dmdebruyn Reviews

Feel and Stay (2023)

No. 1 Favorite Film of 2023

[10/10 · 6 January 2024]

Slight spoilers below.

Martin Scorsese once compared the experience of watching a Hong Sang-soo movie to unpeeling an orange. It's a comparison I would apply to watching Cody Clarke's Feel and Stay. It starts unassumingly, two people casually meeting, and gradually unfolds to an emotional unveiling. In this way, it feels very consistent and cohesive, even while improvised in three hours.

Clarke's usual trademarks are featured here: characters sitting and talking, offbeat bits of humor. This time around though, he removes himself from the cast and keeps things on two female characters. The addition of a third camera lets him spice up his filmmaking too, using coverage to give a nice change of pace from the usual shot/reverse shot of his movies.

Chloe Pelletier, as expected, is also present, as a person who documents her surroundings on camera. Early on, she shares a conversation with co-star Magenta Squash about shooting conversations and being authentic on camera, bringing a humorous layer of self-awareness.

The movie gets more real as it goes on, and it ends in a moving monologue about living transiently that feels very raw. Life is constantly moving, and nothing is ever permanent. A respite from this can be a camera that captures feelings and moments of beauty before they are gone.

Several feelings and moments of beauty are captured on camera in Feel and Stay. They are not always with the best picture quality, color, lighting, or sound, but they are captured just the same. This and Bed affirm Cody Clarke as one of my favorite currently active filmmakers in this decade. His slice-of-life movies feel like they exist in their own comfy little pockets of reality, and they achieve a level of intimacy and vulnerability I never see enough of in movies.

Invisible Shark (2023)

Proud To Be Part of This

[10/10 · 6 January 2024]

I don't mean to get on my high horse knowing I'm in this movie, but this is really good stuff.

Definitely the biggest thing Cody has done so far, the scale of this feels upped, in large part due to the ensemble cast and the world-building, and yet it remains a down-to-earth character piece, which I'm glad about.

What I really love about this movie, and what I also loved about the script when I read it, was that Cody took this trashy shark b-movie format and - in the same way he did with No Shark - made it follow this singular female character on an emotional existential journey that also made me care about her, making her so much more than a b-movie stock character. The movie doesn't shy away from leaning into the cheapness of the movie's format, but the story still carries emotional weight. The lead is one of his most full-dimensional characters yet, and her journey really invested me. That Invisible Shark is able to balance this down-to-earthiness with the cheeky schlock of it all is impressive and Cody to a T. He even makes time for meta humor with a trashy shark movie within a shark movie that makes for a really amusing running gag.

Probably my biggest pet peeve with this movie was the sound, which sort of gave the cheapness away a bit more than needed, but it wasn't totally distracting, and I thought about it less the further I got into the movie. Against the rest of the movie, it was honestly not a big deal.

This is great. It's knowingly "so-bad-it's-good" while being really good-quality at storytelling, emotion, and editing despite some flawed sound, and I loved the performances, mine most of all (kidding). The pacing was solid, and those opening credits were FIRE! I enjoyed the experience of doing a Cody Clarke/Kill the Lion Films production. I feel so lucky to have worked on this, and I can't wait to show it to more people in the not-too-distant future.

Thank you Cody and thank you Chloe!

Right Now, Wrong Then (2015)

My first Sang-soo

[8/10 · 7 April 2023]

For the last few months, I'd read about Hong Sang-soo and his movies, and they sounded very appealing. There was a lot of hearsay about his body of work that drew me to him: His movies have a slice-of-life feel to them, his shooting style is minimalist, his annual output is two or three movies a year, and his movies are on some level closely tied to his life experiences. I have a huge affinity for these qualities at the present, so I knew sooner or later I had to watch his movies.

Watching this has instantly made me a fan. There is much to love about it: Chance encounters, cigarette smoking, drunken hangouts; cringey but moving outpourings of feelings; mutual and one-sided instances of platonic and romantic connectivity; naturalistic acting, long takes, zooms; and to top it all off, a story that gets told twice with glaring and subtle differences in the second telling. Really great stuff. It's everything I want in a movie.

