Top Food Films

This list of Best Food Films is long overdue. In the past, I tried to do a proper Food Cinema series for the Cinematheque but the series never happened. As consolation, I programmed a few contemporary food related films for various film festivals but a proper spotlight was always elusive. In a way, the delay was perhaps meant to be considering that the top 2 films in this list have been released in the last 3 years. Now, the timing is right.

Top 20 Food Films

1. The Taste of Things (2023, France/Belgium, Trần Anh Hùng)

A lovely film that takes us from the journey of growing food, sourcing local ingredients, careful food preparation ending with food consumption. This is that rare film that lets us hear the moaning pleasure of having that delicious dish while also showcasing the glutinous nature of devouring vast amounts of food. The film is also a tender love story forged over food and extends the statement “that the way to a man’s heart is through his stomach.” Because in this film, a man also cooks for a woman, thereby making the kitchen an equal space for men-women to neatly perform their food dance.

2. The Great Indian Kitchen (2021, India, Jeo Baby)

The film, true to its title, showcases scrumptious dishes being prepared. The food preparation and techniques are shown in incredible detail but it becomes apparent that the film is more than about food and the kitchen is more than just a space to make food. The difference in roles of the husband and wife are emphasized as are the expectations of a woman in some segments of society. The Great Indian Kitchen is in stark contrast to The Taste of Things in showing the different roles of men-women in a kitchen. The Taste of things shows a more equitable kitchen but Jeo Baby’s indian film transforms a kitchen as an isolated prison for a woman forced to cook.

Even though this film is rooted in South India, aspects about marriage and treatment of women are applicable to many other patriarchal societies around the world. Credit to the director Jeo Baby of how this depiction is shown, by repetition of the same tasks, which definitely produces a visceral reaction.

3. Tampopo (1985, Japan, Jûzô Itami)

The pleasure of food consumption is shown in all its glory highlighted by this scene of how to properly eat a bowl of ramen. The film is hilarious, thoughtful and makes one hungry.

4. The Lunchbox (2013, India/France/Germany/US/Canada, Ritesh Batra)

Another tender love story forged over meals but in this case, for the longest time, the cook and the eater don’t share the same space. In fact, their meals are transported in the tiffins which exchange many hands as their long journey via trains, bicycles and walking.

5. Pig (2021, US/UK, Michael Sarnoski)

Pig covers many aspects of the food business process, right from procuring ingredients to suppliers who distribute those ingredients to restaurants to chefs who use or misuse those ingredients. In addition, the film also highlights the fickle nature of restaurants and trends and smartly shows how memory is tied with our food experiences. The sun is hardly seen during the film and the overcast look enhances the film’s mood and energy, which in one incredible sequence channels the same spirit as that of Fight Club.

6. Eat Drink Man Woman (1994, Taiwan/US, Ang Lee)

The food preparation is shown in loving detail in addition to how food brings a family together.

7. The Hundred-Foot Journey (2014, US/UAE/India, Lasse Hallström)

Food preparation and recipes are at the core of this film but like Ratatouille, The Hundred-Foot Journey challenges the notion of who can cook and be considered a chef.

8. Ratatouille (2007, US, Brad Bird/Jan Pinkava)

Food preparation is in focus but film also illustrates the role critics play in increasing a restaurant and a chef’s fame. There is also a challenge to traditional notion of who can cook and who is worthy to be considered a chef. And all of these are neatly packaged in a glossy animated gift.

9. Big Night (1996, US, Campbell Scott/Stanley Tucci)

Even though restaurants are featured in other films on this list, Big Night focuses more on the nut and bolts of the restaurant business and what it takes to keep the lights on. Also, pasta is highlighted unlike most films on this list.

10. Babette’s Feast (1987, Denmark, Gabriel Axel)

Babette’s Feast is the ultimate food movie and for the longest time was #1 on this list. In spirit, this film is a precursor to The Taste of Things. While The Taste of Things keeps the food circle small, Babette’s Feast focuses on a village and community.

11. Like Water for Chocolate (1992, Mexico, Alfonso Arau)

Like Water for Chocolate emphasizes how love is an invisible yet key ingredient in food dishes. This film hammers that point home when in the absence of love, sadness and tears turn the dish bitter.

12. Mid-August Lunch (2008, Italy, Gianni Di Gregorio)

No matter the age, people love to eat. And some love to cook even more. Easily, one of the most charming and light hearted films about food on the list. As a bonus, this tender film features a different age category than the other films on this list.

13. Jiro Dreams of Sushi (2011, US, David Gelb)

The only documentary on this list. Pure brilliance.

14. In The Mood for Love (2000, Hong Kong/France, Wong Kar-Wai)

The act of picking food up from stalls is elevated in the most seductive manner via “Yumeji’s Theme” used for the noodle-stand scene between Maggie Cheung and Tony Chiu-Wai Leung’s characters. There is no dialogue in the scene and the score turns a normal occurrence of going to the noodle stand into a seductive waltz. 

