Giuseppe Tornatore's CINEMA PARADISO hits Blu-ray, DVD and 4K UHD from Arrow/MVD

A wonderful Christmas present that checks off the whole list of boxes -- nostalgia, family, friendship, love of cinema, coming-of-age films, and movies-about-movies among these -- Arrow Academy's release this holiday month of 1990's Oscar-winning Best Foreign Language Film, CINEMA PARADISO, is cause for celebration. Written and directed by Italian filmmaker Giuseppe Tornatore, who has never made an uninteresting film and in fact has given us several terrific ones, the movie (which I had not seen since it's original release) holds up beautifully. 

Signore Tornatore (pictured at left), at this point in time, has offered up something doubly, maybe triply, nostalgic. The film begins as a remembrance via an aging adult male who has just been informed of someone's death in the small Sicilian village where he grew up.

As the past is relived, we're awash in marvelous old movie images from so many European and American movie classics, as we learn that the dear departed -- the projectionist at the local cinema -- was the man who helped this boy find his place in life as well as his career. 

That's right: a projectionist of film, a profession that today barely exists in our current age of digital. When was the last time you were in a theater in which a projectionist ran the film? For that matter, when was the last time you were even in a theater? Add another layer of nostalgia here. Proust would kvell.

That this projectionist/mentor is played by that late, great and amazing French actor, Philippe Noiret (above, top) is another huge plus, along with the beautiful job done by Salvatore Cascio (below with Noiret and on poster, top), who plays the adorable, energetic, funny and altogether delightful child in what is one of the truly memorable performances by children in the history of film.

Early in the movie we're made aware how the village priest rather doubles as the town's censor, making certain that any scenes involving sex or even the idea of it -- kissing in particular -- are removed from the film before his parishioners can view them. One of the strengths of the film is how the culture, politics, religion and economics of this lively little village comes to life. The scenes set in the cinema itself are among the movie's best.  

Nearly half of Cinema Paradiso involves our hero as a child. Once he transitions to young adult, the character is played by the then-gorgeous young actor Marco Leonardi, (above, left, and below, right) in whose budding love life we (and the projectionist) become involved.

If Tornatore is not a particularly subtle filmmaker, neither is he heavy-handed. Cinema Paradiso is broad in both style and performance, but all of it works and at precisely the right level. (Only the not-so-great old-age make-up seen on some of the characters toward film's end stands out as too much.) The film also grows more beautiful visually as it moves along.

"Movies are finished," one character intones toward the finale, and soon our now-aged hero is walking through the old deserted and dilapidated movie house that once brought him such joy. The film has renewed resonance today, as we watch what might be the last gasp of movie theaters worldwide, due to this ongoing pandemic. Let's hope not.

From Arrow Academy, distributed here in the USA via MVD Entertainment Group, and full of terrific extras that include a nearly hour-long recap of Tornatore and his career (up until 2000, when the documentary was made) which will make you want to go back and watch every one of his films once again; another half-hour doc about the making of this film, its sudden withdrawal from the Berlin Film Fest, its subsequent wondrous Cannes debut, and who picked it up for U.S. distribution; and finally a recap of the famous kissing sequence, with each film and actors identified. Cinema Paradiso arrived on DVD, Blu-ray and 4K UHD earlier this month. If you're already a fan, a revisit is in order. If you've never seen this lovely, award-winning film, what delight lies ahead!

In Natalie Erika James' RELIC, characters peel away the present to discover the past

One of those What's-going-on-with-Granny? movies that proves -- for awhile, at least -- good enough to work on two out of three of the levels it tackles: horror and family history. Whether RELIC works on its third and probably most important level, which seemed to TrustMovies to be about unconditional love, will depend on how well this new film, the first full-lengther directed and co-written (with Christian White) by Natalie Erika James (shown below) holds and convinces you throughout its too-little-content-for-90-minutes running time.

Relic lost me around the mid-way point. I continued with it, but more out of a sense of reviewer's duty than enjoyment or interest. The plot follows a dutiful daughter (Emily Mortimer, above center) and her own daughter (Bella Heathcote, above, right) who come to visit Grandma (Robyn Nevin, above, left) because there seems to be a problem.

The two women arrive at an empty house with Gran missing. Once she returns, it is very soon clear that this old woman is a danger to herself and to others: a textbook example of someone who must be taken into some kind of protective custody.

But, instead of acting like intelligent, caring adults, mom and granddaughter turn into horror movie clichés who waste our time by walking down long dark corridors for the usual effect but to no particular purpose. Chills melt, suspense flails and dies, and we realize most of this exists merely to provide filler and vamping.

So we wait for the conclusion that works as both metaphor and reality -- well, the reality of a horror movie, at least. And while it does prove somewhat interesting and different, it also arrives as too little too late. Ms Mortimer and Ms Heathcote are as good as their roles allow but only Ms Nevin rises to the memorable. She is simultaneously classy, scary and impressive indeed.

