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      Beyond the Aggressives: 25 Years Later is a heartfelt, intimate and engrossing documentary that sheds light on the lives of trans men and women, namely, Trevon, Kisha, Octavio, and Chin twenty-five years after they were the subjects of the documentary The Aggressives. Director Daniel Peddle interviews them to allow the audience to get a sense of what they've been through and are still going through since then. Their introspection and emotional maturity shines throughout the film as they discuss their struggles in front of the camera. So, there's a voyeuristic quality to the documentary because you'll feel like you're eavesdropping on a private conversation. One of them deals with immigration issues and another with fertility issues. There's nothing exceptional about the film's style, structure or editing, but what it lacks in style, it compensates for in its candid interviews which are filled with kernels of wisdom and insights about the experience of being trans. It's not necessary to watch the original film, The Aggressives beforehand because the first few minutes include a recap, but if you watch this sequel first, you'll be tempted to watch the original afterward. At a running time of 1 hour and 20 minutes, Beyond the Aggressives: 25 Years Later opens November 17th, 2023 at Quad Cinema via Showtime Documentary Films.



 

      Going to Mars: The Nikki Giovanni Project is an intimate, illuminating and well-edited documentary biopic about Nikki Giovanni, a poet, author and civil rights activist. Co-directors Joe Brewster and Michele Stephenson combine archival footage of Nikki Giovanni with contemporary footage of her as she looks back on her life. She discusses her most recent collection of poems called n A Good Cry: What We Learn From Tears and Laughter. Although she reveals her thoughts and feelings openly, she's candid up to a certain point and there are even some topics that she refuses to discuss. Fortunately, the filmmakers respect her boundaries which she has every right to have and, more importantly, to clearly set. Nikki Giovanni has clearly been through a lot throughout her life and has attained a lot of life wisdom that she generously shares. She comes across as witty, wise, articulate, emotionally mature, and even humble at times, i.e. when someone refers to her as being friendly and she doesn't think that that's an accurate word to describe herself. Throughout this captivating documentary, the filmmakers capture her personality, warmth and charisma so that you get a sense of what she's like as a human being, warts and all. So, bravo to the filmmakers for avoiding hagiography and for humanizing their subject while showing empathy toward her which is a truly remarkable achievement. Poetry is often a protest for or against something, though, so it's inspiring to discover someone who embraces the power of words as a peaceful form of protest. Where does the film's title come from? You'll learn about that within the first ten minutes. At a running time of 1 hour and 36 minutes, Going to Mars: The Nikki Giovanni Project opens November 3rd, 2023 at Film Forum via HBO Documentary Films.


Housekeeping for Beginners

Directed by Goran Stolevski




     
  

Number of times I checked my watch: 1
Released by Focus Features.
No release date, yet.

May December

Directed by Todd Haynes




      Elizabeth Berry (Natalie Portman), a Hollywood actress, arrives at the seaside home of Gracie Atherton-Yoo (Julianne Moore), a woman who she'll be playing in a biopic. Gracie lives with her husband, Joe (Charles Melton), and children off the coast of Maine. She was involved with him in a scandal when she had sex with him when he was in seventh grade before she eventually married him.

     The screenplay by Samy Burch teases the audience with psychological thrills from the minute that Elizabeth arrives at the home of Gracie to prepare for her role an upcoming biopic. Exposition is kept to a minimum, at first, but soon Gracie's dark, scandalous past gets revealed which changes the way you look at her and explains why she's old enough for her husband to be misconstrued as her son. The more that Elizabeth gets to know her, the more it's clear that she's a malignant narcissist. Screenwriter Samy Burch has a good grasp of human nature as she turns the film into a character study and doesn't shy away from shedding light on the dark side of human nature. There's a scene where Gracie is crying in bed like a baby which speaks louder than words about how infantile and emotionally immature she is. She also victim-blames Joe for coming onto her when he was a child and tries to convince him that he was the abuser, not her. Like a textbook narcissist, she used the tactic of DARVO when confronted about her actions and the consequences of her actions: Deny, Attack and Reverse the Order of Victim/Oppressor. She's an absolute trainwreck. Just when you think that Elizabeth is a decent human being, she suddenly crosses a boundary. Joe is the most decent person among them, so it's unfortunate that the screenplay doesn't develop his character enough because there's so much going on inside of him. May December effectively toys with the audience's imagination because at any given moment during the third act, it could veer into much darker, crime thriller territory. Whether or not that happens won't be spoiled here, but it's worth mentioning that the evolving dynamics between Elizabeth and Gracie remain compelling.

      The music score does a lot of work to generate tension because it feels like the kind of score you would expect from a crime thriller. It's just as intense and unexpected as the score in Shiva Baby. The use of dark, off-kilter comic relief helps to break the tension every now and then. The performances by Natalie Portman and Julianne Moore are superb. They play off of each other very well and sink into their roles convincingly without over-acting. Charles Melton is radiant with his charisma and nuanced performance that adds some poignancy even when the screenplay lacks it. The pace moves at just the right speed without being too slow or too fast. At a running time of 1 hour and 53 minutes, May December is electrifying. It's a wickedly funny, taut and provocative psychological thriller.
  

Number of times I checked my watch: 1
Released by Netflix.
Opens on November 17th, 2023.

Monster

Directed by Hirokazu Koreeda


***International Centerpiece***



      When Saori (Sakura Ando) notices that her son, Minato (Soya Kurokawa), has been behaving strangely, he informs her that his teacher, Mr. Hori (Eita Nagayama), physically abused him. She confronts the principal, Fushini (Yûko Tanaka), who apologizes to her and makes Mr. Hori apologizes to her as well, but she doesn't accept their apology. Mr. Hori claims that Minato has been bullying a fellow classmate, Yori Hoshikawa (Hinata Hiiragi).

