Festival Haul #1 (Sound of Metal, Uncle Frank, Ammonite)
The Festival Haul series begins with three films that have already released in select theaters and/or on VOD!
I know, I know. It’s been three weeks. Sorry. Clearly set schedules are not my thing, so let’s kill it for the time being; I’ll write when I can and hopefully get around to posting it whenever I find the motivation and free time. Does that sound good? Good. Anyway.
Due to obvious reasons I don’t even need to discuss, 2020 film festivals have largely gone virtual and most 2021 film festivals are preparing to incorporate virtual programming to some capacity, even with in-person screenings. This means that many of the year’s most anticipated awards contenders are more accessible than ever, especially with a strong internet connection and a good VPN (like, an actually good one). In this new series of blogs, entitled “Festival Haul,” I will be sharing my thoughts on the films I’ve seen at these online festivals over the last several months, particularly those that will be available in limited theaters and on streaming platforms!
With introductions out of the way, let us begin with a doozy!
Sound of Metal - ★★★★½ (Hamptons International Film Festival)
Currently playing in select theaters!
On Amazon Prime December 4th
When I first heard about Sound of Metal and its well-reviewed premiere at TIFF back in 2019, I knew it would be one of my most anticipated films of that year; as a former percussionist myself, films about drummers will always have me hook, line, and sinker. Then it just sorta…disappeared, even though Amazon Studios had acquired the film for distribution right at the onset of Oscar season. I was very disappointed but continued to check for any and all updates as I waited for Amazon to release the dang thing. Now, a year later, it’s finally here for a fresh festival run for 2020.
The film’s premise is a perfect creative nugget, the kind of catalyst for conflict that inspires great screenwriting: a musician’s identity is based in sound, so what happens when you strip it away? The possibilities are endless and, in Darius Marder’s riveting character study, it goes in some directions you might not expect. Sure, a lot of it is about accepting life’s challenges and transitions, but a lot of it is also about what happens when you can’t. Let’s face it: not everyone has the psychological capacity to truly work on themselves after a life-shattering event and, while the endless number of films about those who do overcome can be very inspirational, the films about those who struggle feel paradoxically life-affirming in their reality. Ruben, our lead character portrayed by Riz Ahmed in a why-isn’t-this-man-already-a-star-making performance, both accepts his deafness and rejects it, attempting to adapt to his newfound impairment whilst still trying to live an old life that may have already left him behind. Ahmed is supported by incredibly strong performances from Olivia Cooke, his girlfriend Lou, and Paul Raci, the leader of a deaf community named Joe, who bring this idea out even further; both of them are important to Ruben, but his choices affect his relationships with them in devastating ways. They both have particular scenes in the third act that, frankly, brought me to tears.
Beyond being a thought-provoking story, Sound of Metal also acts a strong piece of deaf representation, both visually and sonically. The film attempts to recreate deafness using a subjective sound mix from Ruben’s perspective, dampening and compressing sound in painfully enveloping way. It is easily the technical highlight of the film and creates an experience that viscerally engages the audience, something very few films accomplish. It is one of many things that makes Sound of Metal a wholly original film that will certainly end up being one of my favorites of the year.
Uncle Frank - ★★★★ (Aspen Filmfest)
Available Now on Amazon Prime
Another Amazon Studios release this year that will most likely go under the radar, Uncle Frank is a testament to how great filmmaking can take a simple drama and elevate the material into something very entertaining and ultimately worthwhile. I understand many members of the LGBTQ community are very critical of “trauma porn” narratives like Uncle Frank, citing them as trite, overdone, and pigeonholing the queer experience to tragic coming-out narratives––and I am not here to disagree with that. In fact, some of writer-director Alan Ball’s screenplay feels like the kind of kitsch that we’ve seen in these films before. However, there are glimmers of subversion, moments that acknowledge certain tropes and goose-step over them with an air of hindsight. It gives the film a strangely paradoxical energy, a period piece that is comfortable in its conventions but still modern enough to feel progressive. I can foresee people getting stuck on its tropes, of which there are many, but I think the story just…kinda works regardless, especially when everything else has so much merit.
