Tears in rain find peace on snow – Blade Runner 2049 (2017), dir: Denis Villeneuve

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Ah, this opening shot… I absolutely adored this tribute and allegorical connection – revealed only towards the end – to one of the most iconic cinematic scenes of the past century and the epilogue to a monologue that touched the heart of millions.

However, it is crucial to recognise that Blade Runner 2049 doesn’t follow the line of a typical sequel and is not infested with nostalgia to keep fans interested but on the contrary, it is an original and intensely philosophical piece of sci-fi cinema.

The burning question of Blade Runner (1982) remains in 2049, as it has not yet been sufficiently answered outside the films’ universe either. What it means to be human and how can you trace the existence of a being’s soul? Touching upon profound existential and self-defining concerns is one of the film’s greatest strengths, along with the stunning cinematography and the plot secret and mysteries.

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There is a rare atmosphere in the film; it feels distant, neon-infested, visually magnificent, big in scale but also, bizarrely intimate and warm. There is a certain familiarity in its beautiful setting and its city dirt, confusion and social turbulence.

You feel as if there is an infinite peace and quiet where all beings stand still, frozen in time. Simultaneously, you experience constant movement mingled with underlying sounds, as if there is a unanimous pulse in the Blade Runner universe.

The visuals are impressive and measure up to the iconic 1982 original, without replicating its narrative style.  The lens moves slow and lays before us the surface of the cold, grey and torn landscape but also, plants us into a yellow vision of dryness and desertion accompanied by hollow sounds, like the awakening of distant memory.

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The plot twist is a manifestation of the most reliable psychological trick when one needs to fully comprehend another; that is through placing oneself in the shoes of another human (or not) being. It assumes the structure of a Greek tragedy where characters are lied to or by chance, misled. Later, they feel victorious as they approach to the resolution of their personal crisis, only to ironically come to the realisation of the deceitful game luck played on them. The tragedy ends in a cathartic transcendence from ignorance to the truth that is only achieved though painfully difficult decisions. It is an admirable achievement to dramatically transfer the viewer from the safety of one’s “definite” conclusions to the confusion and surprise of having fallen into a glossy trap.

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Jared Leto is the secluded creator Niander Wallace, who philosophises and bears himself around as a semi-god with a firm and austere voice. His intonation signals urgency, his eyes are unforgettable and he only emerges under an eerie, wavy light.

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Sylvia Hoeks stands out in the role of Luv, with her penetrating eyes projecting cruelty and simultaneously, immense pain for the slavery of her kind. She is powerful and focused, and attributes an emotional depth to the character that thankfully, is designed to have multiple layers, unlike a simplistic villainous caricature.

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Harrison Ford gives a heart-breaking and dynamic performance as he delivers some of the most emotional and memorable scenes of the film. His figure is oozing unconfessed pain and unhealed traumas whose were sculpted by loss and sacrifice. And that dog… how were they able to find this gorgeous animal to match so perfectly the wretchedness of his companion?!

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Ryan Gosling has the stature and intense energy of the soldier whose life rules are suddenly challenged. There is an economy of words with this actor that is always an incredible gift to the audience, as this invites us to be more attentive to the little movements, the fixing of his eyes, the pauses, etc. All in all, to all the elements that make the performance so unique and entirely his own. Also, the vulnerability that lies under his tough-looking personas elevates them to iconic and contributes to their credibility.

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It is impressive how Denis Villeneuve made a film of such a large scale without compromising its artistic value. He maintained the balance between staggering visuals, worthy of a block buster and the exploration of heartfelt issues by delving deep into existentialist ethics and meaning. Blade Runner 2049 is an atmospheric cinematic piece that overly stimulates the viewer; personally, I left the theatre overwhelmed by the impeccable visuals, the imposing and nostalgic score, and the piercing performances.

The scenes in the hotel in particular, are masterfully directed; the setting is so original and vintage at the same time. In the same way, the film is an amalgam of past memories, present concerns and philosophical queries, and future achievements and possible punishments.