      The intricate screenplay by Yûji Sakamoto unfolds the narrative from different perspectives, starting from Mr. Hori's perspective, then Fushini's and then Minato and Yori. Sakamoto has a wonderful handle on exposition by knowing precisely when to reveal information to the audience and how much to reveal. So, the film comes with a few surprises that won't be spoiled here. It's worth mentioning, though, that as the narrative progresses, it becomes increasingly complex and engrossing.The film doesn't judge anyone's actions, although it welcomes the audience to try to discern what's actually going on with them.The more you get to know each character, the more you realize that they're each flaws and are going through their own emotional battles. There's a beautiful scene with her and Minato as she teaches him how to play an instrument while they bond. The relationship between Minato and Tori feels understated, yet genuinely moving. Monster avoids veering into sappy territory and becoming heavy-handed or preachy. Bravo to director Hirokazu Koreeda and screenwriter Yûji Sakamoto for seeing and treating the characters as fully-fleshed human beings from start to finish.

      The performances from the ensemble cast are all extraordinary, especially the child actors, Soya Kurokawa and Hinata Hiirag, which helps to make Minato and Yori's relationship feel true-to-life. Everyone gets the chance to shine and to bring authenticity to their role while opening the window into their heart, mind and soul concurrently. The music score by Ryuichi Sakamoto is truly exquisite and very well-chosen without being overbearing or intrusive. The slow-burning pace suggests that Koreeda trusts the audience's emotions. Moreover, the editing is superb as it interweaves the different perspectives seamlessly without any clunkiness. At a running time of 2 hours and 6 minutes, Monster is profoundly moving, powerful and gripping. It's one of the best coming-of-age films since Close.
  

Number of times I checked my watch: 1
Released by Well Go USA.
Opens at IFC Center on November 22nd, 2023.

National Anthem

Directed by Luke Gilford




     
  

Number of times I checked my watch: 1
No distributor, yet.
No release date, yet.

Nyad

Directed by Jimmy Chin & Elizabeth Chai Vasarhelyi


***Centerpiece***



      60-year-old Diana Nyad (Annette Bening) repeatedly attempts to beat the odds by swimming non-stop for 110 miles from Cuba to Florida after failing to swim the same trek when she was 28. Bonnie Stoll (Jodie Foster), her best friend, serves as her coach while John Bartlett (Rhys Ifans) gets hired as her navigator who captains her support boat.

      Based on the memoir by Diana Nyad, the screenplay by Julia Cox follows a conventional underdog sports drama formula, but it's nonetheless an inspirational and moving story even though it tries a little too hard to tug at your heartstrings. Diana remains determined from start to finish to never give up trying to complete the 110-mile swim between Cuba and Florida which no one has accomplished before. She has a tough time finding sponsors because of her age, but eventually she finds one. Her best friend, Bonnie, wants what's best for her and remains a truly good friend to her despite some rough patches along the way in their relationship. Cox does a mediocre job of incorporating exposition, though. There's too little information about how Diana and Bonnie became friends, although Diana explains to a stranger at a party that they had briefly dated years ago. Meanwhile, Diana has flashbacks to a traumatic event from her childhood which she hasn't overcome yet, but what precisely happened back then isn't revealed until much later in the film. By the end, though, it's still underexplored and sugar-coated in favor of keeping the film more light and upbeat. What makes Diana compelling as a character and more human concurrently is that she's somewhat of a narcissist with a huge ego who loves to talk about herself and has a one-track mind. However, she's not a malignant narcissist because she shows that she's introspective when she calls John to offer him a genuine apology while acknowledging her actions that hurt him. She doesn't give him an excuse for how she treated him nor does she gaslight him which is admirable.

      Screenwriter Julia Cox should be commended for also humanizing Bonnie. There's a particularly poignant scene when Bonnie bluntly tells Diana that she hasn't figured out yet what dreams she wants to fulfill for herself while making it clear that she's the only one who gets to determine what those dreams are and what she wants out of life. No one else gets to decide that for her, so for Bonnie to stand up for herself like that in front of Diana makes her brave and emotionally mature---perhaps more emotionally mature than Diana. The swimming scenes are exciting with a few thrilling and surprisingly scary moments involving sharks and jellyfish. It's also worth mentioning the effective use of comic relief at the just the right moments which prevent the film from being a dry, pedestrian biopic. The third act, which can be seen from a mile away, is somewhat schmaltzy, though, with preachy, on-the-nose messages about never giving up. If only the filmmakers could'e trusted the audience's intelligence more to allow them to interpret the film's message on their own rather than to have it spoon-fed to them.

      Annette Bening and Jodie Foster give terrific performances that help to keep the film afloat. They're wonderful together and have great chemistry. The emotional depth comes from their performances more than from the screenplay. It's refreshing to see Rhys Ifans play against type in a serious role which he brings to life with his warm and tender performance. There are pacing issues, though. During the first hour, the pace moves too quickly before slowing down a little and then picking up again. The scenes with Diana swimming are intense, but go on for too long. At a running time of 2 hours, Nyad is a heartfelt, empowering and inspirational emotional journey anchored by Annette Bening and Jodie Foster's bravura performances.
  

Number of times I checked my watch: 2
Released by Netflix.
Opens at the Paris Theater before streaming on Netflix on November 3rd, 2023.


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Avi Offer
The NYC Movie Guru
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