15. Ramen Shop (2018, Singapore/Japan/France, Eric Khoo)

In the tradition of Tampopo and Eat Drink Man Woman, Ramen Shop is a mouth-watering film that scrumptiously shows that in different cultures, food is more than just sustenance. The film covers the incredible Singaporean food scene and also depicts a way to combine Japanese and Singaporean food cultures in a unique manner. Ramen Shop also shows that how a food can lead to a love story, which in this case is via the Singaporean dish Bak kut teh (Pork rib soup).

16. Hunger (2023, Thailand, Sitisiri Mongkolsiri)

Hunger highlights the cut-throat food competition that fuels some chefs to create new dishes. The film also gets to the core of what makes a soulful dish and pits street food vs high end cuisine.

17. Ravening (2018, India, Bhaskar Hazarika)

Aamis (Ravening) boldly pushes the boundaries of food by covering the vastly different dishes that exist in North East India, dishes which turn our entire conception of Indian food on its head. The film then goes into even more uncharted territory by including an ingredient that will make people squirm in their seats.

18. East Side Sushi (2014, US, Anthony Lucero)

Fusion of different food cultures is highlighted along with the struggle a chef has in establishing her mark in a culinary world that often looks at a person’s gender or ethnicity rather than letting their dish do all the talking.

19. The Menu (2022, US, Mark Mylod)

The first 20 minutes are a beautiful testament to the perfection some chefs seek in preparing their dishes. Then the film changes course completely and descends into a much more gory territory.

20. Chef (2014, US, Jon Favreau)

Covers food trucks and the how that has played an important part in the North American food culture over the last few decades.

The films of Jean-Pierre Mocky

Notes on three films directed by Jean-Pierre Mocky:

Les Dragueurs / The Chasers (1959)

Litan (1982)

À mort l'arbitre! / Kill the Referee (1984)

I hadn't heard about Jean-Pierre Mocky until I came across Radiance's trilogy.

The title Kill the Referee stood out because but it was the same title of a Belgium documentary released in 2009. The Belgium doc Kill the Referee (co-directed by Yves Hinant, Eric Cardot, Delphine Lehericey) changed its title to The Referees, which is closer to the original title of Les Arbitres. The change felt appropriate given the hostility towards some refs in European competitions. Of course, back in 2009,  I had no idea that the title actually referenced Mocky's film title as I didn't come across Mocky's name when reading reviews about the Belgium documentary. The documentary touched the real life outrage and death threats directed towards referees, a similar idea used as a launching pad for Mocky's film which is based on the book The Death Penalty by Alfred Draper. 

In Mocky's Kill the Referee, a referee (Maurice Bruno played by Eddy Mitchell) gives multiple penalties against the away team causing their supporters to be enraged. Their supporters, led by the spirited Rico (Michel Serrault), blame the ref for the defeat and want to teach the ref a lesson. When they see the ref being interviewed by a local tv station, they arrive at the station and chase the ref and his girlfriend Martine (Carole Laure). Their chase leads them to a mall where Maurice and Martine are hiding. During their chase, Rico accidentally kills Béru, one of their group members. Instead of admitting his guilt, Rico tells everyone that ref killed Béru and now the entire group is out for the ref's blood. The chase for Maurice leads the group to Martine's apartment building, where there are some fights, death defying escapes from the building, and ultimately the group find themselves in a mine with Rico driving their team bus towards Maurice and Martine's vehicle. 

The film does exhibit the satirical style of Jean-Pierre Mocky with some over-the-top scenarios which results in an unexpected ending. In addition, there are some pertinent messages embedded in the film about mobs, the ref's behaviour, elites vs locals all depicted in B-style production values. The low-budget production values don't take away from the film's message and importance. 40 years after its release, the film is still highly relevant as refs find themselves under more fire in today's climate.

Welcome to Litan

Sci-fi, horror, mythology, folk stories are all meshed up in Jean-Pierre Mocky's film set in the village of Litan where strange occurrences take place. Litan starts off with a nightmare yet that pales in comparison to the events the main characters find themselves in. The scenarios need to be seen to believed as elements are taken from a blend of films such as locals' mind taken over by an entity, locals are frozen in a trance like state, acid waters which vaporizes a person's body.

There are plenty of creative ideas in Litan yet not all are coherent with scenes edited in a way that make it look like a real film exists somewhere on an editing table. Of course, given the low-budget nature of the production, the highly edited scenes are likely the final product.

The Chasers

Mocky's first film Les Dragueurs is the most polished of the three and a top-notch film that could easily be an extension of the French New Wave style, with the exception of the final third which depicts a sex-party / orgy set in a manor. The final third and the characters' journey through the Parisian night life is akin to the territory that Kubrick explored in Eyes Wide Shut (1999), a film based on Arthur Schnitzler's 1926 novella Dream Story.

Pushing boundaries

Mocky's Radiance trilogy is called The Agitator and the three films called provocations. A sentiment echoed by Emmanuel Macron who called Mr. Mocky “an eternal provocateur". The other description of his films center around low-budget nature of his productions and prolific nature of his films. He directed over 60 features, releasing a film every year, or twice a year.