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After the film you might stay put for a re-watch, listen to the score of the 1982 film, drink scotch while contemplating about the origins and the meaning of your soul, or even whether you’d be better off without one, you might ask yourself whether you’d ever leave the world behind to be left alone and enjoy the company of a drunk dog and projections of your favourite artists, or whether you’d be brave enough to join a revolution and finally, you might be entirely stricken by Deckard’s words, “Sometimes when you love someone, means to be a stranger”.

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Demon clown terrorises the fellowship of the sewer – IT (2017), dir: Andy Muschietti

It might not come as a surprise that clowns have always seemed disturbing to me. As years went by I’ve met a few people who share my natural repulsion.

Their image or even worse, presence seems to bring about terrible physical and emotional effects, elevated heart-beat, goose bumps, palm sweat, disgust and… well… some fear too. It is their appearance and attire; the carrot-coloured, curly hair, silly clothes and irrational make-up. What signals most clearly the danger is that fake, absurdly exaggerated smile pf theirs that seems to betray a sickening feeling underneath.

The new Pennywise Clown that Bill Skarsgård created for us ticks all the boxes. The front teeth, long as fingers that strive to reach the lower leap, which drugs low enough to touch the chin, the down-leaning head that reveals those yellowish, inner-crossing eyes and the cracked white forehead that exiles his red hair to the middle of his skull make him one of the most appalling clowns I’ve personally come across. At this point, I believe it’s only fair to congratulate the make-up department as they evidently envisioned and generated a living nightmare for people like me.

The film is a supernatural thriller obviously but it is to an equal extent, a coming-of-age story. The victory of the IT is its cast more than the mystery, the thrill, the directing, etc.

The Losers Club consists of extremely talented fellas that enrich the morbid theme with smart jokes and genuine sensitivity. They are a bunch of talented actors, with great chemistry and excellent in both comedy and drama. Each Loser assumes a different role in the Club, as being part of a group usually goes… Bill (Jaeden Lieberher) is the brave and sensitive, Ben (Jeremy Ray Taylor) the smart loner, Beverly (Sophia Lillis) is determined and fearless, Richie (Finn Wolfhard) is the loud joker, Mike (Chosen Jacobs) is the survivor, Eddie (Jack Dylan Grazer) the hypochondriac blabbermouth (and my personal favourite, he has a flare for comedy this kid…), and Stanley (Wyatt Oleff) the quiet, reasonable boy.

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The opening scenes put you straight under the gloomy, rainy streets of Derry to have you shocked and appalled shortly afterwards with how evil the clown in question can be, luring an innocent, sweet kid into the sewer with promises for candy and popcorn, which makes the whole business way more cruel…

Moving forward, the narrative is driven by the friendship of those kids as we are slowly being introduced to their lifestyle, characters and fears, naturally… Whether it is disease, burning buildings, clowns, a dead kid brother, an abusive father, a beheaded zombie, or a deformed portrait of a ghost-like lady, the real demon can bring all these fears to life and therefore, challenge the sanity of the poor souls who are haunted by them. There is a well-built tension throughout the film around Pennywise’s appearances, the forms it takes and the damage it inflicts.

It is a pity however, for films like IT that have been adapted from novels or have been previously presented on screen that the audience is strived from the element of surprise, which is crucial in horror, in particular. There isn’t one moment that we experience agony for the Losers’ fate or hope as a matter of fact, that Pennywise will be defeated.

Pennywise’s close ups are creepy enough to trigger the primitive instinct of running away but for the most part the clown is subdued to visual effects that give life to his other forms. The sequence of the scenes in the abandoned house on Neibolt Street where all his victims gather up to face him deliver gripping action and emotional intensity but fail to scare us. In reality, I believe the only time Pennywise was truly frightening was in that opening scene. Throughout the rest of the film, he became of secondary importance to me as my focus shifted on the group dynamic and the kids’ performance. I caught myself observing their reactions more than the source of their terror.

