The Last Ashes
Director: Loïc Tanson.
With: Sophie Mousel, Timo Wagner, Jules Werner, Luc Schiltz.
Luxembourg 2023. 120 mins.
A revenge Western drama set in 19th Century Luxembourg opens with the kind of absurdist black-and-white maltreatments that remind of the absurdism/cruelty of, say, ‘The Painted Bird’ or Ottessa Moshfegh’s novel ‘Laprova’. Then fifteen years later in colour and Hélène is back to burn it all down so she can make peace with her trauma and move on. The violence and sadism of misogyny and the patriarchy is the enemy here, and the pleasure is in seeing our defiant protagonist Hélène (an excellent Sophie Mousel) putting in place the pieces of her long-term vengeance. The film takes its time with this, but the consistent tone and engaging and unusual setting is always compelling, always boiling its elements. Often pretty, some nastiness, occasionally shocking and a gratifying finale, fuelled by an outrage at the absurdities and brutality of religious misogyny.
The Life and Deaths of Christopher Lee
Director: Jon Spira.
With: Peter Serafinowicz, Harriet Walter, Peter Jackson, Joe Dante.
UK 2024. 104 mins
The animation that Spira employs to tell the tale of Christopher Lee’s may initially seem a little too cute, but by the end it’s all very moving. Lee’s history is fascinating and surprising long before he played Dracula, a role he seems to have spent the rest of his life trying to shake off, even up to his knighthood (which proves a perfect and hilarious note to end on). Regal, onery and, it would seem, surprisingly insecure. But it’s lovely to think he was having some of the best times of his life right up to his viewing choice with the nurses before he passed away.
AZRAEL: ANGEL OF DEATH
Director: E.L. Katz.
With: Samara Weaving, Vic Carmen Sonne, Katariina Unt, Nathan Stewart-Jarrett.
USA 2024. 85 mins.
Silly, but always entertaining. After “The Rapture”, people give up the “sin of speech” (?), and instead seem to get over communication issues by whistling and meaningful looks. And even its post-apocalypse, you’ll still have the chance at a to-the-death fight to some electropop. And although the monsters seem be only roaring dirt-covered cannibals, there are some good moments of practical effects gore.
In comparing with ‘The Last Ashes’, here it is a matriarchy that Samara Weaving wants to burn to the ground, although apparently it is all resolved with a little maternal instinct.
Saint Clare
Director: Mitzi Peirone.
With: Bella Thorne, Rebecca De Mornay, Ryan Phillippe, Frank Whaley.
USA 2024. 92 mins.
‘Promising Young Woman’ as a High School comedy-drama, but missing the devastating sadness and intelligence of that film. Bella Thorne is memorable and well up to the task of trying to negotiate a general inconsistency of tone, but there’s a shallowness under the kitchen sink that’s thrown in (for example, the religious gestures the film makes aren’t explored). It’s a decent if superficial horror entertainment.
Invader
Director: Mickey Keating.
With: Vero Maynez, Colin Huerta, Ruby Vallejo.
USA 2024. 70 mins.
Shamefully, I had it in my head that ‘Strange Darling’ was directed by Keating and I was writing and saying how surprisingly different it was to what I knew of his work, although the Cool Retro vibe of ‘Strange Darling’ film was something I could see carrying over from Keating’s ‘Psychopath’. Anyway, after I had confessed and corrected my error (and put it down to sometimes just being stupid and getting carried away), ‘Invader’ was very different after all: rather than the stylisation and staginess, ‘Invader’ shouted a smash-and-grab intent. It’s a slender, brash and often intense home invasion tale told in hand-held fashion that – in their stage introduction – Keating and editor Valerie Krulfeifer warned we may have to look away and take a break from at times. And yes, sometimes the shaky-cam is confusing – blocking doesn’t seem to be a thing – but it is obviously deliberate rather than artless. Keating talked of trends in the nineties for films about Americans going abroad and getting fucked up, and how he wanted to invert that (and just stopped short of saying outright “Why do people want to come to Chicago?” Keating and Krulfeifer were light and breezy, likable and funny). And it’s true that the America presented here is litter-strewn, unfriendly, threatening and ultimately homicidal in a weirdo get-up. ‘Invader’ is a short but loud burst of social anxiety with no room for relief.
