Showing posts with label Jupiter Ascending. Show all posts
Showing posts with label Jupiter Ascending. Show all posts

Monday, 11 September 2017

Is The Villainess (2017) - despite resemblance to the Kill Bill volumes (2003 / 2004) - closer to Looper (2012) ?

Responses to a Teaser screening of The Villainess (Ak-Nyeo) (2017)

More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)

11 September

Some first-night responses to a Teaser screening, by London Korean Film Festival (in conjunction with Cambridge Film Festival), of The Villainess (Ak-Nyeo) (2017), screened at The Arts Picturehouse, Cambridge, on Monday 11 September at 9.00 p.m.




In The Villainess (2017), who is the title-character ?
Is it Seo-hyeong Kim ?



Amidst all the sequences where so much happens so quickly (the whirl that is typically in The Matrix (1999), or of the Kill Bill films (2003, 2004)), the opposite pole of The Villainess - aside from the possible elements of melodrama* of which Mark Morris spoke - is that type of moment when one thing reminds of another (which is there, with Motoko, in Ghost in the Shell (1995)) :

Sook-hee (played by Ok-bin Kim) is no longer in the present, because her instant has become the time to which (drawn by remembrance) she has disassociated - and so she is then visibly not 'present' to someone near her. But this is not mere daydream, but traumatic revisiting of episodes (or eras) of abuse [As in As if I am Not There (2010)].

As Motoko arguably is intuitively seeking – without knowing whom, or what, she seeks (but having the capacity ‘to dive into’ the being of others) – so is Sook-hee. Accordingly, we see her, finding in parts of her memory to which she does not have direct access things that events throw up, but unable to give her complete history (and so the film does not show it, not even 'out of order'). To this extent, The Villainess will not fully explain who Sook-hee is, or why, but just alludes to the tortuousness of her life - as its painful and wounded nature becomes clear to us.



In literary terms, one is reminded not only of G. K. Chesterton's The Man Who Was Thursday (and Conrad's The Secret Agent), but also the weirdness of Iain Banks in The Wasp Factory, A Song of Stone, and - of course - The Business !


Film-references :

 * Akira (1988)

* As if I am Not There (2010)

* Ghost in the Shell (1995)

 * Jupiter Ascending (2015)

 * Kill Bill Vol. 1 (2003) / Vol. 2 (2004)

 * Looper (2012) [Surprise Film at Cambridge Film Festival]

 * Salt (2010)

 * The Matrix (1999)



These tattered corridors, do they remind us of where Neo seems to have been gunned down for good... ?






End-notes :

 * There are certainly romantic tropes, but how much are they undercut by everything else that we know... ? (Even so it is very important for Sook-hee to know whether she was ever loved, whatever happens Now.)




 Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Thursday, 5 February 2015

Elixirs of youth, utilitarianism, and Sonmi-451

This is a partly completed review of Jupiter Ascending (2015)

More views of - or before - Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

This is a partly completed review – it will certainly spill over into another posting – of Jupiter Ascending (2015)




5 February

Someone (whose Tweet cannot now be located) was replying to an invitation from BBC’s Film 2015 (@BBCFilm2015) for comment, and described Jupiter Ascending (2015) as ‘baffling’ and / or ‘confusing’ (in such a way that made clear that this / these description(s) was / were not commendations) :

Well, if one watches a film such as Father and Son (2003), and expects it all to be explained and tied up by the end, then that ‘just ain’t life’, so Screen 3 at The Arts Picturehouse (@CamPicturehouse) this afternoon at 4.30 would have been the wrong place to be (if one thinks that this film (or, say, Caché (Hidden) (2005)) should not baffle or confuse, even though life can and does)…

Before Jupiter Ascending (#JupiterAscending), Cloud Atlas (2012) was a long, hard look at repeating patterns, and the related potential for our kindnesses and cruelties to reverberate beyond our own time. (Although that is also, in The Matrix Revolutions (2003), the explicit message at the end of the trilogy – even if some resent even the existence of the two companion films to The Matrix (1999).)

Almost necessarily, Jupiter Ascending (2015) does not seek to cover that ground again, but trust, deceit and betrayal, and the nature of reality, have been integral parts of The Wachowskis’ screen-worlds since The Matrix, and they are here, too. We may tend to call what used to be ‘personnel’ by the name HR. If so, we overlook what these film-makers keep returning to, the behaviour (and morals) of those who see their fellow human-beings as ‘resources’ (thus, the earlier film has Jim Broadbent (as Timothy Cavendish) exploited by his family, and David Gyasi (Autua, a free man in slavery))…

Yes, The Wachowskis have 'delivered an action film', but what and where is the action, and what levels of reality (mirrored by different grading of CGI versus live action) are we meant to perceive ? :



That said, the amount of undiluted action is far greater, and it as though the proportion of threat, pursuit, and rescue in the time-period of Sonmi-451 (Doona Bae) and Chang (Jim Sturgess) had expanded proportionally to fill out the rest of Cloud Atlas. One will have to come to the action (and the nature of what action depicts / denotes on a cinema screen) at a later date, but it is not as if Lana and Andy Wachowski, always wearing their cine-literacy easily, have deprived those less keen on it of plenty of other insights.

Some key references (not exclusively to this one film of theirs) are :

* Metropolis (1927)

* Carry on Cleo (1964)

* Brazil (1985)*

* Akira (1988)

* Looper (2012) (mixed with that scene from North by Northwest (1959))

* Platonic Ideals / ‘The Theory of Forms’ / οὐσία (or ‘ousia’)

* Harry Potter and the Philosopher’s Stone (2001) / The Makropulos Case (Leoš Janáček (based on Karel Čapek’s play)) / Bernard Williams’ essay of that name**

* Free will v. determinism / the craze for 'genetic screening'

* Etc., etc. – and one should not doubt, when The Matrix (1999) alluded to Lewis Carroll and The Wizard of Oz (1939), amongst others – that these references are any more than coincidental !


So what, also, about these possibilities (arising from that Film 2015 questioning / Tweeting) ? :






As to the film more than twenty-four hours later, it is still a fertile ground for reflection, because its makers’ knowingness should never be taken for granted.






Then again, one does not please everyone... :





More to come, but, for those who like spoilers, here are some Tweets in the meantime…








End-notes

* With even a little cameo from its own Terry Gilliam, an influence to which The Double (2013) also nods*, with what it has become fashionable to call its steam-punk feel. [Also in Paddington (2014), though perhaps distilled through Gringotts Bank in the Harry Potter films (numbers 1 and 7 ?).]

** Williams, Provost of King's College, Cambridge, was also rather fond of opera...




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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