On the other hand, the dialogues are rich, quick and funny and the scenes satisfy visually as fear peppered with humour bring about a heart-warming result. IT showcases the limits of true friendship, the sacrifice and bravery of its youngsters who willingly assume the burden of saving their little town from the demon in order to safeguard its present and future inhabitants while giving justice to the Clown’s past victims.

They stand up to bullies, attempt to save each other from oppressive and manipulative adults, create a safe environment for expressing themselves freely and stand together against a threat that the adults deny facing. The grow stronger through this traumatising experience and preserve some sense of normality. They continue being themselves but one can barely see them as kids anymore. The last scene reassures us of the second chapter, set for 27 years later but also gives a heart-warming and tender epilogue to the first chapter.

After the film you might avoid the dark, repeat x times the quote “You’ll float, too”, look up how the modern clown persona came to be (find the culprit, in other words…), wonder why on earth would a demon who respects himself assume the form of a clown for eternity and to make things worse, address himself as Pennywise (can it get any tackier?!), you might recall a time when you believed that monsters exist, contemplate what are your worst nightmares and fears and finally, who are the friends you’d like by your side in case you needed to face a mortal threat.

 

Obsession & Old Pearls; My Cousin Rachel (2017), dir: Roger Michell

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The world was on fire and no one could save me but you

It’s strange what desire will make foolish people do

I’d never dreamed that I’d meet somebody like you

And I’d never dreamed that I’d lose somebody like you

 

A cover of Chris Isaak’s Wicked Game (performed by Ursine Vulpine ft. Annaca) was chosen to dress the film’s trailer and I believe there couldn’t have been a more appropriate song.

The film is an adaptation of Daphne’s du Maurier 1951 novel of the same name, written and directed by the South African director, Roger Michell. I’ve previously watched the original 1952 film starring Olivia de Havilland and Richard Burton so the instant comparison in my head favoured the most recent version. The film’s cinematography by Joseph LaShelle elevates the beauty and elegance of British countryside (the story unfolds in a Cornwall estate) and the excellent performances. In fact, My Cousin Rachel has a theatrical feel in its directing and acting, as the cast is responsible for thrilling scenes that focus on dialogue and atmosphere. Speaking of which, the lush score composed by Rael Jones designs a mysterious and gloom frame.

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Throughout the film I developed tension and discomfort that kept me company all the way through the end, which I welcomed like a breath of fresh air because it concluded my agony and sadness. The exquisite photography was enhanced by the film’s Victorian setting, where we meet a woman, Rachel who is suspected to have committed slow and well-calculated murder by poisoning her husband. Rachel, portrayed by the masterful and powerful in all her performances Rachel Weisz, is a unique specimen of her sex. She is astonishingly beautiful and cunningly seductive. Weisz brings a dark and tragic tone to her character that lies under her confidence and disarming sexuality.

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There is great mystery surrounding Rachel as not only the facts of her past are only speculated upon but also because her every sentence and full-of-meaning looks promise an insight into her soul while in contrast, they give ground to further confusion. Accused of having turned into a sinister and grasping wife who, as the cherry on top has viciously got rid of her husband, she starts a love affair with Philip, her late husband’s nephew.

Admittedly, Rachel is neither trustworthy nor frank but she should not be placed on the other tip of the scale either, in my opinion. It is wisely said that the truth always lies somewhere in the middle. She’s passionate, sensitive and kind but also smart and shameless. She apparently has come to the realisation that only by achieving her financial and marital independence she can become her own person and enjoy a free life and thus, employs every mean to accomplish her goals.

It is often forgotten that in times when women were eternally dependent on their fathers and husbands, seeking independence took great courage and could trigger survival instincts similar to those of an animal who’s fallen into a deathly trap and fights for its life.

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Sam Claflin creates a magnetising and tormented Philip that falls unexpectedly in love and loses all reason. As Claflin mentions in an interview, Philip is a boy who believes he’s a man, and he successfully plays that part as a student and a loving nephew up until the point when his whole world crumbles: the man who raised him and considers his father, his Uncle Ambrose dies and leaves cues that incriminate his wife.