Daniel E. Slotnik had this to say in Mocky's obit in 2019:

"Mr. Mocky was a contemporary of the French New Wave directors François Truffaut and Jean-Luc Godard, a longtime friend. Like them, he relied on inexpensive equipment and swift shooting schedules. But his films, unlike theirs, were decidedly more grindhouse than art house. He subverted the perceived sophistication of French cinema and made unapologetically raw films that could alienate critics but draw audiences."

These words calling his films grindhouse may apply to Mocky's later films but Les Dragueurs is an exception to the above as the 1959 debut film is a work of art.

The Films of Vittorio De Seta

Spotlight on Vittorio De Seta with 10 short films and 1 feature film:

Islands of Fire (1955, short film)

Easter in Sicily (1955, short film)

Surfarara (1955, short film)

The Age of Swordfish (1955, short film)

Sea Countrymen (1955, short film)

Golden Parable (1955, short film)

A Day in Barbagia (1958, short film)

Orgosolo’s Shepherds (1958, short film)

Fishing Boats (1958, short film)

The Forgotten (1959, short film)

Bandits of Orgosolo (1961, feature film)

Essential films of Italian Cinema are more easily available than works of many other nations. However, this abundance still results in essential works being hidden away from the spotlight. Such is the case of Italian Director Vittorio De Seta whose films were not available until a restoration by Fondazione Cineteca di Bologna and The Film Foundation at L’Immagine Ritrovata laboratory in 2019. The 10 short documentary films are part of a programme called ‘The Lost World’ and available for viewing via criterionchannel.com and also bundled together with Bandits of Orgosolo via Radiance films.

Neorealism

Ehsan Khoshbakht describes Bandits of Orgosolo as a film that “revitalized neorealism” and it is easy to see why. Vittorio De Seta has made a film stripped of any excess and one that doesn’t contain any music at all. The lack of music heightens the bleak scenarios the main character finds himself in. Bandits of Orgosolo features shepherds playing themselves and their acting is minimalist to the point that it does even feel like acting. The entire film feels like a documentary, an aspect that owes to De Seta’s background as a documentary filmmaker. Bandits of Orgosolo looks and feels like a purer version of Italian Neorealism than Vittorio De Sica’s Bicycle Thieves which has more dramatic elements than De Seta’s film.

This brilliant film has resulted in a change in my Top Italian Films of all time list.

Sicilian Lives

Vittorio De Seta’s 10 documentary shorts depict the everyday lives of Sicilians. The shorts show locals engaged in different professions, such as mining (Surfarara), shepherding (Orgosolo’s Shepherds), fishing (The Age of Swordfish, Sea Countrymen, Fishing Boats), farming (Golden Parable). Majority of the films follow the men who go out to make a living so naturally, De Seta also documents the lives of women who look after the homes while their shepherd husbands are away at work (A Day in Barbagia). In addition, De Seta highlights the religious festivals and rituals associated with Sicily such as Easter in Sicily and The Forgotten. Given that Sicily is associated with volcanoes, De Seta documents that aspect as well. Islands of Fire, which won Best Short Documentary at Cannes 1955, shows how people are impacted by the hypnotic yet dangerous volcanic eruptions.

These 10 documentary shorts are precious in their historical cultural recording of Sicilian lives. It is no wonder that Marin Scorsese commented the following:

“It was as if De Seta were an anthropologist who spoke with the voice of a poet.”

“Here was cinema in its essence – where the filmmaker is not just recording reality but living it.”

As an aside, The “Feast of Silver” celebration in The Forgotten is similar to the one seen in Michelangelo Frammartino’s Le Quattro Volte (2010). 

Additional reading links

Kent Jones in Sight and Sound.

J. Hoberman on The ‘Lost World’ of Vittorio De Seta.

Kinji Fukasaku Spotlight, Part II

This is a follow-up post to the previous Kinji Fukasaku spotlight which focused on 7 of his Yakuza films. Previously, I associated Kinji Fukasaku’s name with Yakuza films. However, he worked on a diverse range of genres, from monster movies (The Green Slime) to police dramas, war films (Tora! Tora! Tora!, Under the Flag of the Rising Sun), political thrillers, sci-fi (Virus) to even comedy (Fall Guy). This part II looks at the following five films, with 3 non Yakuza films:

Hokori takaki chosen / The Proud Challenge (1962)

Sympathy for the Underdog (1971)

Under the Flag of the Rising Sun (1972)

Yakuza Graveyard (1976)

Fall Guy (1982)

Seeking the Truth

Hokori takaki chosen (The Proud Challenge) is a stellar noir film which depicts a journalist’s attempt to uncover an illegal arms trade racket in Southeast Asia. Kuroki (Kôji Tsuruta) works for a small newspaper Tekko Shinpo and we gather from snippets of dialogue that he once worked for a larger newspaper. The reason he isn’t with that larger newspaper is because of Kuroki’s investigation related to a story about the murder of a young woman, a case that has haunted him since then. As it turns out, his investigation of the arms sales finds him crossing path with that old murder case from almost a decade ago. 

