Kiernan Shipka, Lucy Boynton, Emma Roberts, Lauren Holly, and James Remar are poignant in their minimalist roles, and writer-director Oz Perkins arranges their characters in a cleverly constructed narrative prism that simultaneously dramatizes violence and its aftermath in an endless chain reaction of perpetual cause and effect. Such a theme also very consciously aligns Mank with the “fallen, not-quite-great man” themes of Citizen Kane. He secretly met Myrtle and Marty Berman (organizers in the anti-apartheid movement) who introduced him to the groups fighting against apartheid and to Bloke Modisane, a writer and journalist working for Drum magazine. Bowen, The Evil Dead still feels like the punchiest horror flick this side of a Dario Argento giallo. Eden slashes her wrists in the kitchen sink, the sounds of children playing emanate from the empty yard, inane talk of the Internet’s funny cats and penguins becomes white noise against Will’s screaming: The question of whether or not to trust his sense of foreboding is perhaps not so open as director Karyn Kusama and company might wish, but against the terrors of continuing on after losing a child, the issue of narrative suspense is almost immaterial.

Mank’s most haunting sequences are self-contained arias in which characters grapple with their powerlessness.

This disturbing material is reminiscent of other films dealing with grief and marital collapse—especially Sam Peckinpah’s Straw Dogs and Lars von Trier’s Antichrist, the latter of which also informs the impressively primordial look of the woods here—yet Koko-di Koko-da is nowhere near as impactful. Made by fans in Auckland, New Zealand. Though the father appears ill, the matriarch (Julie Oliver-Touchstone) is convinced that his lifeforce is being sucked away by a demon or perhaps even the devil himself. And some of our favorites are currently streaming on Netflix. Damning indictment of aparthied in South Africa. Or, rather, he blasted the 1980s specifically for its return to a 1950s-reminiscent moral and political agenda. This was a heck of a ride. Once you get past the faux-provocation of the film’s title, it’s difficult to tell what ideologies the filmmakers are trying to skewer. Once obtained the pass is to be accompanied by a permit. Her is about “the modern condition,” but not, importantly, in the strictly satirical sense: It tells us less about how we live than how we love. Joel rediscovers his love for Clementine through fantasy, which is to say through his clouded memories of her. He eventually settles in one of the squalid apartheid-era townships, only to find himself confronted with a barrage of South Africa's infamous pass laws restricting his every move. This fear is similar to the terror that parents have of inadvertently destroying or disappointing their children, and Flanagan unites these anxieties with a ghoulishly inventive plot turn that he doesn’t fully explore.

and Close Encounters of a Third Kind, about unseen spirits tormenting a suburban family. Learn how and when to remove this template message, "The Official Lionel Rogosin Website :: Biography", Come Back Africa and South African film history, https://en.wikipedia.org/w/index.php?title=Come_Back,_Africa&oldid=969668868, Short description is different from Wikidata, Articles needing additional references from May 2013, All articles needing additional references, Articles needing additional references from April 2013, Creative Commons Attribution-ShareAlike License, Cinematography: Ernst Artaria, Emil Knebel. Winkler’s film opens with the announcement of a blissfully naïve and typical dream. Despite a searing performance from Diane Lane, writer-director Thomas Bezucha’s Let Him Go ultimately self-immolates. This scene is staged with assured offhandedness, allowing us to feel the shock of sudden death, and it’s later complemented by a haunting pair of hand-drawn sequences, in which a pair of rabbits lose their offspring and take vengeance on the colorful bird who played an accidental role in the bunny’s death. But to make Mank a conventional avatar of righteousness this late in the film is to undermine, via sentimentality, the power of Oldman’s performance, which up to this point is the closest this film comes to capturing the lively sense of tragedy and sleaze that marks many a Hollywood production during the ‘30s and ‘40s. Chopra homes in on how vast an age difference of even a year or two can seem when, for example, Connie’s friends want to go to a movie, only for the youngest among them to become exasperated when the others are willing to bail on the movie that she now wants to see due to their learning that a group of cute guys are seeing something else. Citizen Kane conjoins an old-feeling boozer’s shame with a young man’s love of tricks, magic, and shtick; it’s a formally hopeful dramatization of collapse, a contradiction that cuts to the heart of the sort of ambiguities that hound people’s lives. Provides an interesting look at the subtler aspects of apartheid.