There is such childishness, innocence and naivety in Philip that turn him into an almost antipathetic character as he is perceived as a weak, google-eyed, untrained puppy and thus, idiotic in his altruistic acts of love. However, Philip doesn’t lack a darker side: he is possessive, impulsive and ill-tempered with violent outbursts that remind us that even the most gullible people can cause great harm. In his defence however, Philip who hasn’t interacted with women growing up is the most vulnerable prey for an experienced and manipulative woman that also happens to be his first love and sexual experience.

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In all his inner mess and outrageous, most eccentric and neurotic behaviour, he never loses one friend, the sweet and protective Louise (Holliday Grainger). Louise is not the opposite of Rachel but demonstrates another kind of strength and confidence. She is plainly in love with Philip and despite having to put up with his insults and a broken heart, she remains a loyal friend and gains our respect and admiration.

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Did Rachel poison them, or didn’t she?

She did! I believe that when Ambrose’s mental state was permanently affected by his brain tumor, she chose to poison him and set herself free from an abusive – despite it being none of his fault – husband. Later on, when Philip became asphyxiating, she had to bring back her poisonous herbs, only to regret it shortly afterwards – perhaps moved by his love and devotion, or feeling pity for his foolishness – and decide to see to his health.

The beauty in stories that leave you wondering is the complexity and sincerity attributed to the characters in the process. When a film achieves confusion to such extent then it has provided an interesting tale of mystery, deceit and complicated personalities.

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Finally, there were some incredible scenes beautifully-executed by Weisz and Claflin. Let’s take their first encounter for instance, where she offers him tea and cake, and he needs to lick his fingers from the melting butter. In the original film, it’s a comment lost between the lines and Burton’s sterile response is easily forgotten. In complete contrast, Michell and his performers take those lines and make an erotic, uneasy and utterly memorable scene out of them. The same stays true for the scene of whispers exchanged over a whipping Rachel, Philip’s outburst and many others.

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After the film you might want to read Du Maurier’s novel, listen to the lush and dark original score, remember a time when you were innocent and gullible in the matters of love, look up how many poisonous seeds exist in nature, debate whether Rachel is guilty or not, and finally make yourselves a hideous, healthy brew while pondering about the irresistibly seductive people you’ve met in your life so far.

Kill them, baby, one more time; Alien: Covenant (2017), dir: Ridley Scott

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Prepare yourselves to repeat the ritual of alien penetration in the fellowship of the space exploration or as is the case in Covenant, colonisation. You’ve surely being here before, even if you’ve only watched the first film of the Alien trilogy but that doesn’t mean you will leave the theatre unsatisfied.

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The film deals with the origins of creation and the creator-creation relationship parallel to raw and cruel scenes against humanity in an adventure where the stronger prevails. The Covenant consists the bridge between the end of Prometheus and the events in the original Alien, by diving into the origins of the alien blood-thirsty beasts that first appeared in theatres in 1979.  Good flow of scenes that are smoothly connected and executed with great performances and excellent directing from Scott who is a masterful expert on the sci-fi genre.

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In Covenant, Scott is using the cult cinematic myth of the Alien with no desire to innovate and invent. The film feeds upon the nostalgic feeling of the genuine scares of the original movie without adding something new or remarkable to the classic story. A smarter approach to the scenario would have saved me the disappointment provoked by certain scenes; such as the one where the Captain willingly looks into an opening Xenomorph’s egg when treacherous David  – who minutes before has flipped out when the Captain shot a Xenomorph that had just beheaded a member of the crew – suggests so, or the ending scene that shockingly reveals something we saw coming, if not since the beginning of the film, then by the moment David and Walter are left alone to fight and only one makes it back…

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However, it was a great choice to locate the story on a macabre-looking place, a planet with great vegetation that hides the city of the dead in its core. Aren’t these the perfect surroundings to prepare you for doom?!  And so the rain falls non-stop and the creatures wandering around seem to have made killing and impregnating our misfortunate travelers their life mission.