Cinematography, set design and special effects are also as good as possible, considering -- especially the manner in which the house is made to mirror the dementia of its occupant. Otherwise, though, Relic seem to me to be yet another example of an idea worth maybe forty minutes stretched to unseemly proportions.

From IFC Midnight, the movie hits select theaters, drive-ins and digital/VOD this Friday, July 10. Click here for more information.

HBO's YEARS AND YEARS: Another surprising gem from the brilliant Russell T. Davies

We have been graced so far with only two episodes of the six-part series, YEARS AND YEARS, but if the following four are as good -- timely, prescient, frightening and utterly serious (yet with a lovely, light touch) -- this might just be the cable television series of the year. It is the creation of one, Russell T. Davies (shown below), who has already given us Torchwood, Cucumber, Banana, A Very English Scandal and Queer as Folk (among much else), so he hardly needs further bona fides. This new series, however, breaks new ground and may be his best yet.

Mr. Davies begins in the just-about now, in England, a country which, though frightened of the increasing stupidity, venality and craziness of America's Donald Trump, seems to be taking a turn toward increasing right-wing nationalism -- in the person of fledgling politician, Vivienne Rook (played to perfection by Emma Thompson, below).

Technology continues to give us new toys and surprises, a few of which are seen here, but employment and wages also continue to falter, even as the banking industry sleazes to new lows, while the wealthy grow even wealthier.

Same old same old, yet in Years and Years, the focus in on family, one extended example in particular. And Davies has created its individual members with his usual brilliant use of specifics and generics that join to give us a wonderfully alive and believable bunch.

Some of these folk are surprisingly into the politics of the scary-but-all-too-real Ms Rook (above), mostly because she seems to be speaking "truth to power" (just as some foolish Americans imagined was true of Donald Trump). Her slow, steady rise mirrors ironically the decline of our "group hero" family, as it endures problems of love relationships, immigration and deportation, Lehman Brothers-like collapse of banks, and a willingness to allow technology to take over one's entire body. (That last one takes us firmly into Black Mirror territory.)

Yes, we're only one-third into this series, but already we're hooked, frightened, amused, turned-on, and a whole lot more. The ace cast includes Russell Tovey (he of those magnificent ears, above, center right), Rory Kinnear (at left, top row, below), Anne Reid (below, above the computer), and lots more -- each of whom may be doing career-best work.

As is Mr. Davies. The man has given us the here-and-now, as well as a remarkably astute preview of what is to come. And while it ain't pretty, the fact that our family (some of them, anyway) soldiers on and maybe survives, is something to cherish. For as long as it lasts....

This British production, originally seen via the BBC, is being shown here in the USA on HBO, on Monday nights. Set your DVR.

Is Russell T. Davies' BANANA: EPISODE 2 TV's high point of compact beauty & enchantment?

I've seen this amazing little episode twice now (the BANANA series streams here in the USA via Amazon Prime), and I will probably watch it many times more over the years ahead. In just 23-1/2 minutes, it comes as close to perfection as I can recall -- in writing, directing, performance and particularly in its ability to tell such an all-encompassing tale so succinctly and well.

Banana, for those who don't know, is the very oddball addition to the Cucumber series, also penned by the great writer Russell T. Davies (he's done everything from Queer as Folk to Doctor Who, Torchwood, and A Very English Scandal), in which subsidiary characters from Cucumber are given their own short little tale, via which we get to know them better, as they shine quite brightly.

This is a lovely idea, and Mr. Davies, shown at right, brings it home with such joy, surprise, passion and delight that I should think you'll be immediately hooked. Best of all, you do not need to have seen Cucumber first. If you have, this will add to your enjoyment, but it is absolutely not necessary.

Cucumber, as it tracks the lives of some middle-aged gay men, as well as some much younger gays, proves funny, dark, moving and altogether special. It's like little else you'll have seen in the GLBT genre.

And while sex is the driving force at work in Cucumber, Banana concentrates on the need for connection.
Connections of many sorts are made here, some sexual, others not, yet all prove of equal importance.

The series offers eight episodes in all, with numbers two, six and seven TrustMovies' favorites (all are wonderful and very much worth seeing). That second episode stars two remarkable actresses -- Letitia Wright (above, left) and Rosie Cavaliero (above, right) -- and is a tale of love at first sight, in which both the huge and the tiny changes that occur prove absolutely understandable and believable.

How good to see Ms Cavaliero, who has been around now for decades and is always terrific, in a role this special, while Ms Wright (above and below), who has been around for a much shorter time (she's a nominee in this year's BAFTA Awards for Best "Rising Star") proves extraordinary in a role that should mark her in your memory for life. Here she gives "innocence" the kind of depth and glory you'll not have heretofore experienced.  Possessing a face you cannot help but fall in love with, Wright also offers in her roles -- so far, at least (Black Panther, Black Mirror and The Commuter, to name but three) -- versatility & maximum acting chops.