But what I really appreciate is the vulnerability and openness this movie presents. It presents being honest as important and it shows how in a gentle way.

The bar scene in the second half was just wonderful.

The American Friend (1977)

Wenders Leaves the Road

[8/10 · 26 December 2020]

With The American Friend, Wenders adds film noir to his filmography and expresses his love and appreciation for a bygone American genre. Despite departing from the road movie genre he had spent the last few years mastering, he lets that open-road adventure from his "Road" trilogy figure into the final act of this update of the film noir. Maintaining its style and storytelling elements, The American Friend ditches the genre's typical B&W cinematography in exchange for a saturated neon color palette that feels just as moody and oppressive - Robby Müller is at his most refined and vibrant at this point in his collaborative partnership with Wenders.

The film has a Hitchcockian atmosphere of tension that manages to stay constant throughout its runtime, most notably in a wonderfully executed train murder sequence around the midpoint. The character-driven storyline is masterfully carried out by the dynamic performances of Bruno Ganz - whose descent into evil forms the emotional backbone of the story - and Dennis Hopper - who was surprisingly less present in the film than I expected and whose character felt like a stony, calculating, and quirky predecessor to Frank Booth. Were it not for these performances, the film would have lost my interest, as I knew where the story would lead right from the get go.

Having been made just a year after Kings of the Road and less than a decade before Paris, Texas, The American Friend clearly indicates that Wenders was consistently masterful at crafting intimate stories that relied on talented raw performances as the main drive.

3 SIDE NOTES:

• The Coen Bros have to have been influenced by this film. The themes of consequences and retribution in this are presented quite similarly to Fargo and No Country For Old Men.
• Having worked under his direction on Rebel Without a Cause, having Nicholas Ray as a costar (and quite the scene-stealing one) must have been really something for Dennis Hopper.
• Wenders' affection for the west is ever-present, from Hopper's cowboy hat to the folk songs quoted in the dialogue. These little inserts truly feel like foreshadowing to Paris, Texas.

The Kingdom of Dreams and Madness (2013)

My Childhood

[9/10 · 10 June 2020]

This was a deeply moving look at the work ethic and - dare I say - the spirit of Hayao Miyazaki. Hayao Miyazaki is one of the most inspirational storytellers of all time, and if you haven't already seen his movies, I recommend checking out at least one if not all of them if you're a regular filmgoer or an aspiring filmmaker. The Ghibli movies were an eye-opening experience for me growing up, and even now, I consider them to be very influential, especially those by Miyazaki. Knowing how special they were, and given how nostalgic I was feeling, I really really wanted to cry after watching this documentary, as silly as that sounds. I hope Miyazaki finishes his next movie, 'How Do You Live?' I look forward to seeing it if it comes out.

The Night Is Short, Walk on Girl (2017)

A Night to Remember

[8/10 · 10 June 2020]

'The Night Is Short, Walk on Girl,' based on the novel by Tomihiko Morimi and directed by Masaaki Yuasa, is a film that I have been yearning to watch for quite some time. After waiting for the right time to watch it, it finally came to be that the day I watched it was today. It seemed like the right time for two reasons: One, I had just finished watching 'The Tatami Galaxy' (which I had viewed in preparation for this movie and enjoyed very much) this afternoon, and two, I was feeling a little bit down from all the news and viewpoints of our current social situation being thrown around and was in dire need of something that would liven me up again. 'The Night Is Short, Walk on Girl' did just that!

In the city of Kyoto, a young raven-haired university student sets off on a night of fun, adventure, and plenty of colorful alcoholic beverages to spare. During this time, she encounters an idiosyncratic group of Kyoto residents and dances her way through one incredible situation after another, charming everyone along the way with her optimistic personality and her high tolerance for liquor. Elsewhere, another university student pathetically strives to meet up with her and win her heart, constantly getting bogged down by a series of inconvenient obstacles.

