★★★ / ★★★★
An unexpected trial separation between the patriarch (E.G. Marshall) and emotionally fragile matriarch (Geraldine Page) thrusted three sisters (Mary Beth Hurt, Diane Keaton, Kristin Griffith) into a territory in which they had to deal with their own lives and their parents’–something they weren’t used to because they’ve become accustomed to living a life of privilege and constantly reevaluating their careers. Joey (Hurt) was smart but never found what she was really good at. She held a grudge because she felt like she was the only one who went out of her way to take care of their mother. Renata (Keaton) was immersed with her work and craved to be left alone. She found it difficult because her husband, also an artist, took criticisms too personally. Instead of focusing her energy onto her work, she felt the need to build her husband’s confidence. Meanwhile, Flyn (Griffith) was never around because traveling was a part of being an actress. Her physical beauty was valued more than her wit, kindness, and personality. Despite the fact that the film was essentially about self-centered, white upper-class, highly irksome individuals, I found Woody Allen’s film to be admirable because he held a laser-like focus on the material’s theme. His subjects lived in big houses that felt more like museums than a comfortable home. When they spoke, their voices echoed as if they craved to be truly heard. They filled their houses with expensive material; the figurines had to complement the color of the walls and the texture of the carpet, and the insular themes that just had to work with the ambiance in a specific way. Everything had to be controlled. It showcased their intelligence, their place in society, and what they could offer to visitors who they considered to be on a lower level than them. But they weren’t emotionally equipped people. The sisters were jealous of each other and Allen wasn’t afraid to show us how ugly sibling competition could become. Arguments were abound, but since the characters didn’t know how to treat communication as a two-way street, nothing was really solved. In fact, it seemed like things turned for the worse after explosive confrontations. These people led sad existences but we didn’t pity them in the least. Allen’s script was vivid and the beauty of it was highlighted by the way the actors expressed their characters’ hypocrisies and histrionics. The picture was at its peak when the women’s father brought home Pearl (the wonderful Maureen Stapleton), a woman he wanted to marry. Pearl was supposed to personify people like you and me, someone who had a lot of energy, willing to talk about her imperfections, and wasn’t guilty about eating an extra slice of pie just because it was considered unhealthy. Allen adroitly used her character as both a hurdle and someone to aspire to for the three women in question. “Interiors” was about people who were not unlike the figurines they so deeply coveted: shining on the outside but tragically hollow on the inside. With Allen’s assured direction, the film was bleakly cerebral yet emotionally rewarding.
★★★ / ★★★★
A lonely man with Asperger’s syndrome (Hugh Dancy) who recently lost his father found real connection with a teacher named Beth (Rose Byrne) who recently moved into his apartment building. What I loved about this picture was its ability to show the sometimes comical awkwardness of a character who happens to have Asperger’s but still remain sensitive and accurate throughout. With movies that have such sensitive topics, it’s easy to make fun of the person with a condition to get the laughs. In here, his awkwardness was matched with his romatic interest’s because there were times when she, too, did not know what to say or do. I enjoyed the romance angle of this film but what did not work for me as well was the bit about Peter Gallagher’s character being in court. I thought those scenes dragged a bit. Its connection to Adam’s life was not strong enough except for the fact that Beth and her father were often at odds. Still, I’m giving this movie a recommendation because, from what I learned in school and the reviews I read written by Aspies, it was true to life; how their limited social abilities impact a huge portion of their lives such as making friends, finding the right person they want to spend the rest of their life with, being interviewed for a job or making small talk with strangers. The best scenes are those with Dancy and Byrne being in the same room and trying to connect. At times they may have a wall around themselves but when they do decide to let each other in and really talk about what they’re thinking and try to communicate what it is they want, there’s magic and it works as a love story. And there were just times when Adam found it difficult to be in Beth’s shoes or when he took things too literally. Written and directed by Max Mayer, “Adam” was able to successfully show how it was like for a person who could not express himself the way he wanted to to still find acceptance from others as well as himself. There’s a common mindset that people with autism are all the same, they’re all dumb and are less successful than “normal” people. This picture touched on those three mindsets to show that quite the opposite is true. I was very satisfied with the ending because it was realistic but it wasn’t sappy or heavy-handed. The implications it had were quite touching.
★★★★ / ★★★★
Written and directed by Krzysztof Kieslowski, out of the “Three Colors” trilogy (“Blue,” “White” and “Red”–colors of the French flag that mean liberty, equality and fraternity, respectively), I believe this one is the strongest. Right from the very start, the thesis regarding strange connections between people who want some sort of communication, meaningful or not, with another person is established. I was blown away by Irène Jacob’s performance as a model who one day runs over a dog that belongs to a retired judge played by Jean-Louis Trintignant. Although at first the two seem to have nothing in common, the more time they spend together, the more they realize that they probably belong to each other despite their significant age difference. Jacob was the star here and I couldn’t take my eyes off her. I was even more mesmerized by her whenever her photos are being taken by a photographer or whenever she was walking on the runway. There was an air of sadness (with a little bit of strength underneath it all) about her that I really wanted to explore. I also was at awe when it comes to Kieslowski’s use of color. The color red was all over this film yet each one signifies a different feeling or symbolism. Combined with its excellent use of pacing, I felt like I was in a dream where everyone and everything has a purpose. Lastly, I have to mention the final scene when all the three leads (and some side characters) from the whole trilogy appeared. It gave me serious goosebumps because I got to know each of those characters prior to this installment. It was weird seeing them again after thinking that their stories were over when the credits rolled in their respective installment. That scene and the few scenes before it are able to say something meaningful about destiny to the point where I looked at each of the characters from “Red” in a completely different light. Kieslowski’s craft just blew me away and I have absolutely nothing negative about this picture. What a perfect way to end an ambitious project.
★★ / ★★★★
I have no idea why the movie was titled “7 Virgins” but I was relieved that it wasn’t about the sexual lives of the characters. In fact, it’s quite the opposite: Juan José Ballesta was granted a two-day leave from a juvenile reform center because his brother was getting married. Upon his release, despite his immediate return to his old ways, he slowly realized the things that he was missing out on while he was in that center. Even though Ballesta’s character was hard around the edges and was prone to very questionable behavior and ways of thinking, by the end of the picture, I had this feeling that he did want to change even without the help of the facility. The implication about the power of internal locus of control was subtle enough so it wouldn’t sound preachy. I liked the friendship between Ballesta and Jesús Carroza because they understood each other to the point where they fight one minute and forget about the whole argument just as quickly. However, I wanted to know more about Ballesta’s relationship with his brother, grandmother and girlfriend. Perhaps I was lost in translation but I felt like there was something else underneath the seemingly benign conversations that they had. The film could’ve used less scenes involving the two friends being involved in petty crimes and more scenes exploring the depths of the characters and convincing the audiences why they should ultimately care for the teenagers. This Spanish film, directed by Alberto Rodríguez, had potential to be powerful but it didn’t have enough focus to get to the next level. Instead of revealing the many insights that the main characters were capable of, such elements were stifled. It shouldn’t be that way because the characters were on a journey toward a possible maturity. Growth should come hand-in-hand with one learning various ways to express himself, one of which is effective communication. Still, this was not a bad movie by any means. Even though I wanted to beat the lead character until I knocked some sense into him, I still cared what would happen to him because the film shows that he was capable of good in subtle ways but he wasn’t emotionally equipped to accept it.