances, keeping you engaged without making you turn away. Lee had the hardest task and executed it well…and it’s been years since he’s had a shot.

My choice: Spike Lee
Likely win: Spike Lee (though it may well go to Lanthimos)

Best Picture

Black Panther
BlacKkKlansman
Bohemian Rhapsody
The Favourite
Green Book
Roma
A Star Is Born
Vice

I don’t even know what this category means anymore. Is it by what’s popular, what’s fun, what’s brave, what took the most skills? So, crap shoot.

My choice: Green Book
Likely win: Roma

THE NEXT TIER AWARDS

Animated Feature Film

Incredibles 2
Isle of Dogs
Mirai
Ralph Breaks the Internet
Spider-Man: Into the Spider-Verse

I’m a sucker for stop-action animation and Isle of Dogs was a hoot. But it wasn’t a great story, for all its fun. Spider-Man truly surprised me, however. It is pretty to look at, solid in story and script and acting. Overall a great and fun film, beating out its competition by a mile on many levels.

My choice: Spider-Man
Likely win: Spider-Man

Foreign Language Film

Capernaum (Lebanon)
Cold War (Poland)
Never Look Away (Germany)
Roma (Mexico)
Shoplifters (Japan)

Shoplifters would have been my early bet here, but Roma is truly a great film and has huge momentum and a ton of noms. Those who have no interest in voting for it for Best Pic are likely to balance that by voting for it here. It may well cost Roma as Best Pic ultimately that the safety valve exists.

Likely Win: Roma

Documentary Feature

Free Solo
Hale County This Morning, This Evening
Minding the Gap
Of Fathers and Sons
RBG

Likely Win: RBG

Documentary Short Subject

Black Sheep (The Guardian)
End Game (Netflix)
Lifeboat
A Night at the Garden (Field of Vision)
Period. End Of Sentence

Likely Win: no clue yet

Animated Short Film

Animal Behaviour
Bao (Disney)
Late Afternoon
One Small Step
Weekends

Likely Win: no clue yet

Live Action Short Film

Detainment
Fauve (H264 Distribution)
Marguerite (H264 Distribution)
Mother
Skin

Likely Win: no clue yet

THE TECHNICAL AWARDS

Production Design (production; set)

Black Panther, Hannah Beachler; Jay Hart
The Favourite, Fiona Crombie; Alice Felton
First Man, Nathan Crowley; Kathy Lucas
Mary Poppins Returns, John Myhre; Gordon Sim
Roma, Eugenio Caballero; Bárbara Enríquez

My choice: Black Panther
Likely win: Mary Poppins Returns

Costume Design

The Ballad of Buster Scruggs, Mary Zophres
Black Panther, Ruth Carter
The Favourite, Sandy Powell
Mary Poppins Returns, Sandy Powell
Mary Queen of Scots, Alexandra Byrne

Period pieces abound in this list, but so do some inventive futures.

My choice: Black Panther
Likely win: The Favourite (though Mary Poppins could sweep in)

Film Editing

BlacKkKlansman, Barry Alexander Brown
Bohemian Rhapsody, John Ottman
The Favourite, Yorgos Mavropsaridis
Green Book, Patrick J. Don Vito
Vice, Hank Corwin

All of these films have excellent editing, but only one lives and dies by its edits.

Likely win: Vice

Original Score

Black Panther, Ludwig Goransson
BlacKkKlansman, Terence Blanchard
If Beale Street Could Talk, Nicholas Britell
Isle of Dogs, Alexandre Desplat
Mary Poppins Returns, Marc Shaiman

If old-school Hollywood wins out, Mary Poppins will be a runaway. It is certainly one of the more classic and evident scores in the field, and complex while trying to maintain and reflect on the original. Music certainly pushed along the tale in Isle of Dogs in an engaging, if repetitive, way, and the others were more subtly supported.

Likely win: Mary Poppins Returns

Original Song

“All The Stars” — Black Panther
“I’ll Fight” — RBG
“The Place Where Lost Things Go” — Mary Poppins Returns
“Shallow” — A Star Is Born
“When A Cowboy Trades His Spurs For Wings” — The Ballad of Buster Scruggs

There is only one song here that has any traction to my mind.  It isn’t perfect (and story-wise it shouldn’t be) but just try to get it out of your head.

Likely Win: Shallow

Visual Effects

Avengers: Infinity War
Christopher Robin
First Man
Ready Player One
Solo: A Star Wars Story

Despite the wealth of blockbusters here, one is infinitely better than the rest in scope and seamlessness…

Likely win: Avengers: Infinity War

Makeup and Hairstyling

Border,  Göran Lundström and Pamela Goldammer
Mary Queen of Scots, Jenny Shircore, Marc Pilcher and Jessica Brooks
Vice, Greg Cannom, Kate Biscoe and Patricia DeHaney

Typically, I’d stay the period piece would get this hands-down, but Vice has magic in its blood with its makeup and hair, completely remaking its actors and capturing the period perfectly.

