Mubi Monday: Grand Tour (2024)

Although I keep forgetting how much I enjoy his work, I've been a fan of Miguel Gomes since I saw his wonderful and dreamy Tabu. I've not kept up with the entirety of his career, but I have mostly been pleasantly surprised when I stumbled upon another film helmed by him.

Grand Tour feels like a bit of a travelogue, at least throughout the first half of the movie. It then uses the differing experiences of two main characters to show how we can all go on a very different journey through life, even if we're seeming to walk along the very same paths and trails. Gomes may make you wait a while until things look to be heading towards some kind of resolution, but patient viewers are amply rewarded.

Gonçalo Waddington plays Edward, a civil servant who finds himself with an extreme case of cold feet on the day he is due to marry Molly (Crista Alfaiate). He decides to do some travelling instead, but his "holiday" is tinged with fear, paranoia, and a sadness regarding his actions. Molly follows in Edward's wake, and is often amused by his misadventures, but Molly also connects with others in a way that Edward does not.

Having co-written the screenplay with three other collaborators, Gomes does a very good job of exploring some weighty themes with a light touch that helps the 129-minute runtime to pass by breezily enough. The black and white cinematography is gorgeous throughout, and there are occasional splashes of colour interrupting things, and it was a great idea to focus on Edward in the first half of the movie before then allowing us to spend time with the much more pleasant and upbeat Molly.

Waddington and Alfaiate are both very good in the lead roles, the former stuck in the midst of his negative aura while the latter flits here and there like a reflected sunbeam that wavers whenever a cool breeze creates a ripple through the shadows and light. Other people come and go, but very few make a strong impact. They are very much weaving in and out of a story made for two. Lang Khé Tran does very good work though, as does Cláudio da Silva, both becoming an important part of Molly's journey.

Those familiar with the concept of the Grand Tour itself will find even more to enjoy here, the juxtaposition of varying experiences showing us differences created by gender, personality, intent, and whatever historic baggage is carried around. Gomes delivers a treat here that actually pairs very nicely with the aforementioned Tabu, and it's something that is able to work on a number of different levels, from the superficial sight-seeing imagery to the deconstructive commentary on traditions and global history.

9/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

Mubi Monday: The Tsugua Diaries (2021)

Hmmm. That's about the best thing I can say about The Tsugua Diaries. Hmmm. Showing a series of days in reverse chronological order (hence the title, see how August is spelled backwards in the title, get it?), this is a fairly weak work of meta-fiction that blends lines between reality and fiction in a surprisingly uninteresting way. The fact that it is set during the 2020 pandemic is the only interesting thing about it, providing an interesting time capsule and a look at how everybody, but especially creative artists, started to think about interactions, keeping themselves safe, and being able to continue their work.

The main characters onscreen are Crista, Carloto, and João, played respectively by Crista Alfaiate, Carloto Cotta, and João Nunes Monteiro, which I think tells you everything you need to know. They're part of a group of people trying to make a movie during a situation that has taken a turn for the strange. Lockdown, new rules about masking and distancing, and general concerns make things extra tense for people, as is crystallised in a scene at about the halfway point showing someone being berated for taking himself away for some time at the beach.

Co-directed by Maureen Fazendeiro and Miguel Gomes, who also apparently co-wrote the thing with Mariana Ricardo, and all three also appear in front of the camera (of course), this is a loose and rambling examination of an unsettling reality. It's worth remembering two main things though. First of all, Hitchcock once said that drama is simply life with "the dull bits cut out", which doesn't happen here, so you have a slice of life, dullness and all. Second, lockdown was, for many people, even more dull than usual. It's when people started making lots of home-made bread, and trying out other recipes in their kitchens. Many of us found shows to binge-watch, some started to go a bit stir crazy, and news reports showed the worst of humanity when people would race against one another to stock up on rice, pasta, and huge multipacks of toilet rolls. Some people loved it, I still wish every establishment had codes for table ordering to save me from extra social interactions, but many found it intolerably dull, and not great for their mental health. So . . . here's a film allowing you to remember those days. It's not exactly the nostalgia we crave a la Stand By Me.

Some may appreciate that the film-makers still managed to get something made during very difficult times. Some may appreciate the honesty of one or two key moments. I didn't appreciate any of it. This felt a bit too self-indulgent, and also a bit too cavalier about the central subject matter (which, lest we forget, is still affecting many to this day, it just isn't deemed newsworthy right now). I didn't care about anyone onscreen, I wasn't impressed by the editing choices, and it was taking me back to a time that I would much rather see used for educational purposes than art or entertainment. It's 102 minutes, but feels longer, and I am just glad that I hope to never have to sit through it again. In summation, I detah it.

2/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share