My favourite bits of the film are its real stars: the Xenomorphs. Similarly to their 1979 predecessors, the monsters in Covenant are more faithful to Giger’s original art and as elegant as the angels of death are a horrifying spectacle indeed. Although, Scott patiently prepares the viewer by slowly setting the atmosphere of terror for the time that the crew will fight for their lives in blood and naivety, the overall predictability of the structure fails this build-up. In an interview, Scott mentions that his goal is giving us time to identify with the characters and care for them but in the 45 minutes (almost the ½ of the film as it last 122 minutes) before the deathly action begins, I felt boredom instead of sympathy…

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However, it was only when Xenomorphs made their appearance that my stomach got tight and one thought governed my mind; had I been them, I wouldn’t last a minute! Oh wait… neither did they!

The choreographed attack by Xenomorphs in a field of tall grass in the first half and the visceral hunting that follows and sees blood and gore gush from every pore of the film are thrilling. Our very first scene of a Neomorph bursting out of a human and the subsequent panicking and killing is gripping and utterly transporting. I particularly loved the scene where David approaches the Xenomorph in an attempt to communicate and gain the creature’s respect.

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Xenomorphs have an elegant shape and a relentless appetite for screams, blood and human flesh, which makes their presence a menace of disproportionate dimensions for the poor, fragile humans. The fact that the opponents are so unfairly unequal made me loose interest when almost all heads dropped down and it was only Daniel’s character that reassured me for the upcoming – and single in the entire film – victory in the final battle. Katherine Waterston is a force of nature and an artful actress that takes you with her in her emotional pain at first, and then in her stubbornness for survival and escape.

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Michael Fassbender’s dual performance is the perk and the differentiating element of the Covenant compared to the other Alien movies.  He acts against himself and delivers an interesting performance. A good example is the scene where an ecstatic David attempts to prove his point to his look-alike Walter and manages to set scenery charged with homoerotic energy and ample narcissism that is actually – and I hope intentionally – rather funny.

The film failed to immerse me into the existential and religious Odyssey supposedly experienced by the characters. David despises his maker and the entire humanity in fact, considering them a weak and rightly dying bread. He resists to a servant’s life that was destined for him and thanks to his appointed talents and abilities David manages to do plenty of harm. David is technically and emotionally more evolved than Walter but suffers from a delusional fever of creation obsessiveness and a severe God complex. Although, he is not a relatable character he is admittedly the most interesting one.

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After the film you might wonder if you’d ever consider taking part in a space colonisation mission, think of the way you’d like to be killed by a Xenomorph (probably the least painful or the most eccentric..), pick which one you’d like best: being a human or an android, start appreciating the flute, never take a shower listening to loud music again and think how cool it would be to have a look-alike to take your place whenever you fancy!

Erotic Thriller or A Tale of Sadistic Deceit; The Handmaiden (2016), dir: Park Chan-wook

Park’s recurrent themes are prevalent here as well as sadism, deceit, violence, sex, revenge and freedom intertwine, by weaving a thrilling and sensual tale of dramatic proportions.

For weeks I’ve been passing by the film’s poster and each time it caught my eye! I was curious but I remained stubbornly away from trailers and reviews until I finally visited the theatre this evening. I needed a genuine thrill for a change but as the Rolling Stones wisely mark, you can’t always get what you want….

I might not have had the most intense experience but I liked the film as a whole. It was engaging for the most part thanks to the stirring narrative and the surprising twists and revelations. The visual art of its photography, the aesthetically masterful shots and the purposefully created costumes are some of the strongest elements of The Handmaiden. The film is a psychological thriller with a sufficient character study and sparkling sensuality. The photography is amazing by praising landscapes and interiors and by indulging us with portraits and aesthetic sexual frames.

