Blu-ray debut for Hou Hsiao-Hsien's 30-year-old semi-classic, DAUGHTER OF THE NILE

TrustMovies came fairly late to the oeuvre of Taiwanese filmmaker Hou Hsiao-Hsien. It wasn't until Café Lumière (2003) that I fully appreciated a Hou movie. Since then, I've come to like his work more and more, and now, the opportunity to see one of his earlier films -- DAUGHTER OF THE NILE, from 1987 --  seemed some-thing too good to pass up.

It is, though it is not, I think, quite up to the level of some of his later work. The movie's plot does clunk a bit (one shoot-out duly follows another and another), and Mr. Hou, shown at right, has certainly grown more subtle and graceful in his story-telling over the years. Here fact, fantasy, memory and odd objects -- from a red Walkman to a playful puppy all merge as we enter the life of a young woman and her very problemed family in the Taiwan of 30 years ago where local Chinese eateries are suddenly co-existing with a new KFC. What is most refreshing about the film is how little it seems to have dated (except for certain references to Madonna and/or the size of the early cell phones). In terms of both theme and human behavior, it remains timely.

Our heroine, Lin (above, played by Yang Lin), is constantly contending with that off-track family: a brother (two photos below) who seems only attracted to the criminal life, a lazy younger sister (below), an absentee dad (maybe he simply works too hard and too long), and a grandfather with a minor gambling problem (mom, it seems, has been dead for awhile now).

Little wonder our girl's mind often wanders into reveries about pharaohs and Egyptian princesses, hence the movie's title. Along the way, we visit Lin's classroom and watch a teacher trying so hard to communicate to his students some necessary lesson on morality and philosophy -- to little avail, of course.

Mr. Hou's gorgeous visuals are on full display here, and his gift for verbal description, followed by a single shot that encapsulates all that's been said comes to the fore, as well -- as when a young woman is said to have married for money to a man who is connected to the criminal Triads. When we see her face, from a discreet distance, everything we've heard is brought home in one quiet, breathtaking moment.

Like grand-pa/like grandson comes home to roost, as do a number of fart jokes (Mr. Hou was clearly ahead of his time in regard to the latter). Mostly, though, we get a good look at Taiwan, inside-out and from the ground up. Forget Babylon: this was already, 30 years ago, a sad, desolate, running-on-empty society.

Among the excellent Bonus Features on the new Blu-ray disc are a fine interview with Tony Rayns regarding Hou Hsiao-Hsien and Daughter of the Nile, and a commentary track by Richard Suchenski. The Blu-ray transfer here is often magnificent (there's a scene around a bonfire at the beach that's a veritable feast for the eyes).

From the Cohen Film Collection and running 93 minutes, the movie will hit the street this coming Tuesday, March 20, on Blu-ray, DVD and digital platforms -- for purchase and/or rental.

Dark-horse pick for Best Animated Feature: Claude Barras' MY LIFE AS A ZUCCHINI

Once in awhile, amidst the Oscar-nominated. blockbuster animation movies from the big studios, can be found a small, foreign gem. So it is again this year, with the nomination of MY LIFE AS A ZUCCHINI, the Swiss film directed by Claude Barras, with a screenplay co-written by that wonderful French filmmaker Céline Sciamma. The unusual thing this year, regarding the nominations for Best Animated Feature Film, is that three of the five movies are of this smaller variety: what you might call animated "art" films.

Kubo and the Two Strings is a simply gorgeous, rapturous piece of animation, in which, unfortunately, the vivid style is undercut by the film's somewhat meagre and occasionally clichéd content. I have not seen the other smaller film, The Red Turtle, nor have I watched Disney's nod to feminism, Moana, but I found its Zootopia one of the wittiest and non-stop enjoyable mainstream animation endeavors I've yet viewed -- with a much-needed message about equality and opportunity to impart to this dreadful Trump time, as well.

