In Berlin, Anxious Movies for Dark Times
The skies are typically gray and gloomy at the Berlin International Film Festival, but this year's edition, which runs through Sunday, began with snow for days. The wintry weather gave the event — known as the Berlinale — a magical glow at first, but it wasn't enough to keep the demons at bay. Looming over the festival were anxieties over the conflicts in Gaza and Ukraine, as well as the upcoming German elections. The films also radiated an air of shame, despair and powerlessness, asking: How to trust ourselves to make the world better when we've already screwed up so spectacularly?
Tom Tykwer's visually dazzling, but comically misguided liberal drama, 'The Light,' opened the event last week, submitting festivalgoers to 162 minutes of angst and attrition (and one too many 'Bohemian Rhapsody' needle drops) about a German family spiritually cleansed by their Syrian housekeeper.
For many of us on the ground, however, the first real epic-of-interest was the 'Parasite' director Bong Joon Ho's science-fiction caper 'Mickey 17' — a film that induces nervous laughter about society's abysmal moral standards. In this high-concept action movie with a zany dark heart, labor exploitation hits a new low when workers, or at least their physical forms, become literally disposable. Robert Pattinson stars as one such 'expendable,' a dopey spaceman whose co-workers treat him like a lab-rat, knowing that his body can be reprinted.
Bong's bids at timeliness are staler than usual. (Mark Ruffalo plays a grandstanding demagogue whose followers wear red caps.) But the film's dull political edge doesn't diminish the joy ride's momentum, nor the flashes of genuine weirdness that keep us guessing. If, god willing, superhero movies are destined to go the way of the dodo, 'Mickey 17' is a reminder that directors like Bong keep the dream of the blockbuster alive.
President Trump's ramped-up campaign of mass deportations infiltrated my viewing of Michel Franco's 'Dreams,' a competition entry that filled me with much ambivalence, but also moved and infuriated me. This intentionally provocative psychodrama by one of Mexico's most divisive directors sees Jessica Chastain as a tightly wound philanthropist from San Francisco who has a tempestuous relationship with an undocumented ballet dancer from Mexico — whom we first see, like the survivor at the end of a brutal horror film, emerging from a van full of smuggled migrants.
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'Begone Satan!' has the possessed woman flying over bed like 'The Ritual' The possessed Schmidt throws up black bile often in "The Ritual," but not as much as in the book. 'It was not unusual for her to vomit 20 to 30 times a day," the book says, including bedside descriptions of wretched output "resembling vomited macaroni." The movie scene featuring Schmidt flying over the bed is detailed in "Begone Satan!" "The possessed woman broke from the grip of her protectors and stood erect before them," the book says. "Only her heels were touching the bed." How 'Begone Satan!' ends the story Unlike the movie, the Iowa exorcism reportedly took place in three stages, in August, September and December 1928. The book's climax differs from "The Ritual" ending, which has Schmidt running through the church catacombs, and Steiger stepping up with an exorcist hero moment, shouting down the demon with the Bible in hand. 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