Goodbye Lenin review

 Number 541 on the top 1000 films of all time is the German tragicomedy 'Goodbye Lenin.'

On the eve of the fall of the Berlin Wall, the emotionally fragile mother and staunch Socialist Unity Party supporter Christiane Kerner (Katrin Suss) falls into a coma. Upon waking up, the wall has fallen and Germany has been re-unified. However, her son Alex (Daniel Bruhl) resolves to hide the truth, in case, the shock kills her.

I think it's quite easy to compare this film to the later German film: the Lives of Others. Released three years later, this film is also set in the newly-reunited Germany although with a far more dour tone.

Not necessarily a bad thing, but Goodbye Lenin had a far more hopeful and optimistic tone. The Lives of Others was all about exposing subterfuge, but Goodbye Lenin hinged on subterfuge. Most of all from Alex who is desperately trying to keep the truth from his mother even as his web of lies spins out of control.

Alex was played by Daniel Bruhl in his breakout role. Since then he has gone onto appear in Hollywood films like Inglorious Basterds and Rush. But Goodbye Lenin was where everything started. Alex's dedication into keeping the truth from his mother soon grew into an unhealthy obsession that threatens to tear apart his relationship with hi sister Ariane (Maria Simon) and girlfriend Lara (Chulpun Kamatova.)

Although the charade starts with the best of intentions it soon unravels as Christiane starts getting glimpses of the real world. No amount of fake news reports that Alex films especially will do anything to stop Christiane from discovering the truth.

All this would be good and well expect this narrative work is undone in the film's final act. After Christiane recovers well enough to visit the family dacha and reveal a devastating family secret, she suddenly relapses and has to return to hospital. It all just seemed a rather cheap way to generate conflict.

That being said, I did enjoy Goodbye Lenin. I enjoyed its hopeful, optimistic tone and it did launch Daniel Bruhl's career. Although it wasn't Oscar-nominated it quite rightly won other awards like Cesars and Lolas.

4 Months, 3 Weeks and 2 Days

 Number 403 on the top 1000 films of all time is the Romanian drama '4 Months, 3 Weeks and 2 Days.'

Set in Romania in the waning years of Communism, we are introduced to friends and college roommates Otilla (Anamaria Marinca) and Gabita (Laura Vasilu.) When Gabita has an unexpected pregnancy, she asks her friend to help her obtain an abortion. However, due to Romania's draconian Decree 770 that largely outlawed abortion, this is far easier said than done.

I have seen almost seven hundred films on IMDB's 2015 edition of the top 1000 films of all time. Yet this is the first film that I've seen so explicitly address the topic of abortion in such a frank and open way. I'm not even referring to the IMDB list, but films full stop. 

This is because abortion is the epitome of a hot-button issue - probably even more so now due to the US Supreme court overturning Roe Vs Wade in 2022. I suspect this was one major reason why this film was not nominated for the Best International Film Academy Award. I think this snubbing was down to the academy not being ready for this conversation.

Yet this is a conversation that director Christian Mungiu forces you to have whether you want to or not. much of the film consists of long takes where audiences have to watch and engage with the film. There's nowhere else to look.

Gabita makes a number of unwise decisions that imperils both her and Otila. The pair even have to sleep with the abortionist to ensure his cooperation. Naturally, this strains their relationship and we see its disintegration in uncomfortable detail. The long takes focus purely on Otila, as she chastises her friend.

Another long take sees Otila at the world's most awkward family dinner. She's supposed to be celebrating her boyfriend's mother's birthday, but instead they are all blissfully unaware of the inner turmoil she is facing.  With the uncomfortable long take, it's difficult not to feel what Otila must have been feeling at that time.

Arguably, the film's most shocking scene was the thirty-second long take of the aborted feotus, probably shocking due to its rarity on-screen.

4 months also brilliantly addressed the theme of womanhood and femininity. Too many conversations about abortion and women's bodies are made by men. However, there the script is correctly flipped. All of the important relationships take place between women while the male characters are relegated to supporting roles. Otila and Gabita's friendship is always at the centre of the film, as it should be. Both actresses excelled in the lead roles.

4 Months, 3 weeks and 2 days might have been an uncomfortable film to watch, but it was an necessary one too. And without doubt it was unfairly snubbed by the Academy.

Lilya-4-ever review

 Number 402 on the top 1000 films of all time is the Russian tragedy 'Lilya-4-ever.'

Lilya Michailova (Oksana Akinshina) is a sixteen-year-old young woman living in a Communist-era Russian town. When her mother unexpectedly abandons her for a new life and man in the USA, Lilya is lost. She befriends the equally lost and younger Volodya (Artyom Bogucharsky) but it looks like that Lilya's life will improve when she begins a relationship with the mysterious Andrei (Pavel Ponomaryov.) He encourages her to go to Sweden with him, in the promise of a new life together, but upon arrival, she is trafficked into sexual slavery.