But back to that Zucchini:  M. Barras' fine accomplishment (the filmmaker is shown above) in this little delight of claymation animation is to turn the usual clichés of the tale of the orphans' life on their head so that we see things in quite a different manner.  Instead of an uncaring bureaucracy that shovels those "wards of the state" into dreary, unpleasant circumstances, here it is the caretakers of the orphans who care the most -- from the head of the orphanage and its workers to the kindly policeman (below, right) who is the first responder on the scene of the accident that renders our little hero, known as Zucchini, an orphan.

Indeed, it is an actual blood relative of another of the orphans who proves the film's major villainess. Oliver Twist (in any of its many incarnations), this ain't. As seems more and more true with each passing year, the wonders that can be done with animated characters to make them emotionally galvanizing are put to amazing use here. Barras' claymation effects are alternately moving and quite funny -- and always richly rendered.

The story tacks our hero's life once his alcoholic mother dies and he is placed in the care of that orphanage, among a small group of children, each of whom is rendered with fine specificity and individuality. Zucchini himself (above) is a lovely creation, as is the young orphan girl, Camille (below, left), who soon joins the crew.

But is is the not-so-typical bully, Simon (below), who quietly and gently takes over as the most special and interesting character. Here, too, Barras and Sciamma upend the usual clichés to create a young boy who will move you beyond expectation.

Kindness and generosity seem in such short supply these days that My Life as a Zucchini immediately takes its place as an arbiter of what might occur, should government begin to wisely and kindly care for its citizens. As seen here, Switzerland seems like some sort of heaven. And the USA? Well, we can dream, can't we?

The movie, distributed by GKIDS in both its original French language with English subtitles and a new (and very good) dubbed-in-English version, runs just 67 minutes. It opens this Friday, February 24, in New York City and the Landmark Sunshine Cinema, in Los Angeles at the Landmark NuArt, and in Vancouver at the Vancity Theater. In the weeks to come it will hit cities all across the country. To view the many currently scheduled playdates, with cities and theaters listed, click here and scroll down.

An original rom-com with heart, smarts and a terrific cast: Liz Tuccillo's sweet & special TAKE CARE -- plus a short Q&A with the filmmaker

TAKE CARE is a fine title for the new romantic comedy and first full-length film from Liz Tuccillo (shown below) because it works two ways. This simple phrase is what you tell people you care about just before you or they depart, as a reminder, in fact, that you do care about them. It is also, in this case, about literally taking care: of people, of relationships, of someone who's unable to take proper care of herself.

That would be Frannie, who, when we meet her, has just arrived home from the hospital, sporting a broken leg (in a cast) and arm (in a sling), after being hit by a car. In tow are her sister and best friend, both of whom say they are ready to care for her but in reality are not. Frannie -- played by Leslie Bibb (below) in her best adorable-without-curdling-the-milk manner -- is certain she can care for herself, at least until the home-health-aid arrives tomorrow, or maybe Monday. It does not take long for Frannie to realize that this is not the case.

In a screenplay marked by how cleverly and organically writer/director Tuccillo (pronounced two-chill-oh, with the accent on the second syllable) manages the exposition, we slowly learn all about Frannie and her life up to now: the ex-boyfriend she nursed through his bout with colon cancer (more caretaking!), her job, her friends, her problems and bad habits. One of the joys of this movie is how its lead characters are shown us, warts and all, and how we come to love' em all the same.

This goes for Frannie's soon-to-be caretaker, played equally well by a fellow we can't see too much of: Thomas Sadoski (above), who turns his character of Devon, like several other characters here, into someone who grows and changes during the course of the movie.

This splendid growth and change happens to some of the subsidiary characters, too: particularly the next-door neighbor of Frannie (Michael Stahl-David, above), who must help carry Frannie up to her fourth-floor apartment, as well as Jodi, Devon's current girlfriend (played with tremendous charm, humor and trepidation by Betty Gilpin).

