Rating: 15
Cast: Ethan Hawke and Julie Delpy
Directed by Richard Linklater
Written by Richard Linklater, Kim Krizan, Ethan Hawke and Julie Delpy
Length: 290mins

In 1995, director Richard Linklater released ‘Before Sunrise,’ an elegant portrait of two travellers who just happened to meet on a train headed towards Vienna. Though he may not have known it at the time, Linklater had begun what would develop into one of the most fondly-remembered film trilogies of all time. 2004 brought the release of ‘Before Sunset,’ and 2013 concluded the series with the ‘Before Midnight.’ Whilst these films could easily be written off on the surface as typical rom-coms that dance through romantic locations, they actually work as one of the strongest cases for minimalist cinema, where dialogue and character lead the story to create an atmosphere that perfectly encapsulates the relationships and locations of what is displayed on screen.

In the opening film, Jesse (Ethan Hawke) strikes up a conversation with Céline (Julie Delpy), just some girl on a train. With Céline a student who’s headed back to Paris, and Jesse an American with a flight home the next morning, it seems that their surprisingly intricate connection seems doomed, but after Jesse suggests that Céline instead gets off at his stop so that they can wander the streets of Vienna together, the audience gets a second chance at watching their relationship develop. Played out in a series of extended long takes, the audience may not realise but they’re actually beginning a journey into the first stage of a relationship that will be revisited as both Jesse and Céline grow older and move forward with their lives.

The magic of this trilogy comes from these aforementioned long takes, where the conversation between the leads is able to develop without any unnatural distractions from the editing department. The glorious European settings that ground all three films is explored as a result of the way the film is shot, without feeling like it takes anything away from a relationship that you soon become invested in. By locating his story in a part of the world that many of us may have only fleeting memories of, or none at all, the beauty of the background further develops the fantastical elements of the story.

Of course, in a story where the only recurring characters are the two leads, it’s important that they have a strong connection. In this case, the performances by Ethan Hawke and Julie Delpy are what makes this trilogy. Hawke’s stereotypical American attitudes coincide perfectly with the French cynicism that Delpy brings to the screen. As they weave from one subject to the next whilst also wondering the moonlit streets of Vienna, Paris, or Greece, the leads somehow manage to avoid making any moment of their conversation from becoming pretentious or self-obsessed. Instead, these feel like moments that the audience wish to be a part of.

Whilst the first of the three stories feels like a sort of mystical fairy-tale – a chance encounter that develops into a complex and deep relationship – the true genius of the trilogy is the way that Linklater humanises his characters throughout the following films. Of course, there is a hope shared between both the viewer and the characters that they may be able to cling to that first encounter, and their connection will never fade, but as the story progresses so does their relationship, revealing a human side to what previously was seen as fantastical.

I would say that if anyone stuck inside at the moment was looking for some way to escape, Linklater’s ‘Before’ trilogy is the perfect set of films. With none of the films going over the hour and forty minute, this short testament to cinema serves as a complete escape into a world of wonder and intrigue.

Rating: 15
Cast: Noémie Merlant, Adèle Haenel and Luana Bajrami.
Directed by Céline Sciamma
Written by Céline Sciamma
Length: 120mins

There’s a rich texture to the work of Céline Sciamma that almost acts as artwork itself, and her latest release, ‘Portrait of a Lady on Fire’ is no different. On an isolated island in Brittany towards the end of the eighteenth century, a painter named Marianne (Noémie Merlant) is brought to the land to capture the image of the soon-to-be married Héloīse (Adèle Haenel).

The film follows the narrative from Marianne’s perspective throughout the majority of the story, and as a result, the intricacies of her character begin to familiarise themselves with the viewer. For a story that develops a complex relationship such as Marianne and Héloīse’s, such an attention to detail is necessary to engage the viewer with their relationship. Céline Sciamma succeeds brilliantly in this regard, and every detail feels as if it has great importance within the film because we are so tuned in to the reactions that each character delivers after any change of emotion or moment of drama.

The combination of pristine cinematography matched with a location that feels both sublime and personal creates an overall atmosphere that draws in the viewer, just as the two leads are drawn to one another. You feel as if the characters have escaped from the confines of the outside world, and for a brief period of time, you’ve escaped with them. If film is defined as a medium for escapism, then ‘Portrait of a Lady on Fire’ stands as a powerful testament to the strength of this art form. The world our leads inhabit feels rich with character, from the harsh dangers of the cliff face to the secret caverns that lie beneath, the success of the location is that it acts as another whole element of the narrative, working as a reflection of each scene’s emotions. This idea is only further emphasised by the stunning portraits that come from the sweeping hands of Marianne, despite their supposed permanence contradicting the fragility of the relationships developed within the narrative.