The film has a thrilling energy akin to Yasuzô Masumura’s Black Test Car (1962), Black Report (1963), two films released around the same time. Interestingly, Kurosawa’s High and Low (1963) was released in 1963 as well marking a fascinating noir spell in Japanese cinema. However, since The Proud Challenge is a Kinji Fukasaku film, there is a political layer to the film (involving the Americans and an unnamed nation’s forces) and presence of criminal gangs, including both local and international.

Brutalities of War

Under the Flag of the Rising Sun depicts the brutality of war with unflinching honesty. The film centres around Sakie Togash (Sachiko Hidari), a widow, who would like to know the truth around her husband Sergeant Katsuo Togashi’s death during the end of World War II and why she still hasn’t received the pension owed to widows of fallen soldiers. She has spent the better part of 26 years in trying to find an answer but other than visiting the same offices and being the told the same things, she is nowhere near the truth. Her persistence finally rubs off on someone in the Welfare ministry who asks her to track down four comrades of her husband who are still alive. Sakie is told that if any of those 4 men can recount the truth and provide official testimony, then she may finally get the pension.

As Sakie tracks down the men, each of them has a different version of the story. The men don’t even reveal the full story at once but only give her snippets. She has no choice but to pay multiple visits to each person so that she can fact check the stories. What she finds out is beyond her imagination. The men talk of the brutal violence, starvation and deplorable conditions the soldiers found themselves in. They were forced to turn on each other, do whatever it took to stay alive including resorting to eating the flesh of dead soldiers. It turns out that Katsuo did his best to keep soldiers in his group alive, including turning on his superior, defying orders and saving the lives of his fellow soldiers at the cost of his own.

Fukasaku has included historical photographs of these savage wars fought in New Guinea, similar to actual images he used in the Battles Without Honor and Humanity series, which lends an air of realism to proceedings. History books in the West have no mention of these incident in New Guinea and the conditions that Japanese soldiers faced. Why would they? For the west, Japan was an advisory and as we know that history is written by the victors. Fukasaku, working from Yūki Shōji's stories of the same name, has made one of the best anti-war films ever yet it is a film that is hardly ever mentioned in the War Genre.

Lights, Camera, Action, Comedy, Death

Kinji Fukasaku’s Fall Guy has a completely different tone and feel from his other films and features a lot more comedic elements that seen in his other films. The film’s title is both a literal and figurative reference as it refers to Yasu (Mitsuru Hirata), a stunt actor, taking a death-defying fall in the film and also cleaning up the mess for his main actor, Ginshiro (Morio Kazama). When Ginshiro’s mistress Konatsu (Keiko Matsuzaka) is pregnant, he asks Yasu to marry her so that Ginshiro is not dragged into any controversy. Yasu agrees and goes out of his way to provide for Konatsu, including taking on more and more dangerous stunts to pay for Konatsu and their child’s future. This eventually leads to Yasu agreeing to fall down the largest stairs constructed in a Japanese film studio’s history so that Konatsu can live off his death insurance.

Of all the Kinji Fukasaku films, this one feels the most like a studio film, not only because of the studio setting but also because of the presence of the various characters who don’t add anything to the plot except comedic relief or an emotional impact. Yet, even in this studio framework, Fukasaku still shows a creative hand including the finale which is worthy wink to the audience. The film doesn’t have any reference to the US TV series The Fall Guy (1981-86) and in a way Yasu’s main character is a polar opposite to Lee Majors’ Colt Seavers character in the US TV show. Seavers character goes on regular death-defying adventures while Yasu struggles to stand up for himself. Eventually driven by the need to provide for Konatsu, Yasu starts getting braver leading to his legendary finale.

Gangs and Turf Wars

Gangsters released from prison are a common sight in many films. Sympathy for  the Underdog starts with that aspect and elevates depicting the gangster release with a Western genre touch. As Masuo Gunji (Kōji Tsuruta) is released after serving a 10 year sentence, the rustling of the leaves via the wind announces the arrival of a major outlaw who is not wearing a black hat but instead black shades. Gunji indeed fits the bill as a no-nonsense gangster who is willing to go to any lengths to claim what he believes is his right. However, he finds a different Yokohama than the one he left when we went to prison. Gunji’s old turf is taken over by a gang from Tokyo and his men are all split up. He gathers a few of his loyal men and decides to go to Okinawa, the remote Japanese island he believes resembles what Yokohama once was. Once they land in Okinawa, Gunji and his men gets a lay of the land and indeed find that they can easily wedge their way into the mix.

Kinji Fukasaku taps into historical elements in depicting a post WWII Okinawa, one where the US presence was still strong (US only returned Okinawa to Japan in 1972). This is depicted in the film via multiple shots of the American flag, heavy presence of American soldiers at night clubs and the multiple Jazz clubs. The Americans are also involved in the local alcohol business and have their armed men to take care of troublesome characters such as Gunji’s men. Similar to his other Yakuza films, Sympathy for the Underdog has a frantic energy to events and uses Dutch (slanted) camera angles at key moments to propel the action. The film also goes into detail about the logistics needed to run a criminal operation and how to carve out one’s own turf. Gunji is ruthless and doesn’t fear anyone yet he still operates via an unwritten honour code like the Yakuza characters in other Fukasaku films.