Lilya-4-ever has been compared to Lars Von Trier's Dogme 43 movement. The comparisons are plain to see form the tight, claustrophobic camerawork, the lost, naive female characters and the brutally realistic tone. Just like Von Trier's Dancer in the Dark and Breaking the Waves, Lilya-4-ever is a powerful if deeply upsetting film. And its realism is what made it so powerful. Lilya's story is one that undoubtedly happens to so many women everywhere. And it does, as this was based on the tragic true story of Dangoule Rasalaite

Oksana was great as the innocent Lilya - somebody so desperate to escape her awful life that she ignores all the red flags about Andrei that even the far younger Voldymyr can recognise. Lilya is nothing more than a victim, but Oksana played her with a lot of will and determination. She's more than prepared to fight back than necessary.

The best part of the film was her relationship with the younger Voldymyr. Similar to Lilya, he comes from a broken home with an alcoholic father who constantly beats him. He and Lilya form a touching big sister/little brother relationship. She scrapes together whatever money she can get to buy him a basketball, which he carries everywhere with him. Even when his spiteful father punctures it, Volymyr still carries the half-inflated ball. This was just so sad and really highlighted Voldymyr's innocence. Like Lilya, he desperately clings to any escape from his awful life.

*Spoilers*

Voldymyr sees Lilya going to Sweden as a complete betrayal. She is going to a better life leaving him alone and friendless. Once she leaves, he commit suicide. This was all predictably tragic. Yet he continues to appear as an angel and hallucination in Lilya's mind. Complete with angel wings. Okay, I get him being an angel. The kid is so innocent that he wouldn't even hurt a fly. It also makes complete sense that Lilya would imagine her only friend at the more traumatic moments of her life. But actually giving Voldymyr angel wings felt like heavy-handed imagery.

Another criticism would be the film's pacing. In its efforts to dive into the storyline, it skipped over some important set-up. it wasn't made clear why Lilya's mother was so ready to abandon her daughter. Instead we're given hints and snippets. Although, I talked about realism earlier, and this is certainly a realistic thing to happen. Sometimes people, even parents, can walk out of your life with no exploration. it might not be satisfying to watch, but it's painfully true.

As is the horrific sexual treatment that Lilya experiences upon her sexual trafficking. Being forced into prostitution, we bear witness to Lilya's POV, as she has sex with a plethora of creepy scumbags. But these POV shots acted as a mirror to Lilya's awful situation. Just like her, the audience was trapped with no escape.

Finally, I didn't like the film's soundtrack. It was a weird mixture of Eurodance and German industrial rock. Rammstein's Mein Herz Brennt plays during the film's climatic sequence. It felt incredibly out of place. I know that Rammstein was popular in Russia at the time, but I think something softer might have been appropriate.

Nevertheless, Lilya-4-ever was a devastating film that perfectly encapsulated the phrase: all children deserve parents, but not all parents deserve children.

The Iron Giant review

 Number 388 on the top 1000 films of all time is Brad Bird's 1997 animated adventure: the Iron Giant.

Set in 1950's America, 9-year-old Hogarth (Eli Marienthal) befriends an alien that resembles a giant metal robot, voiced by Vin Diesel. However, the robot is being hunted down by paranoid government agent Kent Mansley (Christopher Mcdonald.) With the help of beatnik artist Dean McCoppin (Harry Connick Jr,) Hogarth must protect the Iron Giant from falling into the clutches of the government. Jennifer Anniston also stars as Hogarth's mum.

This film couldn't be a better allegory of Cold War paranoia if it tried. The iron giant was the communist running away from the Mcarthy-esque Kent. The Red Scare was little more than a witch hunt and the feelings of distrust easily spilled over into this film. The humans hunt down the iron giant because they don't understand him and because they're afraid of him. You can argue it's not the most original or complex of concepts, but it is certainly a powerful one.

 And that was down to the animation and Vin Diesel's voice performance. As the Iron Giant looks like a robot, it is easy to forget that he is a sentient being. The animators did well to convey every ounce of hurt and anger that he felt especially during the ending when he fights his true nature. And, even though, Vin Diesel has a reputation for playing action heroes, he is entirely capable of playing softer, more sensitive characters. When the Iron Giant asks Hogarth about death, Hogarth explains it is when the body dies, but the soul lives on. And a soul is exactly what Diesel gave to the Iron Giant.

Although I did think that at nine-years-old, Hogarth was a little too young to be a hero. Sure, at that age, you'll be more trusting then you be as an adult, and, of course, this is a cartoon, but I think it would have been better if he were a few years older.

But I did enjoy the film's dissection of American culture. At the film's conclusion, the Iron Giant goes on a rampage, causing the army to fire everything at him: guns, tanks, fighter jets and even a nuclear missile. I would argue it's just typical of Americans to shoot at something they don't understand.

Critics and audiences lauded this film, but due to a lacklustre marketing campaign by Warner Bros, it severely underperformed at the box office. Warner didn't see the value in animation films at the time. Considering how popular the film has become, I bet they're sorely regretting that decision now.