The real reason to watch Uncle Frank is the man himself; Paul Bettany gives an excellent performance, reminding us that he has the talent to hold his own as a leading man despite being best-known for his supporting roles. He thoroughly commits to the part, even as the character’s neurotic breakdown borders on caricature, and it is his absolute vulnerability that gives the film the darkness it so desperately needs to suppress the saccharine. Right alongside him is Peter Macdissi, an actor I was not familiar with previously but will now certainly remember, portraying Frank’s partner and the film’s comic relief, Wally, with a similar skill; he grounds the character with a balance of soul and silliness. The rest of the cast is solid though thoroughly in the background, even Sophia Lillis as Beth, who is oddly presented as the story’s surrogate character and narrator who eventually plays second fiddle to Frank and his trauma. Again, it’s an imperfect screenplay, but it is more than competently directed. From the fun costume design to the cozy color palette, Uncle Frank is more than proficient in every area technically, which makes for a film that is easy-on-the-eyes without sacrificing artistry and expression in both the cinematography and the edit. While it may lack the complexity to stand against other festival films this year, Uncle Frank is still an engaging film that shows how a repetitive story, told with some fresh perspective, can still be valuable.
Ammonite - ★★★ (Montclair Film Festival)
Currently playing in select theaters
Available on PVOD platforms December 4th
As per NEON’s licensing agreement, you can expect it on Hulu…eventually
Wow, we’re really on a role here in terms of film’s segueing into each other.
Here we have another queer film, though this time suffering from the opposite problem. One of the first films to start its own hype train going into awards season, Francis Lee’s Ammonite isn’t as encumbered by sexual oppression as Uncle Frank, which is ironic given that it takes place over a century before. Though societal constructs aren’t entirely absent (it’s more class-driven than anything), the central relationship between our two female leads, Kate Winslet’s Mary Anning and Shower-Shoes Ronan’s Charlotte Murchison, is allowed ample room to flourish once it reaches its climax, both figuratively and literally––its depiction of lesbian sex is one of, if not the most acrobatic and explicit of its genre. With this refreshingly carnal approach, Ammonite’s love story feels closer to what people would like to see from queer narratives in Hollywood (though I will obviously acknowledge that two straight actors portraying gay women keeps it far from a shining example of progress).
The issue is that it takes about an hour to get to that point, and it’s a damn long one. While the story is perfectly functional, it’s just too bleak and mild to inspire engagement from the viewer. A big reason for this is that our two leads are largely blank slates, both on paper and in performance. Winslet is doing a fine job, though this is far from her best work, but Ronan lacks conviction, which is maybe the first time I’ve ever written those words together in that order. The two also have minimal chemistry, resulting in many exchanges that feel a bit wooden. This is only further bogged down by the film’s bleak aesthetic, featuring several under-lit and under-colored scenes. Though this is clearly an intentional choice from director Francis Lee, it lacks the soul that could have visually informed the film’s pathos.
Once the romance fires up, the true soul of the film shines through, as Mary’s stubborn independence clashes with Charlotte’s newly-found confidence. Though they both gained so much from each other, they may have gained too much; their paths no longer align, not because of the world around them, but because of each other’s conflicting desires. The final act feels like a far more character driven piece, including one scene with Fiona Shaw that alludes to the deeper nature of this story, though it is quickly forgotten about. The film ends on a surprisingly poignant note, but it’s bittersweet knowing that, had the film harnessed this emotional energy, we would have gotten a more satisfying film overall.
And there you have it––episode one of…however many I am motivated to write, done and dusted!
Next time, I’ll be back with a new episode of Logged and Loaded! Be sure to subscribe to this blog so you don’t miss out on any new posts, and follow me on Twitter to get any and all posting updates! Furthermore, you can follow me on Letterboxd to get a sneak peek at some of the things I’ll be talking about next time.
I hope you and yours had a fantastic Thanksgiving and continue to have a wonderful holiday season!!