In this release, Céline Sciamma solidifies her status as one of the most exciting directors working today, using techniques that feel refreshed by her employment. Her stories may appear delicate at first, but hide depth in the context of their creation. The expression of her own personality is beautifully painted across the screen, and the consideration and care that she brings to her work is unparalleled. Despite the narrative first appearing as fairly simplistic, the subtle introduction to themes of abortion, homosexuality and feminism feel less like an education on these subjects, and more of a necessity.

I would highly recommend that you take some time to enjoy this film, as it’s one that definitely shouldn’t be missed. It’s currently available for streaming over on the Curzon website, and may just be the perfect bout of escapism from the regularity of quarantine.

As we enter yet another week of lockdown we thought we’d share our top picks from Netflix. I’m sure you’ll find something for everyone in our list.

1) Marriage Story, 2019
Rating: 15 Length: 137mins

In Noah Baumbach’s highly acclaimed Netflix original film, we follow the story of a couple going through a divorce. Though not a particularly ‘happy’ film, we are transported into the lives of this family as they negotiate their own feelings and try to do what is right by their young son. Whether this is the sort of film you would watch ordinarily, the lockdown presents an opportunity to try something new and encounter truly brilliant writing and outstanding performances.

2) La La land, 2016
Rating: 12 Length: 128mins

A film which seems to divide the masses into ‘love it’ or ‘hate it’, I think this film is a work of genius. A modern day musical with a very raw essence. A love story of an actress and musician whilst facing their struggles trying to find work in Hollywood. A beautiful score, meaningful lyrics and a real glimpse into the lives of artists.

3) Mystic Pizza, 1988
Rating: 15 Length: 104mins

We included this film as a bit of light relief. It’s an easy watch, a coming of age story following three teenage girls who all work in a pizza parlour in the town of Mystic. Starring a young Julia Roberts alongside Annabeth Gish and Lili Taylor, we watch the three girls as they fall in love and face their own personal struggles.

4) Coach Carter, 2005
Rating: 12 Length: 136mins

This is just a great film. The story is of a high school basketball team and their new coach who imposes strict rules on the team. While we are in lockdown why not watch a coach lockdown his gym to help young people consider the importance of things other than their sport…

5) The King, 2019
Rating: 15 Length: 140mins

Another Netflix original that slipped by relatively unnoticed upon it’s release in 2019. A historical drama starring Timothée Chalamet and Joel Edgerton see’s a young uninterested prince have to step into the shoes of his father, handle messy politics and a war his father left behind. Solid performances and an interesting story makes for an entertaining watch.

6) Captain Fantastic, 2016
Rating: 15 Length: 119mins

For many of us who may be missing the outside a lot at the minute, ‘Captain Fantastic’ may be the best film for escaping into the wilderness for two hours. Following the family of a father who decides against everyday life and the consumerist values upheld by most, our lead character, Ben, begins a life with his wife in a seemingly utopian vision of natural living out in the wilds of America. However, after a life-changing event occurs for the family, they must once again venture back into normal life. Filled with humour and touching moments, ‘Captain Fantastic’ is a great watch for anyone who wants to escape for an evening.

7) Spirited Away, 2001
Rating: PG Length: 125mins

The perfect film for families, Spirited Away guides the viewer through the bizarre mind of director Hayao Miyazaki, as a young girl finds herself trapped in a world of magical and strange creatures as she must search for a reverse of a mysterious transformation that her parents have undergone. Generally considered to be the greatest animated film ever made, there isn’t a dull moment in this pinnacle of Japanese cinema.

8) Me and Earl and the Dying Girl, 2015
Rating: 12 Length: 105mins

The story of ‘Me and Earl and the Dying Girl’ follows high schooler Greg, a slightly strange character who likes to hang out with his deadpan friend Earl, who he makes bizarre and homemade parodies of classic films with. The rest of the time he avoids as much social interaction as possible whilst also trying to remain a fleeting part of every clique in his school. However, his mother forcing him to befriend a classmate with Leukaemia could change all of this. This indie release is both heart-warming and heart-breaking, and definitely worth a watch.

9) Blue Velvet, 1986
Rating: 18 Length: 120mins

If you’re growing tired of the same everyday routine during this quarantine, then David Lynch may be the perfect man to disrupt any sort of convention in your life. After a young man discovers a human ear in a field, he begins investigating a mysterious nightclub singer and the group of criminals who’ve kidnapped her child. A take on the dreamlike American ‘white-picket-fence’ suburbia of the 1950’s, ‘Blue Velvet’ serves as a satirical critique of such a lifestyle.

10) Wallace and Gromit: The Wrong Trousers, 1993
Rating: U Length: 30mins

Although technically a short film, we’ll allow this one because you can’t help but love the world that Nick Park creates in his Oscar-winning animated short, ‘The Wrong Trousers.’ Gromit finds that he’s being pushed from his own home after Wallace brings in a new lodger to cover the cost of the rent. However, the lodger isn’t who they claim to be, and as events spiral out of control, Wallace finds that he really needs Gromit more than he may have thought.