Cops vs Yakuza and Brotherhood

Yakuza Graveyard compliments Fukasaku’s other Yakuza films and the title of his 1975 film Cops vs Thugs could easily have applied to this film as well. In addition to showing the cops vs gangs rivalry, Yakuza Graveyard also shows how the two groups work together unofficially via sharing of information and in some cases via bribery/corruption. The Yakuza reward the police through money, alcohol and women but the line is drawn at an official brotherhood between the two. This is what both Kuroiwa (Tetsuya Watari), the tough as nails cop, and Iwata (Tatsuo Umemiya), the hot boiled Yakuza, form much to the shock of their respective bosses. At first, both Kuroiwa and Iwata are enemies and beat the heck out of each other. However, Iwata sees their similarity and starts to respect Kuroiwa. The two officially take a brotherhood pact which puts both of them in hot water, leading to both the cops and Yakuza wanting to put away the two men. 

Yakuza Graveyard is a brilliant film and stands out from Fukasaku’s other stellar Yakuza films. The film emphasizes the honour and trust code that exist between men and despite all the fighting and blood spilled, the film has an emotional beating heart. This is easily one of the best Yakuza films out there and that is not an easy feat in a very crowded yakuza film market. The film also has a key acting role by legendary Japanese director Nagisa Ôshima.

Part II conclusion

My admiration for Fukasaku has gone up via the 5 films seen in this spotlight. His yakuza films are not just pure violence but instead he uses historical incidents and characters (films have actual photographs inserted) as the basis for his films. In this regard, he is documenting Japanese society post WWII especially that of Hiroshima in the Battles Without Honor and Humanity series, Okinawa in Sympathy for the Underdog. Fukasaku documents the plight of Japanese soldiers in New Guinea Under the Flag of the Rising Sun.

There is a planned Part III Kinji Fukasaku spotlight, one which will focus on his other key Yakuza films while highlighting some more non-Yakuza movies.

Hong Sang-soo watch, part II

This is a follow-up to the previous post where I had managed to see 27 / 31 Hong Sang-soo features to date. Since that post, Hong Sang-soo premiered another film, By the Stream, at the Locarno film festival, bringing his total to 32 films. However, I have managed to see 3 further films bringing my total to 30 / 32 films seen. This is the closest the gap has been. Now, both my unseen films are newer films (In Our Day is still in US cinemas) and By the Stream will take its time doing the festival rounds. That means, I won't be able to see these films until 2025 by which time Hong Sang-soo may have another 1-2 new films. So the gap may widen again. For now, I can at least take some consolation that I have managed to catch up substantially.

1. The Day a Pig Fell Into the Well (1996)
2. The Power of Kangwon Province (1998)
3. Virgin Stripped Bare by Her Bachelors (2000)
4. On the Occasion of Remembering the Turning Gate (2002)
5. Woman Is the Future of Man (2004)
6. Tale of Cinema (2005)
7. Woman on the Beach (2006)
8. Night and Day (2008)
9. Like You Know It All (2009)
10. Hahaha (2010)
11. Oki’s Movie (2010)
12. The Day He Arrives (2011)
13. In Another Country (2012)
14. Nobody’s Daughter Haewon (2013)
15. Our Sunhi (2013)
16. Hill of Freedom (2014)
17. Right Now, Wrong Then (2015)
18. Yourself and Yours (2016)
19. On the Beach at Night Alone (2017)
20. Claire’s Camera (2017)
21. The Day After (2017)
22. Grass (2018)
23. Hotel by the River (2018)
24. The Woman Who Ran (2020)
25. Introduction (2021)
26. In Front of Your Face (2021)
27. The Novelist’s Film (2022)
28. Walk Up (2022)
29. In Water (2023)
30. In Our Day (2023)
31. A Traveler’s Needs (2024)
32. By the Stream (2024)

The Top 10 Hong Sang-soo films list still stays the same

1. Right Now, Wrong Then (2015)
2. The Day He Arrives (2011)
3. Tale of Cinema (2005)
4. Like You Know It All (2009)
5. The Day After (2017)
6. In Front of Your Face (2021)
7. Woman Is the Future of Man (2004)
8. On the Beach at Night Alone (2017)
9. Night and Day (2008)
10. In Another Country (2012)

A trio of Sean Baker films

Notes on a trio of Sean Baker’s films:

Take Out (2004, co-directed with Shih-Ching Tsou)
Starlet (2012)
Red Rocket (2021)

As I await Sean Baker’s Anora, the Cannes 2024 Palme d’Or winner, I realized I had no notes on his earlier films that I had seen as Tangerine, The Florida Project and missed seeing a few of his other films. As a means of correction, here are notes on 3 films I had not seen previously.

Slice of American life

One aspect of Sean Baker’s cinema is his ability to show a slice of American life that commercial Hollywood studio ignores. He sheds light on those people / stories not covered by mainstream cinema and does so in a natural realistic manner. That doesn’t mean his films are devoid of drama but instead his film shows reality without any of the dressed up glamour that Hollywood indulges in. In addition, his films feature characters directly or indirectly involved in the adult film industry or associated with them. Take Out is an exception to that.