Although, I recognise that The Handmaiden is an artful creation I did not achieve immersion into the story, or identification with any of the characters. As a result, the end arrives and despite the classic conclusion where ”the good prevail, the evil are shattered”, I am not experiencing catharsis or satisfaction (with the exception of the destructive activities that take place in the library).

The acting style adopted in the film matched inappropriately overtone facial expressions with scenes that would have benefited of strict focus on sensuality and sexual tension. As a matter of fact, I believe the last sex scenes (that also happen to last the longest) did not add to the story or the character study. The film is ultimately sweet and romantic with scenes that spur laughter in the place of tension and focus, interrupting transportation into the narrative and disconnecting the senses.

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In contrast, I particularly enjoyed Hideko’s (the lady’s) theatrical readings of Marquis de Sade’s works. Her performance is spotless, stunning and gripping. Also, the bathtub scene where Sook-hee employs her amateur dentistry knowledge to smooth her lady’s tooth provokes titillation and excitement far more than the more graphic scenes that the protagonists share throughout the film.

Finally, the way Park chooses to deliver the story is brilliant and the three-part storytelling reveals the different perspectives and inner instincts of our two heroines (1. the handmaiden’s, 2. the lady’s, 3. the story’s epilogue). The first two parts consist of repetitions that enhance the cinematic experience instead of tiring viewers (an arguably rare thing!) as moments are revisited from different angles and previously concealed facts are revealed.

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After having watched  The Handmaiden don’t be surprised if you want to wear colourful gloves, have sex, visit South Korea, read a chapter from one of Sade’s scripts, or if you happen to have a nightmare about wet, dark basements and gigantic octopuses.

Nocturnal Animals: A violent romantic thriller (2016), dir: Tom Ford

 

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Leaving the theatre, I felt I was never going to smile again. I had been walking for about half an hour before I reached home, feeling absolutely numb and hurt by what I had been witnessing for the past 2 hours. “Nocturnal Animals” is an incredible and a dark film, with a three-dimensional storytelling structure, an incredible cast, and an emotionally charged score by Abel Korzeniowski. Tom Ford calls it a “cautionary tale” and with good reason still,  I will call it “the lurking nightmare of missing your one chance for happiness in life”.

The film is a thriller and a strong, pure, and piercing drama about regret, revenge, and unfulfilled love. The storylines are directed with frenetic energy that is complemented by beautiful images and sounds. The film’s pulse is unnerving due to the unconcealed, rough reality that is artfully and brutally crafted by Ford, whose second work lacks the elements that made people accuse him of being a pretentiously stylised filmmaker in his first work, “A Single Man” (2009).

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The Basics: 

The film was adapted by Ford himself from the 1993 novel, “Tony and Susan” by Austin Wright. Admittedly, it demands considerable talent and ability from both the director/writer and the cast to convey the intertwined storylines with clarity and undisturbed flow of emotion. Therefore, I am happy to say that despite its complexity and richness, the film is incredible in the sense that the details and allegories that were carefully placed across the narrative evoke pervasive emotions.

Amy Adams breaths life into Susan, an art gallery owner who leads an affluent life who represents the image of an accomplished and stylish woman (a role model for the western civilisation, perhaps?). One day she receives a manuscript of the first book that her ex-husband, Edward (Jake Gyllenhaal) wrote and has dedicated to her. Susan barely gets any sleep at nights, so he used to call her a nocturnal animal, and that is how he named his novel. The ex-couple hasn’t had any contact for the past 19 years, and we learn from Susan that Edward was unwilling to talk to her when she contacted him 2 years prior. Susan is unfulfilled with her job and unhappy in her marriage (her cheating and cold husband, Hutton is Armie Hammer). She starts reading the novel in her stylish, lavish yet empty and hollow home when everyone is gone for the weekend.

