Christopher Nolan is a perfectionist, a conductor who insists that every instrument at his disposal is finely calibrated and double-checked. This means his films are always beautiful and reinforced by strong writing, powerful music and breathtaking visuals. His clinical precision could be accused of siphoning the warmth, imperfection and joy out of film, but he does tend to work on the colder, darker more serious side of the spectrum as evidenced by The Dark Knight. A legendary superhero match up between Batman and the Joker is given the same epic treatment as Heat, which saw Hollywood legends Al Pacino and Robert De Niro go head-to-head. The Dark Knight represents the pinnacle of superhero films, leaving Tim Burton's original Batman in the dust, a pantomime by contrast. Beautifully shot, pulsating in its dark majesty and enigmatic by virtue of Heath Ledger's maniacal performance , this is a good example of a sequel that managed to top an already excellent Part 1.
Spling reviews Logan, Keeping up with the Kandasamys and The True Cost as broadcast on Talking Movies, Fine Music Radio. Catch Talking Movies on Fridays at 8:20am and Saturdays at 8:15am every week on Fine Music Radio.
Moonlight is a coming-of-age drama that chronicles the life of a young black man from childhood to adulthood as he tries to cope against the flow of everyday adversities while growing up in a rough Miami neighbourhood. The film deals with a range of negative social themes such as: drugs, bullying and gangsterism. Ordinarily, these hard living themes would translate into a gritty and difficult-to-watch film, but this is the magic of Moonlight, turning the ugliness of real-life into a thing of luminescent beauty.
Director Barry Jenkins has composed an elegant drama that treats all of its subjects with great dignity and respect in spite of their transgressions. This is a very human experience, viewed from a nonjudgemental perspective and powered home by an ensemble of equally sincere performances. Mahershala Ali's towering performance is tough yet heartfelt, and he manages to captain a strong ensemble of performances, despite his limited screen time. The lead role is played by three fine actors, namely Alex R. Hibbert as Little, Ashton Sanders as Chiron and Trevante Rhodes as Black. All the while, the mercurial Naomie Harris tries to keep them in check as troubled mother, Paula.
Richard Linklater delivered a similar coming-of-age film about a white lower middle-class Texan boy approaching adulthood with docudrama realism. While Moonlight doesn't enjoy the continuity of having a single actor as its lead like Boyhood, the casting is convincing and the chapters are equally realistic. There is a poetry and sombre depth to this filmmaking, which transcends other dramas with its natural ebb and flow, maintaining a curious tension as we revisit a character whose neighbourhood, family and social constraints have shaped him. While the realm is harsh, the heart is tender, turning this drama into a deeply moving, subtle and beautiful piece of cinema.
"You want to be like Jimi? You got to kiss the sky!"
Jenkins could have used this platform to launch a scathing attack on race and sexual politics in America. However, he's taken a much more gentle approach in relaying his message, using a lens of acceptance to help shape attitudes. By presenting a vicarious and disarming experience of what it must be like to grow up poor, black and gay, we are forced to either empathise or reflect on our own prejudices. This makes Moonlight powerful in the way it can touch your soul and haunting as its pure elegance sinks into your bones.
As a low-budget drama, this film speaks volumes and is a testament to great writing, fine casting and visionary direction. Its multitude of Best Picture awards are important in demonstrating that art can trump budget and it serves as a huge inspiration for budding filmmakers around the world. One can only hope that the widespread attention it has received as a result of the award season will convert into people taking the time to see it.
The True Cost is a documentary written and directed by Andrew Morgan, which explores the impact of "fast fashion" on people and the planet. This timely documentary latches onto the fashion industry, another example of how big business is driving profits at the cost of social and environmental responsibility.
Juxtaposing the consumer materialism and capitalist mindset against the reality of sweatshops in developing countries, we explore many facets of this tension as Morgan gives us a behind-the-scenes tour. From poor working conditions, human rights issues and textile factory disasters to industrialised cotton farming, we are led on an eye-opening and heartbreaking journey, which acquaints us with advocates driving change as well as the affected garment workers.
Morgan's message creates awareness about a justifiable concern and it's done with Michael Moore panache, adopting a biased standpoint and powering it home with great emotion. To his credit, he mostly succeeds in exposing the disturbing chain of exploitation and linking it back to major fashion brands and agricultural monopolies. While consumer materialism and capitalist profiteering are demonised, there's enough substance to his argument to provoke the right kind of conversations.
Companies seeking to increase profits are outsourcing their production to developing nations, where it is easier to take advantage of cheap labour and lax labour practices. While offering an alternative income to these impoverished nations seems like a helping hand, it's easier to wash one's hands when you can hide behind outdated regulations and other mitigating socio-economic factors.
Travelling between Bangladesh, Haiti, Japan, Cambodia, England and America, Morgan gets first-hand accounts from those directly affected and footage of factory floors to pollution concerns. The documentary is slick, moving fluidly from runways to sweatshops, and from advertising to talking heads. Since roughly 85% of the factory workers tend to be women, there's also a fascinating feminist undercurrent.
The stark contrasts between first and third world creates a palpable tension between the haves and have-nots. While "fast fashion" bigwigs are criticised for their business strategies and lack of ethics, it's a pity that Morgan was unable to secure an interview with any of their representatives. You can understand why they wouldn't want to be subjected to this kind of scrutiny, but it does make the documentary seem a bit one-sided, even if the outcome seems like a foregone conclusion.
The True Cost is a depressing indictment on big business, which is geared towards profit at the expense of human dignity, as long as it's not happening in their backyard. While reverse engineering the system would definitely lead to major improvements, what's even more saddening is that the governments of these developing countries seem to view their own people with equal disdain.
Morgan's objective for the documentary is to educate viewers to see the fashion industry's exploits and make wiser decisions in much the same way as he experienced it. Featuring fair trade companies demonstrates that there are alternatives and he suggests that by getting the customer to start questioning their spending habits, our collective self-awareness will lead to real change as a spotlight forces business to adjust their policies.
The True Cost captures some truly heartbreaking moments in interviews with subjects and even in the passion of some of the most hardened campaigners. This realness is at the heart of the documentary, which seeks to personalise the lowly garment maker who is making the greatest sacrifice in the clothing cycle. While you can't help but feel guilty for any threads you happen to be wearing, this message needs to be heard so that at the very least you will think about the costs beyond the pricetag.