Food and Delivery

Take Out came out a year before Ramin Bahrani’s Man Push Cart (2005) was released and both films shed light on different aspects of American food delivery in New York. While Man Push Cart highlights the one-man food cart, Take Out focuses its attention on door-to-door food delivery. The main character in the film, Ming Ding (Charles Jang), waits for the restaurant food to be made and immediately get on his bicycle to deliver that food, no matter the weather. Take Out is shown with a high degree of realism and approaches aspects of Cinéma vérité documentary style.

Take Out, co-directed with Shih-Ching Tsou, stands apart from the remaining Sean Baker films in not having any association with adult film industry/sex workers as his later films would. The film does contain Baker’s now expected signature in trying to humanize his characters and inviting audience a glimpse into the everyday harsh realities of people doing whatever it takes to make a living.

The Mikey connection

Starlet and Red Rocket are two different films but they are connected by the character Mikey even though the character is played by two different actors in each film and it is never truly spelled out that Red Rocket is the next chapter in Mikey’s life. As Red Rocket describes, the term Mikey is slang for “suitcase pimp” which captures the essence of both Mikey’s in the two films, the character played by James Ransone in Starlet and that by Simon Rex in Red Rocket. A few dialogues by Mikey in Red Rocket (such as installation of pole in living room) seem to indicate that he may be the same person who lived in LA in Starlet and has now left to move back to Texas City in Red Rocket. In Starlet, Mikey’s character is on the fringes even though he is indirectly pulling the strings which impact the lives of the two female characters Jane (Dree Hemingway), Melissa (Stella Maeve) who share an apartment with him. Starlet is Jane’s film about an unexpected friendship with Sadie (Besedka Johnson) while Mikey is in almost every frame of Red Rocket. Even though Red Rocket is about Mikey, the film shows the toxic and damaging impact he has on the female characters around him including his wife Lexi (Bree Elrod) and 17 year old Raylee (Suzanna Son).

Red Rocket's Mikey is a dangerous male who is the perfect description of a slime ball and whose predatory behaviour can wreck the lives of anyone in his path. The film shows how he impacted Lexi via the adult industry but Mikey never thinks about anyone else. He is only thinking of himself and his next pay check and that is why he tries to groom Raylee into being an adult movie star.

Other directors would have treated Mikey’s character (Red Rocket) in a different light and would have focused on his villainy right up front. However, Sean Baker’s style allows him to present situations and characters as naturally as possible. This way, audience can watch the characters go about their lives, their daily hustles, and then can form their own conclusions via the actions of the characters.

The Films of Joanna Hogg

Notes on the Six Feature Films directed by Joanna Hogg:

Unrelated (2007)
Archipelago (2010)
Exhibition (2013)
The Souvenir (2019)
The Souvenir: Part II (2021)
The Eternal Daughter (2022)

While viewing Joanna Hogg’s recent film The Eternal Daughter, I noticed that I had never written about any of her films on this blog. This felt like a glaring omission especially since I owned DVDs of her first 3 features Unrelated, Archipelago and Exhibition and saw her films in order of their release. Here finally are some thoughts/notes as a means of correction.

Messy / Strained Relationships

All six of Joanna Hogg’s films depict complicated dynamics of a relationship with brutal honesty. That means, her films don’t shy away from fights, loud arguments between couples and family members that spill out for others to witness. Family tensions are depicted in Unrelated (father-son), Archipelago (mother-sister vs brother), The Eternal Daughter (mother-daughter) while relationships are under a very close microscope in Exhibition (a marriage on the verge of collapse), The Souvenir (toxic male). In majority of these films, the arguments and shouting leave the confines of a bedroom or a dining room but they never leave the space of a villa, house or hotel. That means, her films only examine the impact and fallout of a relationship to those within a closed inner circle and don’t extend to the larger society as a whole.

Joanna Hogg also examines British class differences in the inner circle of these families and their friends. Archipelago stands out in this regard in how a brother and sister differ in their treatment of a hired cook. Edward (Tom Hiddleston) would like to invite their cook Rose (Amy Lloyd) to sit with them at the dinner table but his sister Cynthia (Lydia Leonard) and mother think that is unreasonable. Cynthia even gets upset at Edward’s chats with Rose. Majority of the characters in Hogg's films are financially well off and their elitist behaviour is highlighted in how the characters treat others around them.

Artistic Voice / Challenges

The Souvenir and its sequel, The Souvenir: Part II illustrate the difficulty in making a film starting from the funding process. The films, especially the sequel, highlight the impact a director’s decisions or indecisions can have on the rest of the crew. There are many real life stories about directors shooting a film without a script and such efforts are often lauded as a major achievement but the reality is that there is often a cost impact of wasted film shots or not having a bound script. The Souvenir: Part II shows the frustrations of the cinematographer and rest of the crew in not having clear instructions on where the camera must be placed.

Exhibition examines the creative challenges that contemporary artists have and depicts the equivalent of a writer’s block on an artist (art block). The challenges in expressing one’s vision and having others understand it ties this film to that of the two Souvenir films.