Likely win: Vice

Sound Editing

Black Panther
Bohemian Rhapsody
First Man
A Quiet Place
Roma

My choice: A Quiet Place
Likely win: Bohemian Rhapsody

Sound Mixing

Black Panther
Bohemian Rhapsody
First Man
Roma
A Star Is Born

My choice: Bohemian Rhapsody
Likely win: Bohemian Rhapsody

Beautiful Boy

[3 stars]

Timothée Chalamet (Call Me By Your Name) continues his career high with another brutally emotional performance. Make-up could have ravaged him a bit more for the sake of reality, but Chalamet certainly captured a good part of the life of Nic Sheff in all its joy and horror and frustration.

Honestly, the rest of the cast, while not superfluous, doesn’t quite reach that complexity. As his father, and main character driving the story, Steve Carell (Welcome to Marwen) might have, but the script didn’t really establish his life and drives to flesh him out. He became the rice upon which the rest of the story was told. Maura Tierney (The Affair) fared better in her supporting role, eventually breaking out in a wonderful scene. But Amy Ryan (Goosebumps) is more a cipher and window dressing than full participant in the story.

Director and co-writer Felix van Groeningen (The Broken Circle Breakdown) managed his actors well, but his editing was challenging at times. Told with many flashbacks, often inter-cut in short segments with the present, sometimes left me with cognitive whiplash. There weren’t enough clear clues where we were in the storyline in every scene. Complicating that issues is that we start in the present, go back a year, catch up to that moment, and then continue on, but the past is constantly interceding. I understand the intent, but it sometimes fought my ability to stay connected to the characters and moments rather than providing me deeper understanding of those moments.

But there was as much at issue with the script that Groeningen co-write with Luke Davies (Lion). In trying to tell such a big story, adapted from both the father’s and son’s point of view, they made choices that never quite all came together nor felt fully balanced. At the least, they did appear to stay very honest.

Beautiful Boy is a powerful film and warning. It is certainly well acted and inventively told, even when it isn’t as effective as I’d have liked. But it certainly isn’t an easy film and far from what I’d describe as entertaining. This is for a night when you’re feeling pretty solid and looking for insight into addiction and family struggles. But don’t expect catharsis, just expect a bit more comprehension. Regardless, Chalamet definitely proves his mettle yet again.

Glass

[4 stars]

Go to Glass, but don’t try to watch the movie you wanted to see… see the movie that is on offer to watch if you want to enjoy yourself.

M. Night Shyamalan has always made the movies he wanted to make, for better or worse. He rarely compromises his vision, but he also often confounds audience expectations. And, sadly, most audiences don’t want to be challenged. Their loss, more often than not. And Glass definitely isn’t the movie you think it is going to be. Honestly, I loved it once I let go and went with it, but I know a lot of people out there were frustrated.

Another aspect weighing on Glass is that it isn’t a stand-alone story. Absent Split and Unbreakable, it means nothing and doesn’t work. Together, they are a great trilogy, but Glass has no individual foundation like the other two films. Ninteen years ago Unbreakable left us hanging with David Dunn’s and Mr. Glass’s story. It was a love it or hate it comic book film that predated the current rush of such things, but foresaw the tone. Split surprised us all a couple years ago by connecting to Dunn’s tale at the end. And now…Glass…the story we’ve been waiting for so long it was almost guaranteed to disappoint. To be fair, Shyamalan and the studios probably strung out the anticipation a bit too long to make this a complete success–we’ve had too long to plan on what we expected.

The challenges of the movie aside, Shyamalan managed to collect almost all the principles from the previous two movies. Bruce Willis (Death Wish), Spencer Treat Clark (Animal Kingdom), Charlayne Woodard (Pose), and, of course, Samuel L. Jackson (The Hitman’s Bodyguard) all came back and felt like they’d lived the 19 intervening years. Likewise for James McAvoy (Sherlock Gnomes), and Anya Taylor-Joy’s (Thoroughbreds) three years since Split. Taylor-Joy, in particular, has a fascinating challenge for her character.

But these were from the past, and Shyamalan was just as invested in his world in the present. Sarah Paulson (Bird Box) with some assistance by Luke Kirby (The Marvelous Mrs. Maisel), and Adam David Thompson (The Sinner) create the framework for the new story…or the explanation of the old ones. As with all Shyamalan films, there are things that feel wrong or out of place, but if you trust the filmmaker, it will all eventually make sense.