Ms Tuccillo has wisely seen to it that there are no villains here -- just folk who have their own lives and problems and are trying to find ways around and through this -- which helps us more easily accept what is going on and why. (That's Marin Ireland, as Bibb's best friend, below, right.)

The filmmaker's plotting uses necessity as much as desire as the motor that drives the movie, and this, too, is a big plus. Basically, what makes Take Care work so well, once the plot is in place, are the two lead performances from Bibb and Sadoski. These two play off each other beautifully -- she, upfront and in your (and his) face; he, standing back and trying to figure out what he's doing and why.

I suspect you will have no trouble sticking with this movie nor believing in what is happening to its lead characters, so well-thought-out is the dialog and action, brought to such fine life by its two performers. If you've ever found yourself in a situation anywhere close to this one -- needing to be taken care of -- you'll appreciate and wince at the goings-on. (Below is pictured Elizabeth Rodriguez, who plays the Visiting Nurse.)

The movie also tackles the question of guilt and the shame of being dangerously ill and having to be cared for, and the consequent anger this produces. There's a great deal going on here for such a bouncy, energetic rom-com. Ms Tuccillo clearly has a lot on her mind and the talent to bring it to life. Can't wait to see what she'll tackle next.

Meanwhile, Take Care -- from EntertainmentOne and running 94 minutes -- opens this Friday, December 5, in New York City at the Cinema Village.  Elsewhere ? I sure hope so. But in any case, the movie will simultaneously open on VOD platforms nationwide, so wherever you happen to live, you can undoubtedly catch it.

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TrustMovies had time for a short phone interview with the writer/director of Take Care, Liz Tuccillo this week, during which he asked her a few questions of interest (to him, at least). Liz was charming and helpful and forthcoming (with almost everything), and you can peruse the Q&A below. As there could be spoilers ahead (and one comment that Ms Tuccillo feels could change the way you look at the film), so maybe see it first and then come back here to read the interview.

Below, TM's questions appear in boldface, and Ms Tuccillo's answers in standard type. (That's she in the photo below, left, with her star, Leslie Bibb.)

TM: This is the first full-length movie that you’ve written and directed? 

 LT: Yes.

How long had this been in the planning/ execution stages?

For an indie film it was probably quicker than usual. About two years.

How did you cast the two leads?

I had to start really doing my research to find the very specific actors I needed: actors that were known, so that they would have audience appeal, but not so famous that they’d think you were crazy to ask them to do this small indie film. It was difficult for me because I had such specific tastes. It’s hard to find someone beautiful, funny, real, and who can do pratfalls, too. But Leslie Bibb is so disciplined and serious and, oh, boy, she studies a lot. She really works on a script!

I love her work, too. She’s an actress who can take “cute” and get really close to being too cutesy, and yet never go over the top. That’s quite a skill. And Tom Sadoski proves more than her match. It’s so good to see him in a role like this! 

Yes, Tom should be in more leading-man roles but doesn’t always get the opportunities that he should. Even though he works a lot…

He should still be seen in larger and more important roles! Somebody ought to write a script in which he plays Mark Ruffalo’s younger brother. 

Exactly. I’m really happy that these two did this with film with me.

Did you always plan to make a movie – a rom-com, at that – in which there were no villains? You end up caring about all the characters, from his girlfriend to her next-door neightbor. Which is wonderful. 

This was really a goal of mine, and I am so happy to hear you say this, because it means that you got it. That’s great to hear.

The other thing I wanted to talk about is the fact that, in your film, the people actually change – in ways that seem important and believable – in the course of the movie. This, too, sets it apart. Both characters have stuff they really need to learn, and you’ve found a way to let them do this believably, while entertaining us royally. 

I just really wanted it to be believable to make everybody behave in a way that seems credible. And when that happens, and if you follow that idea, chances are people will wind up changing.

Well, this does not happen in that many rom-coms, where instead, it’s all about how the girl or the guy ends up getting what they want, which is the other girl or guy. 

That’s true. But did you see My Best Friend’s Wedding – that doesn’t happen there!