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The story in the book follows a peaceful Texan (like Edward, and Tom Ford..), Tony (also played by Gyllenhaal) and his wife and daughter through a nighttime road trip in the middle of nowhere. At one point, they are harassed and forced out the road by another car whose passengers are meant to turn their life into a horrific nightmare. The sequence of the scenes that follow, I believe are one of the most disturbing and tense in cinema, as they are filled with agony and suspense in a roughly realistic background. The next morning finds Tony devastated in the company of Detective Andes, portrayed by Michael Shannon, following the trails of the previous night’s incidents. A year after, Tony has a chance to avenge his family but that would mean that he needs to redefine himself and his limitations.

3 stories: Reality (Present – Past): Susan reads Edward’s novel and expects to meet him during his business trip in L.A. shortly. Interwoven into real life and fictitious events, we see the flashbacks of Susan and Edward’s relationship. Fantasy: The story of the novel unfolds between the real events and flashbacks. Viewers are called to make sense of the parallelism between the protagonists’ past relationship and Tony’s painful story.

My Thoughts:

My curiosity was piqued right from the beginning, when Susan receives the novel. I wondered what were the events that led to their separation that spurred his inspiration for a book. Having watched the film, I realise that it wasn’t so much the reason of their break-up, as to its consequences, meaning the psychological impact it had in his life (and hers..). The book works as her punishment and his revenge.

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“Do you feel your life has turned into something you never intended?”- Susan

Susan projects power, accomplishment and composure. Her younger self however, wished to break free from the conformity of bourgeoisie, and passionately declared that she was completely different from her mother. She chooses to embrace the way Edward perceives her to be and she finds liberation and self-esteem by his side.

In contrast to Susan, Edward is confident about his calling to be a writer, he is also thoughtful and very sensitive, which is the opposite of what Susan has been brought up into. He reminds Susan that she has what it takes to be an artist herself and introduces her into a less pragmatic and sensible way of living. Susan’s initial instinct is to embrace the unknown beauty of freedom and self-acceptance, and so decides to marry him. Initially, she is called to justify the marriage to her mother, but later on (2 years approximately..) she has to justify it to herself, as she feels unhappy in it, despite her love for Edward.

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Is it inevitable to turn into our mothers? 

I do not believe that “We all eventually turn into our mothers.” (says Susan’s mother, played by Laura Linney), but I do believe that our mother’s (and father’s) voice does not leave us throughout our adult life. It is our job to seek our true self, buried under numerous years of constant influence and manipulation (conscious or unconscious) by our parents, in order to set ourselves free and find the life that suits us best, not others.

Our heroine, Susan made a step toward her truth, then she got scared when her real life did not resemble the one she was “supposed” to have, so she left her loved one and found a more “suitable” match, and career path. Nineteen years later, Susan has accomplished things that have definitely made her mother proud. She feels “ungrateful not to be happy” in her privileged life but she is simply not! The truth is that her love for Edward has never left her, nor the idea of the life they could have had together. She burdened with guilt for having given into fear and doubt, about not having believed in him the way he believed in her, and for having robbed him of the chance to become a father when she aborted their child (“I believe this is going to hunt me for the rest of my life.”~ Susan).

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What scared me the most?

The extent of feelings: Edward experienced excruciating pain from the ending of their relationship, which led him to the darkest places of his soul where he was able to conceive his allegorical, haunting story. The violence and pain that I witnessed in the scene where the family confronts the 3 troublemakers won’t leave me anytime soon. My stomach was tight and I could barely breathe while I watched those relentless psychopaths attack and ruin the lives of an innocent and happy family. I can only imagine that the helplessness we see in Tony, is the same as the one Edward felt. It is unsettling to think that someone might could feel so devastated by the end of a relationship that these feelings of anger and loss would translate into a story of such despair and agony.

Misjudge love, and make the wrong call: I must admit that I have never felt so strongly about anything/anyone, let alone a romantic relationship that could instantly evoke identification with the characters. However, the film conveys sentiment with such intensity that it affects even those who like myself, do not have a similar story in their past. In addition, it helped that I can perfectly relate to Susan who struggles between what her gut tells her, and what cynicism and borrowed logic dictates her to do.