In prep, I did rewatch Unbreakable for the first time in about 18 years and I was glad I did. It still holds up wonderfully and there are some important and minor aspects I’d forgotten. Unbreakable was also eerily prescient, coming out the year before 9/11 and with nods to other current movements in our culture. But, most of all, it was it’s intent on making an origin story that was ahead of its time. Heroes that are human, villains too, was not the coin of the day back then, but was about to sweep the entertainment world two years later with Spider-Man and eight years later with the launch of the MCU.

As the end of a trilogy, I think Glass will eventually find its place in the pantheon of fandom. Why? Because it is a real trilogy, with three different stories that connect into a great whole. Compare this to other trilogies that are just the same story but with raised stakes to sub in for more story (Hunger Games, Fast & Furious, John Wick). It is going to take some time for folks to adjust to the realities of this final installment and, perhaps, some investment in rewatching the previous movies to see how they all fit together so nicely. There aren’t many directors out there who would have even tried to complete that vision, and fewer still who have properties that deserved it. Shyamalan is still a storyteller I respect a great deal, even with some of his truly awful films like After Earth and The Happening.

So, again, let go of what you think the story is of Unbreakable, Split, and Glass. Give each character and tale their due, and trust a great storyteller to make something complete and satisfying, even if it isn’t quite the meal you expected to sit down to.

Golem

[4.5 stars]

Not long ago, the 1927 Theatre Company recorded and aired their brilliant new take on the Golem tale. It is an astounding piece of stage craft that incorporates live talent and animation with a bit of music and movement thrown in. The story, in this conception, is about the control of media and commerce over humanity. The troop tell the story in a closed loop, spinning around the story of Robert, played  engagingly, and with spare irony, by Philippa Hambly.

Along with four other on-stage performers (Dunne Genevieve, Nathan Gregory, Rowena Lennon, and Felicity Sparks), the troop begin a story that you think you know, but which turns on you even as it makes your eyes and brain dance. The duality of what is happening on stage and how they are keeping you entranced is no accident. It is mesmerizing and pointed.

I have no idea if this will ever stream again or if it will be available on disc, but make time for it if you get the opportunity. Honestly, there are few stage productions that can really blow me away. This one had my jaw dropping constantly at the illusion, the humor, and the message. It’s not perfect, but it is darned close, and it is worth every minute you get to spend with it…and sadly that is ephemeral.

Kusama: Infinity

[3.5 stars]

Like Cutie and the Boxer, this is a documentary about art, but it is much more about the politics of art and the artist’s life. Kusama has had a fascinating and challenging life. All of which has led to her impetus for creation, but not necessarily a penchant for happiness. She is also probably one of the more important artists of the modern movement that you may not have heard of, or at the least, understood her place in art history. (I know I didn’t before seeing this portrait of her life.)

Kusama’s art is challenging and, often as not, may leave you scratching your head. But the results of her efforts and ideas had profound impact on art you do know. I imagine that is a large part of why Heather Lenz was drawn to this story as her first directing feature. It is epic in scope and also a disturbing example sexism and racism, and it is has demonstrable historical importance. Though, it should be noted that that Kusama is still alive and producing and having sell-out shows around the globe.

As a movie, it is oddly constructed, but it also didn’t have an obvious path for the telling. Lenz jumps back and forth in Kusama’s life to provide context and a sense of her influences. It makes for some jarring moments, but told purely chronologically it would have been less interesting. Given Kusama’s art, the more gestalt approach to her story is probably appropriate. And, at less than 90 minutes, it isn’t a large investment for a glimpse inside an fascinating mind and a clearer understanding of many aspects of the modern art movement.

Luther (series 5)

[3.5 stars]

This is either an ignominious end, or a brave new platform from which, to relaunch what has been one of the most shocking and strong suspense/mystery series to come out of the BBC. Brutal, dark, and fun as always, this fifth series of Luther really got back on its feet, at least for the first three-quarters and a bit of it.

Luther has evolved over time. From the dark and twisted first season, into the hyper-violent second tale, the maudlin third and then the odd, bridging fourth, which was interesting but not particularly satisfying. This new, four-part installment gives us a story we are more familiar with, while adding some new faces.

Idris Elba (The Mountain Between Us) and Ruth Wilson (Mrs. Wilson) continue to drive most of the action, along with Patrick Malahide (Mortal Engines). But Wumi Mosaku (The End of the F***ing World), coming in as a wet-behind-the-ears detective under Luther’s wing, really gets to show her range as well. Mosaku has been typically cast as the jaded copper of late, but this fresh persona has lost none of her sharp intelligence or strength, providing an immediate and interesting focus in the story. And, of course, Dermot Crowley (Hard Sun), is still there to helm the ship in his odd and MI-6 sort of way.