In those remarkable 23 minutes (directed very well by Lewis Arnold), Davies probes attraction, marriage, relationships, trust, the workplace and more with such specificity, nuance, charm and sheer fun and surprise that you'll keep alert and alive for every second. Don't miss Banana, and then maybe explore some of this wonderful writer's other work.

From Paraguay, THE HEIRESSES: Marcelo Martinessi's first full-length film is a rich and moving character/situation study

It is unusual enough to view a movie from Paraguay, but when that movie is also a first full-length film from an unknown director that turns out to be not only thoroughly involving but first-class in every respect, this is grounds for rejoicing. So it is with THE HEIRESSES (Las herederas), written and directed by Marcelo Martinessi.

Señor Martinessi (shown at right) has managed to combine themes involving class, change, entitlement, old money vs new, relationships, power, control and prison (of various sorts), all the while providing a study of character and situation that is really quite close to perfection. It has been a long while since I've seen a first film this well done in all areas -- on both sides of the camera.

The tale told is of two women -- Chela and Chiquita -- each from a wealthy (formerly, at least) family who have been lovers/partners for decades but have come upon hard times, due to which they are now forced to sell many of their most precious belongings.

As essayed by Margarita Irun (shown above, who plays Chiquita) and especially Ana Brun (below, left, as Chela), who has the more important role, these women resonate hugely. Ms Brun, in what is apparently her debut role, could hardly be better, as she slowly and quietly wraps us in her at first stand-offish but finally almost warm and completely understandable near embrace.

We get to know the two women, as well as their circle of friends and neighbors, especially once Chiquita has been "removed" to some extent from Chela's immediate life. How and why provides one of the film's many interesting plot devices, leading to some very quietly surprising changes along the way.

We get a look a Paraguay's prison system (women's variety, above), as well as a number of glimpses at the elderly, card-playing old-money wealthy (below) and their gossipy, judgmental habits,

and in particular one younger woman, Angy (very well-played by Ana Ivanova, below,  right), to whom Chela has clearly taken a shine. What happens between these two provides a good deal of the small but irrevocable changes that occur throughout the film, many of which involve those that Chela must make in order to grow and survive.

The manner in which Martinessi has laid out this growth and change is calibrated in such a way -- never too obvious but with enough information provided to keep up interested and on our toes -- that his movie proves consistently compelling and finally moving and even, yes, uplifting. Yet in a very minor key.

What we first perceive as a kind of love is eventually understood to be control. How Chela learns to circumvent some of this makes for one of the great, low-key pleasures of this just-beginning movie-going year.

From Distrib Films US and running 97 minutes, The Heiresses opens in its U.S. theatrical premiere this Wednesday, January 16, in New York City at Film Forum. Elsewhere? Well, it's scheduled to play Los Angeles at Laemmle's Royal in early March, but I can't find any other currently scheduled playdates. But it is difficult to imagine that a foreign film this good won't eventually hit major cities around the USA. Keep watch.

A great film arrives: João Dumans and Affonso Uchôa's quietly magnificent ARABY

"Stick with it, please." I've said this before, but I don't think it has ever been more necessary or appropriate than with ARABY, the new movie from the writing/directing duo of João Dumans and Affonso Uchôa: If you stay with this quiet little film -- despite its leisurely pacing, refusal to overly dramatize, and a protagonist who suddenly shifts from the expected one to an entirely different person -- by the time you reach the conclusion of this 98-minute movie, you will have experienced labor, the workplace, love, life, death and maybe as close to the whole of humanity as any single movie is able to provide.

Filmmakers Dumans (above, right) and  Uchôa (above, left) build their small monument to the life of 90 per cent from this statement uttered by their protagonist early on: "In the end, all we have is what we remember." From this, they have crafted a tale that concentrates on but one man (Aristides de Sousa, shown below) yet takes in much of our world, building via an aggregate of detail to a conclusion that, though in no way surprising, still suddenly seems to expand into enormous compassion and understanding.

How in hell did the filmmakers manage this feat? As best TrustMovies can tell, it comes via a kind of visual and verbal poetry that, like all else here, goes nearly unnoticed -- until it suddenly begins resonating like crazy. (I may simply be slow; all this might resonate a lot earlier with you.) Maybe it has to do with that trickly transfer of feeling for a single human being into an understanding of humanity itself.

This is a Brazilian film, after all. I've long thought that Brazil seems to treat its people about as cavalierly, if not in downright uncaring fashion, as any supposedly "democratic" South American country. We see this in a government that spends oodles to host the Olympic Games only to put its populace in ever more dire straits. And via films from Elite Squad and its follow-up (that bang you atop the head with violence against the people) to the quieter, probing films of Kleber Mendonça, the great preponderance of humanity is alway given the shaft.