In one of the greatest mad-scientist speeches ever delivered by a character in a horror film, Henry explains that his cloned wife (Abbey Lee) is only real to him when he destroys her.

Rogosin wanted to expose the ordeal of the people but also wanted to capture the culture of the streets. Mobile site. In 2007, Rogosin's sons Michael and Daniel co-produced a 55-minute "Making of" documentary entitled An American in Sophiatown.

One won’t learn of the Algonquin Round Table from Mank, though it’s alluded to, and an amusing pitch meeting involving von Sternberg and Hecht is even funnier if one knows that Hecht previously co-wrote a picture for the director—1927’s Underworld—that’s the sort of genre fare that von Sternberg appears to want to transcend in Mank. Rogosin essentially had to lie to South African officials about what he was in the country to film and then sneak around with the underground activists of the time in order to make the film. Sad and brutal commentary on the effects of goverment enforced racisim. It’s difficult to capture the perils of sexual awakening in young people without coming across as prudish, but Chopra never depicts her protagonist as either stupid or insensibly provocative, instead patiently and shrewdly observing the contradictions of human behavior that Dern conveys.

Meant to offer moral instruction, risqué pleasure, or, more recently, feminist commentary, the genre sublimates the actual threat of sexual violation into an extended scenario of confinement and (attempted) escape.

That he’s talking through and to another can’t reduce the depth of feeling in the sentiments. Unfortunately, every character has been established as such a specific type—the tough guy, the brain, the laidback rocker, the sarcastic jerk, and so on—that it doesn’t take much mental agility for the viewer to guess how they’ll eventually behave in this violent free-for-all. "Come Back, Africa," and the Transnational Circulation of Black Culture and Politics Ruth Feldstein In May 1957, Lionel Rogosin, an award-winning independent film maker and white American, arrived in South Africa eager to make a political film. Cast: Tamara Lawrence, Fiona Shaw, Jack London, Edward Holcroft, Chloe Pirrie, Anton Lesser Director: Joe Marcantonio Screenwriter: Joe Marcantonio, Jason McColgan Distributor: IFC Midnight Running Time: 101 min Rating: NR Year: 2020, Enter to Win DVDs of The Great, a Blu-ray of Back to the Future: Ultimate Trilogy, and More, Our Preview Section Is Your Most Complete Guide for All the Films Coming Your Way Soon, Review: Smooth Talk Is an Uncannily Assured Look at Teenage Anxieties, We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal. Upon his release from detention, Zachariah discovers that Vinah has been murdered by Marumu, an infamous Sophiatown hoodlum, after resisting several unwanted sexual advances.

Review by Steven ★★★★ This was a heck of a ride. Throughout, Dern edges Connie’s endless flirtations with a certain nervousness, subtly conveying how Connie’s sexualized poses are so practiced, giving away the effort behind the girl’s insouciant back arches and hair flips with a look of concentration on her face. As Margaret, Shaw channels the icy callousness familiar from her role as Carolyn Martens on Killing Eve but also a distractedness that points to the character’s nefarious motives and moral perversity.

The plots, which are nearly irrelevant, are always similarly primitive even by the standards of low-budget genre films: In a bombed-out future version of the outback, a vicious gang pisses off a brilliant highway daredevil, Max (Mel Gibson), and stunning vehicular mayhem ensues. T he miracle of Lionel Rogosin’s apartheid drama Come Back, Africa isn’t that it’s a solid, affecting artifact of a cruel society, but that it exists at all.

In fact the making of this film (which is chronicled in the workmanlike but interesting 2007 documentary An American in Sophiatown) is in some ways just as interesting as the film itself.

Mad Max also has a distinctly Australian masculine tension that’s reminiscent of other outback-set classics such as Wake in Fright, as it’s concerned with the pronounced sexual repression and frustration of a predominantly male population that’s all dressed up in tight leather with little to do apart from mounting their bikes and revving up their big noisy engines. As they respectively evolve as craftspeople, Flanagan and Bertino have developed opposing limitations as artists. As in the The Social Network, Fincher is conscious of the explanatory clichés of the biopic and avoids them.