Running at just an hour-and-a-half, 'The Night Is Short, Walk on Girl' feels like an adrenaline rush of unlikely circumstances and fantastical occurrences. Multiple events occur within the span of the night in which this movie is set. To name a few without spoiling the movie, there's a drinking contest with a supernatural being, a search for a long-lost children's book, and a guerilla theatre production featuring fabulous musical numbers, all pulled from the pages of Morimi's novel and brought to life with some of the most whimsical and hallucinatory works of animation ever seen in a film.

By the end of the film, I felt as though the night I had experienced with the raven-haired hero had lasted an eternity, and I enjoyed every single minute of it. It's a gorgeous, candy-colored dreamlike experience with an all-out sense of wacky sweetness, and I doubt I'll be seeing anything like this for a while.

For anyone with even a slight interest in animation, this is an essential watch. For those willing to go the extra mile, I highly recommend viewing 'The Tatami Galaxy' in advance.

The Tatami Galaxy (2010)

Life Moves Fast in 'The Tatami Galaxy'

[10/10 · 10 June 2020]

'The Tatami Galaxy,' based on a novel by Tomihiko Morimi and directed by Masaaki Yuasa, is a high-concept YA mini-series with an intriguingly bizarre premise: a young nameless student arrives at college with high hopes of experiencing an idealized "rose-colored campus life," joins an activity circle that he eventually becomes disillusioned with when it fails to lead to his ideal college life, gets mixed up in a series of ludicrous situations, and finally wishes to start over and join a different activity circle, causing time to rewind and prompting him to start over again. However, choosing a different activity makes no difference, as the protagonist gets bogged down by the same disappointments, gets embroiled in escapades with the same level of lunacy, and even gets faced with the same eccentric cast of characters.

The protagonist's constant striving and failing to achieve his desired lifestyle gives the show a quirky and darkly humorous streak that also comes across as nihilistic. It also gives the show a vehicle through which to deliver its central themes.

'The Tatami Galaxy' is a show that warns its viewers to not expect too much and to embrace what they get instead. This is showcased through the journey of the nameless student. Every time the intellectual youngster goes back in time and redoes his first two years at college, he fails to recognize many of the good things that made up those two years due to his arrogance in pursuing the perfect life.

The show also relies heavily on an atmosphere of loss and the sense that something is missing or missed out on. This sense of incompletion is ever-present in the protagonist and his escapades as he completely misses all that made his life at college precious. Likewise, viewers of the show experience the feeling that they have missed something as 'The Tatami Galaxy' is an extremely fast-paced show where every episode flies by in blink-and-you'll-miss-it moments (and blink-and-you'll-miss-it subtitles), so fast that two years of the protagonist's life go by in 22 minutes! This rapid-fire pace is concurrent with another core theme of 'The Tatami Galaxy.' The speed of the show emphasizes the fact that life doesn't stop for anyone (even if one can go back in time and relive his last two years), so one must appreciate and enjoy those amazing moments while they last. As Ferris Bueller once said, "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."

Life does move fast in 'The Tatami Galaxy,' and every moment that flies by in each episode is unlike anything ever seen. From a bike-stealing agency whose sole purpose is to spoil one's day to a lifelong war of pranks between a zen-like super senior and a lecherous club president to a love doll that gets treated as a real person by any individual who comes across it, every episode of 'The Tatami Galaxy' is chockful of creative absurdities that make for an entertaining experience. It embraces weirdness while remaining grounded in the ugliness of human error, all the while reminding viewers that they are capable of avoiding the same mistakes and enjoying life for what it is. It is an enjoyable show, and I recommend it for anyone looking for something different to watch.