Exactly, and that’s why that movie is so terrific. What was the budget for your film? 

Oh, sorry -- I’m not at liberty to talk about that.

Whoops -- is that fairly usual? Well, let see if we can approach this subject a little differently, then: Did this movie come in at pretty much what you were expecting it to cost? 

Well, yes, but then there were the costs, post-production, and even post-post-production, that we didn’t so much expect.

What would you have done differently now, if you were to tackle this all again?

Where do I begin?! Let’s see: My DP strongly suggested we paint the walls – because they were bright white. But because the apartment we shot in was my best friend’s apartment, I said, Oh, no, we can’t do that! Now, I watch the movie and all I see are these bright white walls!

That’s something to watch out for, huh? Don’t have bright white walls. 

 Definitely. Oh, but now, people will read this and then, when they see the movie, all they’ll notice are the walls!

Nah. Your movie's too entertaining for that. Anyway, I’ll place the interview after my review, and warn readers to see the movie first, and then read the interview, in case there are spoilers. 

Ah, good!

An expert cast shines in REFUGE, Jessica Gold-berg's lovely entry into film (based on her play)

The set-up here is at once so believable and poignant that you may feel your tear ducts filling, even as the film's second scene is taking place. We're in the land of youngsters again, specifically that of a family and the outsider who pays it a visit, of those who need care and those who give it. Sometimes these are one in the same. REFUGE, the 2012 movie that's finally opening theatrically this week, is a smart, sweet film but not a great one. But so well-acted is it, with an abundance of excellent dialog and a situation so fraught as to grab us by the collar and not let go for all of its 84-minute running time, that I suspect you'll be happy to settle for simply a "good" film.

A hook-up commences in a local bar between a fellow named Sam (Brian Geraghty, above, right) who looks to be something of a drifter, as he comes on to a pretty young woman, Amy (Krysten Ritter, above, left), who then takes him home. Their lovemaking is interrupted by her physically handicapped brother, Nat (Logan Huffman), and before we can say, "Oh, boy -- this girl has a lot on her plate," we're hooked. And so, perhaps is that drifter. And we haven't yet met the family's sad, self-abusive younger sister (Madeleine Martin). Based upon a play of the same name by Jessica Goldberg (shown above), Refuge so quickly and firmly places us in the company of people we like and root for that we don't need a whole lot of melodrama to keep us interested.

This is good because Goldberg doesn't seem keen on providing much of the "melo" stuff, nor even a whole lot of conflict to keep her movie moving. In fact, it is rather clear from the get-go that Sam may be in this for the long haul. The only real question then becomes: How will this "family" manage to accept their savior and work with him?

That question becomes enough to carry us and the characters to some kind of completion. Along the way, we concentrate on the excellent performances, which are very nearly enough to do the trick. Everyone is first-rate, and Mr. Geraghty quite a bit more than that. This young actor -- at his best when seeming to be least "present" -- has a remarkable ability to shine from within without apparently even trying. Geraghty has enlivened a number of movies in this fashion -- The Hurt Locker, Flight, and especially Easier With Practice -- and here he proves so solid-but-never-stolid that he simply walks away with the movie. (Young women everywhere are going to be asking, Why can't I find a guy like this?!)

Ms Ritter (above) matches Geraghty quite well. She is good at strength-via-deflection, and her slow unwinding and acceptance is a lovely thing to see. As the younger siblings Huffman (shown at bottom, left) and Martin (below, left) each contribute something special: he by beautifully capturing his character's physicality, she by subtly showing us the mental state that accompanies physical self-abuse.

Though made three years ago, the film still captures what our crappy economy has done to folk who exist on the edge, and how everyone now must settle for slave wages except the very wealthy. Still, for a film that tackles such a sad and barely hopeful situation, Refuge turns out to be exactly that.

The movie, from Strand Releasing, opens this Friday in New York City at the Village East Cinema and next Friday, April 4, in Los Angeles at the Sundance Sunset 5.