For It Is Man's Number: stella gonet

Showing posts with label stella gonet. Show all posts

Saturday, 8 June 2024

Shudder Saturday: Stopmotion (2023)

If you're a fan of Robert Morgan then you will probably have a good idea of what to expect from his first feature film, especially with it being titled with his favoured form of animation. It's interesting to see Morgan prove himself as a feature director though, and this is a debut that perfectly blends elements of his brilliant shorts with the added luxury of a runtime that allows him to nurture a growing atmosphere of unease and dread.

Aisling Franciosi plays Ella Blake, a woman who is often shouted at and belittled while working on the stop-motion animation being filmed by her mother, Suzanne (Stella Gonet). Things change when Suzanne is suddenly indisposed, leaving Ella to carry out the work all on her own. Leaving Ella with some creations that she start to invade her subconscious. Does Ella have a problem, or are things around her getting very weird?

Co-written by Morgan and Robin King, who has worn many hats throughout his own career, and is certainly no stranger to dark animation, this is a fairly obvious and standard bit of psychological horror that is elevated by those horribly off-kilter and downright queasy creations that Morgan puts onscreen. While it would make an interesting companion piece to something like Censor, I much preferred this. The big difference being that an artist is at the heart of this particular journey through a landscape blurring reality and unreality, whereas Censor was about a poor . . . censor (yes, I am still side-eyeing all of you who absolutely and unreservedly loved it, and probably will forever, but I know I am almost alone in just liking it).

I loved Franciosi in the lead role here. While I don’t think I have personally seen her in any of her orbiter features, she gives the kind of brilliant and confident performance that assures you that she has been honing her craft for some time. Gonet is impressively mean and callous, which she does well enough to immediately make you stay on the side of our put-upon lead, and both Tom York and Therica Wilson-Read do a very good job as people who think they know what it takes to make such impressive art, but really REALLY don’t. The great James Swanton (if you don’t know his name then I implore you to seek out some of his work) makes an impact with his character, and, last hut not least, young Caoilinn Springall is an extra window into this world, and an extra person who may be in danger, as a curious little girl just credited as Little Girl.

Fans of Morgan have been waiting for him to deliver a feature for some time, which saddles this with some extra weight of expectation. Try to leave that aside once you start watching this though. The film itself is nicely in line with what should be expected from Morgan, even if it feels a bit light and tame when placed alongside his memorable shorts. Morgan knows what he is doing, and he knows the pros and cons of different formats and runtimes. Put a bit of faith in him and you should be duly rewarded. This was great. It wasn’t really like his short films, but then . . . what is?

8/10

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Sunday, 24 September 2023

Netflix And Chill: El Conde (2023)

There is, in my experience, no such thing as a Pablo Larraín film. For the past two decades he has been delivering stylish and thought-provoking fare, a lot of it making use of the dark and turbulent history of Chile, the country he was born in. While people may have already checked out his more mainstream fare, and I use that term in the loosest sense, I encourage everyone to happily explore his entire filmography. There are many treats waiting for you, including one or two films that are sadly forgotten already, or overshadowed by the major releases that revolved around giant historical figures (Jackie and Spencer).

If you want to go in to El Conde completely blind then I suggest you avoid any reviews or plot summaries, including this one. I don't write spoilery reviews, but I do believe that the central conceit of this film is good enough to keep secret from those who have yet to see it. I need to mention it here though, and you have to heed this as a spoiler warning.

El Conde is a very dark comedy that looks at history through a warped viewfinder, positing the idea that a number of infamous political figures were, in fact, vampires. The main one, the one that the film revolves around, is Pinochet. Yes, THAT Pinochet (played here by Jaime Vadell). He may be coming to the end of his life, despite trying to delay that moment for a long time already, and those around him start to bicker over what they might inherit. A young woman (played by Paula Luchsinger) turns up to conduct an audit, but it's quite obvious from the start that she is there to exorcise and kill The Count.

Written by Larraín and his long-time collaborator, Guillermo Calderón, El Conde is presented in gorgeous black and white, juxtaposing the grace and power of vampirism throughout with the cowardice and greed of Pinochet. Don't worry about this trying to turn the central figure into some kind of grand icon, even comedically. The film uses the nastier aspects of vampirism to make obvious comparisons with the ways in which those with power and money can use up people they view as being far beneath them, but it also uses that same power to show how everyone should be held to account (no pun intended). It's tempting to be seduced by someone who can offer you a taste of their power, but it never wipes out the memory of everything bad they have done, and everyone they have harmed or killed, to maintain their superiority, even if they are struggling to retain their physical strength and form in their old age.

Vadell is good in the central role, helped by the fact that his performance isn't required to be comedic. The comedy all comes from the use of the vampiric trappings, and the squabbling around him. Two of those people squabbling are played wonderfully by Gloria Münchmeyer and Alfredo Castro, both portraying the kind of people who are ultimately so often forgotten while they should really be viewed with the same disdain as the employers/partners they help stay in power. Luchsinger is very enjoyable, and the fact that her character isn't always very good at maintaining her obvious facade for being in the company of these people, or these monsters, provides a few extra laughs along the way. Other notable supporting players are Catalina Guerra, Amparo Noguera, and Stella Gonet, although I have to say that I think the focus on Gonet's character in the third act, and the reveal of her identity, is a mis-step that the film would have been better without. It's an all-too-easy joke that doesn't work as well as the rest of the film, dragging things down slightly when it starts to feel a bit too much like childish "wish-fulfilment".

Despite the fun of the idea and the lovely visuals throughout, this ends up being one of the weaker films from Larraín. It's good, and may be a strangely effective way for people to reconsider and reaffirm the evil committed by Pinochet, but it just errs slightly too much on the side of caution. That's understandable, but I cannot help thinking that both Larraín and Calderón could have given us something much more disturbing and effective, without weakening the dark comedy of the premise.

6/10