Side by Side (2012)

A Much-Needed Dive Into the Evolution of Cinema From Film to Digital

[10/10 · 29 April 2020]

This is a necessary watch for filmmakers. It dives deep into how cinema has evolved with the advances of digital filmmaking, and it paints a really good picture of how far it's come. At one point, the documentary slightly hinted at what the future of cinema would be like with streaming services, and I was so glad that it mentioned that. The art of watching movies has changed a whole lot with the help of streaming services, so having that predicted in a documentary from eight years ago was awesome.

Keep Your Hands Off Eizouken! (I) (2020)

A Tribute to the Creative Spirit

[10/10 · 29 April 2020]

It's a show about young animators making an anime, there's really nothing more to it. However, anyone with a passion for creating things - whether writing, filming, editing, or animating - will identify with the lead characters. It does a great job of capturing the spirit of creating something, and it gives off a pretty good message that at the end of the day, as long as you're creating something, you're accomplishing something. That being said, I really liked this show.

Polytechnique (2009)

The Beginnings of a Master

[9/10 · 29 April 2020]

Since I'm really really looking forward to seeing Dune in the future, I felt like checking out this early film from Denis Villeneuve's filmography. This movie's based on a real-life tragedy that occurred at the Polytechnique Montreal engineering school in 1989, and it dramatizes the event in a way that feels very humanistic. It doesn't make any comments or draw conclusions about the event and still leaves you feeling for most of the people involved. It does a great job of being ambiguous, something Villeneuve has mastered throughout his filmography. My heart goes out to the survivors, and my thanks go out to Villeneuve for being so great at making films like this.

High Life (2018)

Nothing More or Less Than a Straightforward Film About Cons Going Mad in Space

[9/10 · 29 April 2020]

This was disturbing to watch. I had to pause this film at one point. There was a scene in it that was so grotesque it made me wanna puke. I thought this was a relatively straightforward film. All it did was just be a movie about what it would be like for criminals to get sent out into space for the rest of their lives and how they would cope with being out there. That's not to say it wasn't brutal. It was very brutal. I couldn't believe half the stuff I was seeing, and after watching this movie I wouldn't wish for a future where something like this happens. There were some positive moments: getting to see Robert Pattinson play a dad was the highlight of this movie. That and the cinematography. I liked the closeness and simplicity of it. I think Claire Denis knows how to use minimalism in film, which is saying a lot considering it's set in space.

The Garden of Words (2013)

A worthy watch

[10/10 · 24 March 2020]

The Garden of Words, a film that somehow feels more relevant in a time of social distancing, is the moving story of two outsiders who meet together in a park on rainy mornings and bond as they help one another face personal challenges on their own two feet. Presented with minimal dialogue and a short yet patiently-paced runtime, it is an intriguing character study that relies heavily on character traits and symbolic imagery, leaving room for interpretation and analysis long after the film is over. Thoroughly engaging, it invites viewers along for the journey with its emotional moments and its stark animation, the latter of which is the real star of this art-house flick. Elegantly synthesizing hand-drawn animation, rotoscoping, and computer animation, the animation delivers stunning photorealistic portrayals of rain, urban scenery, and Shinjuku Gyo-en, the garden of the film's title. Visuals aside, The Garden of Word's point of resonance lies in its themes of longing, loneliness, and our innate need for human connection, themes commonly explored by the film's creator, Makoto Shinkai, in previous and subsequent works. Emotionally riveting, visually pleasing, and thematically captivating, The Garden of Words is a film that will leave you impressed by the time its 46 minutes have ended. It is a movie worth checking out, and for animation lovers, it is a must-see.

Midsommar (2019)

Not 'Scary' But Still 'An Experience'

[9/10 · 3 July 2019]

Let's talk about MIDSOMMAR.