3 year Timeline

There was an equal 3 year gap between the release of her first 3 features: Unrelated,  Archipelago and Exhibition. Then Hogg didn’t release a film for a 6 year gap but the remaining three films were all released within a span of 3 years. This quick release of 3 films in 3 years means that overall, she has maintained a consistent output over the 6 features.

Other Notes

The two Souvenir films have gotten plenty of critical acclaim but Unrelated remains my favourite Joanna Hogg film. Even though it is her debut film, Unrelated is a breath of fresh air compared to how characters are depicted in other British films. Joanna Hogg’s contemplative style allows audience to infer their own sentiments about characters based on snippets of dialogue, body language and how the characters behave. I still recall feeling that Unrelated heralded the arrival of a new director to watch. With just a single feature film to go off, it wasn’t clear what direction her other films would take. Now revisiting Unrelated after having seen all her other features allows me to see how this film fits in with her style. There is a sense of autobiographical element to all her films filtered via focus on relationships and class differences of her characters. We first see this in Unrelated and she expands on this in the subsequent five features.

Tom Hiddleston may be a familiar name now but it is important to note that he made his feature film debut in Hogg’s Unrelated. His second feature film happened to be Joanna Hogg’s second directorial feature Archipelago.

Reference Reading:

Seventh Row on Joanna Hogg.

Hillary Weston Interview on Criterion.

Rachael Rakes on her first 3 features.

The blood soaked cinema of Coralie Fargeat

Reality+ (2014, Short film 22 min)
Revenge (2017)
The Substance (2024)

Analyzing a director’s style just via 3 films can feel dicey especially if one of those 3 films is a short film as sometimes directors need a few films to find their voice. However, in the case of Coralie Fargeat her stylistic voice booms loud and clear from just this small sample set. Her newest film The Substance clearly builds on visual and thematic elements she had in her 2014 short film Reality+ and her previous feature Revenge. In fact, if one only sees the final few minutes of The Substance after seeing Revenge, it would be clear that this was a Coralie Fargeat feature. Her signature is there for all to see.

A better version of yourself but for a limited time

The core question at the center of The Substance is “Have you ever Dreamt of a better of yourself?”.

Fargeat first explored this idea in Reality+ where characters can overlay their physical appearance with a desired Avatar of their choosing after they undergo a procedure. There is a time-limit to their physical appearance (12 hours) after they which they return to their regular self and they cannot transform into their Avatar again until a certain waiting period has lapsed. The Substance also has a time limit for the new and improved version of oneself but it is for alternating 7 day intervals. Meaning, the self and other-self live their lives in alternating weeks.

Other than the time-limit, there is another difference between how Reality+ and The Substance approach the self vs other-self. In Reality+, the new-self is only a physical appearance superimposed on the original self so in essence both are the same shared mind, conscious. Whereas, the body separation in The Substance creates two physical entities that become two competing egos/personalities sharing the same core fluids. This difference leads to the tug of war in The Substance where the balance is disrupted.

There will be Blood, lots of it

Revenge is a blood soaked film where Jen’s character (Matilda Lutz) seeks vengeance for her rape and attempted killing. At the start of the film, Jen and Richard (Kevin Janssens) fly to a harsh desert landscape where Richard is planning a hunting trip with his buddies Stan (Vincent Colombe) and Dimitri (Guillaume Bouchède). Before his buddies arrive, Richard is using the time for a romantic getaway with Jen leaving his wife and family back at home. When Richard goes away for a few hours to arrange paperwork for the hunting trip, Stan rapes Jen. Richard tries to play this violent act down but Jen wants to leave for home immediately. Richard tries to reassure her but instead attempts to kill Jen and thinks he has succeeded. As the saying goes “what doesn’t kill you only makes you stronger”. Jen survives, grows in strength and goes on a bloody violent hunt to eliminate the 3 men.

Despite the oodles of blood sprayed across the screen, Revenge has a music video visual aesthetic where yellow and red palettes pop with a techno track. At times, the interior shots of the film feels like a N.W Refn film taking place in bright daylight while the exterior desert shots echo Mad Max. However, it is clear that Fargeat has her own unique sensibilities as the camera hones in on tiny details and expands them with close-ups or extended sequences where scenes that would normally be depicted in seconds unfold over minutes. The film is more style than substance (pun not intended).

The Substance starts off as a sci-fi body horror film but it ends up united with Revenge in soaking the screen with blood. The slight difference is timing of the blood. In The Substance, blood spurts wildly on the screen only in the final third whereas blood starts flowing liberally in Revenge near the halfway point of the film. In terms of quantity, the sheer non-stop gushing of blood in The Substance more than overtakes the total blood oozed in Revenge.

Mirror Mirror on the Wall

The concept of beauty is prominent in all 3 films and all 3 films feature characters who embody aspects of beauty and are obsessed about with their appearance. Their obsession is emphasized by the usage of mirrors, which are featured prominently in Reality+ and The Substance where the main characters spend plenty of screen time admiring / detesting their physical appearances. In Revenge, the main character Jen doesn’t need to stand in front of a mirror as she is constantly stared at by the three men. The house/villa in the film has plenty of glass windows which give the men plenty of ways to ogle her.