The wonderful counterpoint of Hermoine Norris (Outcasts) and Enzo Cilenti (Jonathan Strange & Mr. Norell), both with each other and Luther’s cadre, is great fun to watch. The two are a dark dance of fun with many currents running below the surface.

As I implied, up till the final half hour, this is a great series. It isn’t at all clear where the story is going to go or how it will all go down, though you’ll have strong suspicions. The question, at the very end , is whether writer/creator Neil Cross wimped out or if it was simply easy set of choices to bring it all to a close. As of a few days ago, there are rumors it will continue into a series six, but in a very new direction. However, nothing has been confirmed.

If you like Luther, this is a must-see continuation of his and his department’s tale. If you haven’t discovered the series yet, start at the top and see if you can handle the oppressive weight of Luther’s world. This is not a light series, but it is wonderfully acted and, often, intriguingly written.

The Ipcress File

[3 stars]

Sometimes it is nice to dig out a classic you’ve missed. I recently did that with Iprcress. It is very much out of date at this point, but with some amusing moments and a rather young Michael Caine (Sherlock Gnomes). Ipcress released the year before Caine’s breakout in Alfie (1966), which really launched him on the international stage.

The plot of this flick isn’t very surprising, though it is all carried off with a quiet English humor and a staid set of reactions. It feels like a weak version of The Manchurian Candidate, which released a few years earlier. However the wry humor is an unexpected aspect to it all. It isn’t Kingsman funny, but it is somewhere between that and Bond.

One of the things that caught me off guard was how much the opening is reflected in the series opening sequence of Dexter. Even the music is similar. As it turns out, I’m not even close to the first to realize that. Really, it is jarring how close it is.

As a film, it is diverting and is executed well, though more of an interesting curio than brilliant movie. Still, entertaining.  It is also packed with a slew of talent that is no longer with us. Caine is one of the few survivors in that cast, along with director Sidney J. Furie. That Caine is still putting out quality work is what makes him one of the most working and recognizable actors of our time, and Furie continues to dabble across all genre over his equally wide ranging career.

Goosebumps 2: Haunted Halloween

[2.5 stars]

The first Goosebumps movie in this series was, honestly, a surprise. It was certainly aimed at kids, but had enough meat and story to hold the adults attention as well. This second installment has its moments, but is unabashedly aimed at kids and tweens with little for adults.

The cast isn’t at fault here. Director Ari  Sandel (The DUFF) found a good ensemble and, though he certainly focused on a particular audience, he kept it consistent and moving along.

The younger crew of Madison Iseman (Jumanji), Jeremy Ray Taylor (It) and Caleel Harris (Castle Rock) work well together and are engaging, if a bit sanitized and simplified. It’s really the adults that don’t feel even a little credible. Wendi McLendon-Covey (Speech & Debate), Ken Jeong (Crazy Rich Asians), and Chris Parnell (Hotel Transylvania 3: Summer Vacation) are all paper-thin caricatures of parents and neighbors. Even Jack Black’s (The House with the Clock in the Walls) reprise of his RL Stine feels less than believable.

The issue is almost entirely on Rob Lieber’s (Peter Rabbit) script. But it isn’t just about the tone and tale, it is also about the plot itself. If you’ve seen the first installment, you’ll be a tad confused for a while. Since this is a sequel, you’re expecting it to pick up from where it left off. But that isn’t really the case at all. It takes about 20 minutes for Lieber to explain why we’re in a different town and how Stine’s book ended up there. I like that it is intended as more a standalone, but it also seems to remake some of the rules established in the first film.

Am I being picky about a silly kid’s film? Probably, but it is what separates the successes of the Jumanji’s from these kinds of releases. If you’ve someone young, or on heavy medication, to watch this with, it is entertaining enough. It just isn’t a good movie for anyone over 14.

Strawberry and Chocolate

[3 stars]

This is a decidedly low-budget affair with moments of brilliance amidst a lot of mediocre and painful presentation. But those moments really do make the time worthwhile, as numerous festivals and the Oscars agreed.

Jorge Perugorría and Vladimir Cruz make an unlikely pairing of friends from opposite sides of the political spectrum. Cruz is a true believer in the Communist party in Cuba, while Perugorría is a bit more aware of the realities of life and politics…not to mention a gay man in a macho society.  With a bit of help from the neighbor, Mirta Ibarra, the three become friends and help one another heal.

The story that plays out is more than a little forced, but the commentary and emotions that are surfaced are as applicable today as they were over 20 years ago when this film was made. The relationships that form are genuine, even if the ages of the actors and backstories for the characters are a little off. As a peek inside Cuban culture, and loving look at people generally, it is a funny and heartwarming journey as director Tomás Gutiérrez Alea’s penultimate contribution to film.

 

Art, writing, life explained… or at least commented upon…