It is believed that love is rare and thus, precious. It is scary to realise how easy it is to underestimate your partner, reduce the importance of “love” and thus, reject your feelings (as well as your partner’s). To make matters worse, it is also commonly held that second chances in life can be rare, which significantly reduces our chance to find happiness. I might be slightly pessimistic in that respect but don’t you find major decisions in life to be intimidating? Some people are firm in their decision-making but what about those who struggle with making their mind? (even about what chocolate bar they are going to buy.. they pick one, eat it and then regret they haven’t bought the other one…). I wonder, how willing we are nowadays to fight for our relationships? In a time where intimacy and sex are acquired quickly and easily, are we perhaps consumed with our perception of the “ideal relationship” that makes all others (the real ones…) seem expendable? Are we always on the look for the next, the better partner that is around the corner?

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Edward’s plead to Susan stayed with me:

“When you love someone you work it out, you have to be careful with it, you don’t just throw it away. You might never get it again.” 

I feel the film presents a clear warning as to how we should treat the ones we love, as apparently true love is rare. It took Edward 20 years to let go of the ghosts of his past, and being a writer he found a rather creative way to do so but imagine an ordinary person trying to manage the psychological burden, and struggling to discover a non-destructive way to release the pain… In addition, Susan’s story shows that when you launch on a new path, having left ruins behind you, chances are that it will haunt you for the rest of your life and will sabotage your potential happiness.

My views on guilt is that we should rip ourselves from what we were taught to feel remorse about and reshape our moral code. However, Susan’s guilt is not distant and moralistic but alive and personal. She is guilty about the abortion, and the impact of her cruelty towards Edward but she is mainly guilty about the life she made for herself, in other words about ignoring her true feelings.

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The End

Despite his great suffering Tony still remains a “good man”, which is mistakenly perceived as a weakness of character (especially in Texas…). In the end he kills Ray, the alpha of the criminal group (exceptionally portrayed by Aaron Taylor-Johnson, whose powerful performance reminded me of the obsessive tension that Tom Hardy projects on-screen), and accidentally (or not?) kills himself. It is questionable whether he would ever be able to get over such a violent and cruel part of his life, the loss of his loved ones and the person he has become therefore, his redemption comes with his death.

It is evident that in Edward’s mind Susan’s betrayal takes the dimension of Ray’s actions towards Tony however, I believe that Susan can identify with both Ray and Tony. In the beginning of the film, Susan admits that she has been thinking intensely about her ex-husband, which means that she had already started putting things together as to the reason why her life feels so empty and cold. By the time she reads the end of the book, it is beyond doubt that she experiences the same feelings as Tony who cries in despair that he “should have tried harder to protect his family”.

The cross that Tony is wearing, is the same cross that Susan has around her neck, and the red couch the Tony’s wife and daughter were found raped and murdered belongs to the apartment where they used to live together (not to mention that when Susan calls her daughter, she imagines her lying in the same position as the women in the novel). I loved the scenes where the parallelism is drawn between Susan’s and Tony’ s reality, especially the one where we seem them posing as tormented statues in the bathtub.

I feel that Edward is aware that Susan is unhappy and regrets her decision thus,  Tony is the expression of her own suffering as well. Despite the fact that Edward was deemed the weak one, it is Susan that was betrayed by her own self, due to her weakness to make a leap of faith and trust he instincts instead of the cynical world around her. As a result, just like Tony, Susan was deprived of her child and husband that the nocturnal animal took away, and in order to redeem herself and reach a catharsis she needs to “kill herself”, meaning the person she pretends to be and has been responsible for her bad decisions. By following Tony’s (and Edward’s) example, she will be free of her past regrets and will be able to find peace in her present life.

The closing scene is the proof that Edward truly did let go of his past and is no longer concerned or affected by Susan. And it is the perfect vengeance because during the hours that she is waiting for him to show up at the restaurant, she feels more and more convinced of her horrible, incorrigible mistake.