Small World in a Large landscape

Reality+ is set in Paris, The Substance in Los Angeles while Revenge is shot in Morocco but the desert landscape isn’t ever named in the film and could be multiple locations around the world (Mexico is indirectly implied by the beer). Despite the vast landscape of all 3 films, Fargeat's characters go back-forth in between a few locations only. This creates a mini-world for the characters where their entire universe consists of a closed loop allowing them to visit a few familiar spots and coming across only a few people. As a result, the films are stripped of any plot fat and don’t have any unnecessary characters, dialogues or scenarios. However, the thin plot doesn’t translate into a lean running time for the two feature films.

Instead, Revenge (1 hour 48 min) and The Substance (2 hour 21 min) fill their time with eye-popping visual details amped up by loud music and often repeat the same details over and over despite the point being hammered home much earlier. Reality+ is the best of the three films and gets its point across in 22 minutes. The Substance has a wicked trailer but loses steam after repeated sequences before its jaw-dropping squirming final third.

Style over Substance

Reality+ has more substance than style but the opposite is true of the two feature films Revenge and The Substance where the visual style, aesthetic look, mood take precedent over any plot or general themes. There are clear ideas that Coralie Fargeat wants to convey and she is comfortable blending multiple genres to achieve that. Both feature films played at TIFF’s Midnight Madness section (Revenge had its World Premiere in this category at TIFF) which is where one would expect these films although in the case of The Substance, the film managed to get a Cannes Competition slot. That Cannes slot feels in keeping with the film’s core element where the other-self tries to create a life of her own away from original self, so the film tried to carve a life of its own away from a Midnight slot by escaping into the main Competition slot.

Triple Bill of Alexander Mackendrick

The Man in the White Suit (1951)
The Ladykillers (1955)
Sweet Smell of Success (1957)

I was already a fan of Alexander Mackendrick as evident by the ranking of his two Ealing studio films The Man in the White Suit and The Ladykillers at #22 and #35 respectively in my Top 60 Comedy films list. I associated Mackendrick with Ealing Studios and the Comedy Genre especially since four of the five films he directed for Ealing Studios were comedies with Mandy (1952) being the exception. All five of his Ealing Studio films: Whiskey Galore! (1949), The Man in the White Suit (1951), Mandy (1952), The Maggie (1954), The Ladykillers (1955). 

However, a recent viewing of Sweet Smell of Success led me to rethink Mackendrick’s films in a new light. The 1957 American film starring Burt Lancaster, Tony Curtis, Susan Harrison is dark look at human nature and on the surface is far removed from the comedic framework of Ealing studio films. Even though, The Man in the White Suit and The Ladykillers have a predominant comedic note, they aren’t pure comedies but contain dark notes. The Ladykillers is a dark comedy laced with crime while The Man in the White Suit is draped with shades of tragedy and irony along its sleeves. Sweet Smell of Success heightens the dark and tragic undertones from these two films and mutes any comedic element to a whisper. 

In Sweet Smell of Success, Tony Curtis’ Sidney Falco character is constantly joking, laughing but his character has an air of desperation about him while the entire film has tragedy written all over it. Sidney is a press agent who gets promotion money from owners to promote their club. All he needs is a good review or a mention of the club in a newspaper article from J.J. Hunsecker (Burt Lancaster). Sidney would go to any lengths to get on J.J’s good side including trying to fulfill J.J’s request to breakup his sister’s (Susan Hunsecker played by Susan Harrison) romance with a jazz musician. As Sidney tries to do whatever it takes to break up the romance, he starts to cross moral and ethical boundaries from which there is no turning back.

Sweet Smell of Success is a brilliant portrayal of American society at a time when newspaper reviews meant the world for financial survival for restaurants, theatrical plays and even movies. While traditional newspapers have been in decline in recent decades, some of the core elements of the film such as a smearing someone’s reputation, publishing false stories or personal affairs have sadly been amplified in our contemporary social media dominated world. In that sense, Mackendrick’s film and script co-written with Clifford Odets and Ernest Lehman is still as relevant today as it was back in 1957.

Sweet Smell of Success belongs to a different genre but it is unified via 2 threads to Mackendrick's two Ealing Studio films. All three films are a keen insightful observation of characters while also provide an overarching commentary on society. The Man in the White Suit highlights the invisible hand or supply-demand forces that make things work. All the clothing textile company owners want the invention of an indestructible and dirt repellent fabric to fail as that would make people buy their clothes less. In The Ladykillers, the bank robbers try to justify their crimes as saying that no one would be hurt by the missing money because it would be a blip for the banks since insurance would cover it all while the robbers can use the money for their families benefit. There is a financial truth to what the robbers say as has become evident with all the banking and insurance frauds that have become much more commonplace since the film was released. Sweet Smell of Success shows a world where favours can open doors for people and the scenarios in the film are aptly described by the phrase “you scratch my back, I scratch yours”. This phrase still makes the world go around and allows careers to flourish and is at the core of our broken political machine.

I was a fan of Alexander Mackendrick before but after seeing Sweet Smell of Success, I am an even bigger fan. He clearly was one of the best directors to have worked in cinema, yet not as widely appreciated as his peers.