Plot: a young woman is trapped in an unhealthy relationship with a guy who secretly wants to break up with her. Before he can do so, a tragedy occurs involving the woman's family. Out of shame, he invites her on a trip with his pals to a special summer celebration in Sweden that takes place every 90 years. What follows is pretty much what you've seen in the trailers. If you like your horror super scary, I'm sorry to tell you that this film was not scary at all compared to the director's last movie, HEREDITARY. On the other hand, it had some pretty unsettling moments, some of which were actually pretty funny (probably unintentionally), and the movie had a very dreamlike quality to it, which is a plus. The cinematography, production design, sound, music, and performances were all great, and the film itself earns points simply for being an experience. Plus, it confirms Ari Aster is a stylish cinematic force to be reckoned with.

The Office: The Return (2007) Season 3, Episode 13

Hits it home with this one

[10/10 · 24 November 2018]

Season 3 of The Office takes the show's main characters into very complicated terrain as each of them struggles to navigate the rough waters that make up his or her story. 1. Jim moves to Stamford but then moves back after it closes down, prompting a merger with Dunder Mifflin that places new characters, Karen Filippelli and Andy Bernard, among the office regulars. Jim starts a relationship with Karen but still has feelings for Pam. 2. Dwight's his usual oddball self, secretly in a relationship with Angela, and still Dundee Mifflin's top salesman. With Andy's entrance into Dunder Mifflin, his ways of sucking up to Michael make him a bigger threat to Dwight than Jim, and they become mortal enemies 3. And Pam, heartbroken as she is, managed to maintain her perky personality in the workplace 4. And of course, Michael Scott himself, struggling to find happiness while striving to remain the world's greatest boss at Dunder Mifflin.

I'll leave it at those four for now, as I've gotta get to the review

In this episode "The Return," Dwight has left Dunder Mifflin (more on that in the previous episode) and is now working at a Staples store, while the rest of the office now has to put up with Andy's annoying antics. Through various changes in the mood and organization of the workplace (surplus of clients, wilted plants, disorganized desk toys), everyone suddenly realizes how much Dwight meant to Dunder Mifflin. It's also bad timing, as Oscar has just returned to the office after a "gay-cation" that lasted half the season. Andy, reveling in Dwight's absence, continues trying to suck up to Michael and manages to annoy everyone around him, and creeping out Michael himself. He also may or may not realize how much this reflects his own antics in previous seasons ("I don't understand how someone could have so little self-awareness"). In the end, Michael realizes his mistake, and brings Dwight back to a grateful Dunder Mifflin. As for Andy, he gets his comeuppance after a prank by Jim and Pam (back at it again (yes!)) which then leads to a rejection by Michael that leaves us thankful and then in stitches, as this is followed by a crazed wall punch by Andy Bernard himself (exposed!). There's only one thing to say for all of this: Dwight Schrute FOREVER!

In this episode, almost all of the characters' narrative story arcs for season 3 reach a climax, and what a climax it is. 1. Jim is back to his prank-pulling self, and really still has feelings for Pam, once again his accomplice in his pranks when no one else will be (no surprise by Ryan, but a real blunder on Karen's part) 2. Pam remains perky and helpful as ever, even attempting to console Angela in a heartfelt exchange where she sort of admits her feelings for Dwight, bringing us to: 3. Angela shows her sentimental side 4. Dwight remains his Dwight Schrute self, even bringing his dedicated ways into his new workplace, where it's not accepted unfortunately for him. Still, as always, Dwight perseveres, and gives us a perfect description of himself in the process ("How would I describe myself? Three words: Hardworking, alpha-male, jackhammer... merciless... insatiable..."). 5. And last but not least, Michael Scott himself. While his relationship with Dwight was certainly not his cup of tea, Michael realizes what Dwight means to the company, his surroundings, and him, even preferring him over Andy. When he brings Dwight back, not only does he admit he made a mistake and fixes it ("It takes a big man to admit his mistake. And I am that big man"), but he also takes a big step in the right direction for his fellow peers and all who view him as Michael Scott: The World's Greatest Boss.

For bringing us stunning narrative turning points for the characters as well as tons of hilarious memorable moments, I call "The Return" one of the show's shining achievements and up there among the all-time best episodes of The Office. Three cheers for Dunder Mifflin!