In Araby, this is true all over again, and yet via its protagonist and the people he meets along his journey of laboring-just-to-survive, we enter the world of the masses in a manner subtly different from other films. Here, it's via a kind of memoir our hero has composed (when we at last learn why and where he began this memoir, it becomes ever more meaningful and humane) that tells his story as best he is able.

The lovely, heartbreaking irony here comes from the fact that our hero, Cristiano, feels that he cannot communicate or express himself very well. Yet the filmmakers provide him voice and view so that he is able to give us everything we need to understand the love he feels, the loneliness he experiences and his constant need to not simply survive but to communicate.

I would think that there must be millions of workers in China and India -- hell, even some Trump acolytes here in the USA -- who could identify with and understand this movie.  There are no "labels" attached to any view here, and yet Dumans and Uchôa offer up enormous political commentary. By the time the film has come full circle, its impact has burgeoned into such collective power and momentum that, days after I've viewed it, I am still reliving and thinking about this movie.

From Grasshopper Film, in Portuguese with English subtitles, Araby opens this Friday in New York City at the Film Society of Lincoln Center, and then will hit another four cities on either coast, with -- one hopes -- even more cities to follow over the weeks to come. Click here and then scroll down to the bottom of the page and click on Where to Watch to view all currently scheduled playdates, cities and theaters. 

LOVESONG: So-young Kim's friendship/love story opens (and deepens and surprises)

If you're already familiar with the work of South Korean-born/Los Angeles-raised filmmaker So-yong Kim -- In Between Days, Treeless Mountain, For Ellen and now LOVESONG --  you'll probably make a bee line for her newest movie, which bears many of the hallmarks of her earlier work: life unfurling naturally with little to no melodrama, relationships that change and grow organically, and especially some fine work with and around young children. All these are here, plus something else: Lovesong marks Kim's most accessible and nearly-mainstream movie thus far.

The filmmaker, pictured at left, here tackles the tale of two young women, longtime friends -- one of them (Riley Keough) married to a rather unavailable man and mother to a young daughter, the other (Jena Malone) still seemingly sewing her wild oats -- who are so very close that during a long weekend suddenly spent together take that friendship to another level. If this sounds anything like your usual lesbian rom-com-drama, it both is and isn't, for Kim spends much less time on the sex and/or lovemaking than on the feelings these two young women have for each other, as well as on the relationship that has built up between them over the years.

The two have a special place in each other's mind and heart, and Ms Keough (at left on poster, top and above) and Ms Malone (at right on poster, top, and above) bring all this to fine life, with the help of Ms Kim's screenplay (co-written with Bradley Rust Gray), which never over-explicates but allows us to see this relationship via its small moments of closeness -- and distance. When Malone's character flirts with a rodeo cowboy during the road trip, we see Keough's jealousy quietly surface.

Along on that trip is Keough's and her husband's (whom we see only via conversations on the computer) three-year-old daughter, played to near-perfection (as has been true with the various children in all of Kim's movies) by a delightful newcomer Jessie Ok Gray (above. right).

That early trip ends suddenly, and then it's several years later, as Malone is about to be married, and Keough and her daughter (now played by, I am guessing, Gray's older sister, Sky OK Gray, who is also as natural and believable as can be) arrive to join the wedding party. The filmmaker allows her child actors to simply behave and then captures their behavior extremely well.

The passing years seem to have only deepened the feelings of the two women, yet that wedding proceeds as planned, if in fits and starts. Lovesong actually grows and deepens as it moves along, even though the relationship between the two women is so halting and unsure. It's there and it's strong, despite all else.

Is it societal control that is forcing the Malone character toward heterosexuality over homosexuality? Clearly, she does have an attraction toward the opposite sex, yet that shown to her female friend seems strongest of all. Ever the character's mother (the usual nice job from Rosanna Arquette) questions her daughter's choice here, and what the poor groom (smartly and charmingly profiled by Ryan Eggold, below with Ms Malone), knows about all this is also unclear.

Ms Kim refuses to tie up loose ends (or almost any ends) yet this does not, finally, matter much. So well and so strongly has she captured the central relationship, despite much that we in the audience still do not know, that the movie manages to be both deeply sad and deeply joyful, as our two characters move on with their respective lives.

Lovesong is a most unusual film, but it's one that perceptive, demanding audiences should find worthwhile.

The movie -- from Strand Releasing and running just 84 minutes -- opens tomorrow, Friday, February 17, in New York City at the City Cinemas' Village East and in Los Angeles on March 3 at AMC's Sundance Sunset Cinema and Laemmle's Playhouse 7. To view all currently scheduled playdates and theaters in some 15 cities across the country, click here and then click on Screenings on the task bar midway down your screen.