Every few years, a film like “Dukhtar” makes its way to cinemas, usually through the festival circuit. Just the name of this monstrous Midwestern family sets officers a-trembling all the way on the far side of the Montana border, but there’s no explanation for why or how they got so scary—and, frankly, minimal evidence that they’ve bothered anybody recently besides the obstinate Margaret and George. So look out for it. The film functions as a love letter to Pakistan, despite the misogynistic culture it exposes. The Blackledges’ demand that the Weboys let Johnny go mirrors their own struggle to move on from their son’s death. Once you get past the faux-provocation of the film’s title, it’s difficult to tell what ideologies the filmmakers are trying to skewer. Their vividly colored clothes, beautiful against the mostly brown desert backgrounds, emphasize how out of place the two are in this region, where women simply don’t travel, let alone hitchhike, without a male escort. I have to say that I was blessed with a great crew. It was the story of a mother from the tribal region of Pakistan who kidnaps her two young girls and makes a run for the road to find a better future for them. It’s a billet-doux by proxy, ghost-authored, dictated to a machine. The mother and daughter of The Monster were piercingly alive in their disillusionment and yearning, while the Texan family of The Dark and the Wicked is composed of barely audible zombies who’re calcified by despair even before a shadowy, metaphoric thing begins skulking around their farm. The landscape opens up when they get to the long, winding highway Allah Rakhi hopes to follow to Lahore in order to meet up with her own mother, Rukhsana (Samina Ahmad), who her husband has forbidden her to contact since she left home. Skilful direction could overcome these handicaps, and has done so in the past, but there is little flair to the filmmaking in “Dukhtar.” From an early scene wherein a one-dimensional supporting character and Zainab play house to the finale in a crowded street in Lahore, the compositions are unimaginative and the mise en scène right out of film school. Tellingly, Jungleland only comes back to life at its conclusion, when the film’s soundtrack makes way for, yes, a Springsteen song (his cover of “Dream Baby Dream”). Screenwriter David D. Jones doesn’t have the finest ear for the way young people speak, defaulting to lame pop-cultural references (“I would go all Amber Heard on Johnny Depp and dump his ass,” one character says about her friend’s potentially cheating boyfriend) and copious uses of the word “bro.” When a plot development sees one of the guys come out as gay, the script makes sure to play the moment for homophobic laughs while also weakly acknowledging said homophobia a second later. Then in early 2001, I got a phone call which changed my life. Slavery occurs relatively rarely among hunter-gatherer populations because it develops under conditions of social stratification. Marcantonio effectively creates an imposing environment with the brooding presence of the ravens and other pieces of moody mise-en-scène, but there’s a creakiness to the story that often makes it more aggravating than horrifying or unnerving. The film functions as a love letter to Pakistan, despite the misogynistic culture it exposes. Flanagan increasingly pulls his punches out of love for his characters, while Bertino’s The Dark and the Wicked is so claustrophobically hopeless that it feels as if it’s already over by the time the opening title flashes on screen. Child marriage used to be a very buried issue in the country before the film came out. We break through the timelines and explain how it may be his deepest movie yet. Time is the most obvious element here given the structure, but it's more than Nolan being quote-unquote "smart". We were on the road for two months in these conditions and being the only female filmmaker was extremely lonely at times. That’s how I wanted to shoot the film. Chuck Bowen, The Blackcoat’s Daughter has a sad, macabre integrity. In Pakistan I used to be a nerdy computer scientist. Cast: Diane Lane, Kevin Costner, Lesley Manville, Kayli Carter, Booboo Stewart, Jeffrey Donovan, Will Brittain, Ryan Bruce, Adam Stafford, Bradley Stryker, Tayden Marks, Caillou Pettis, Connor Mackay, Greg Lawson Director: Thomas Bezucha Screenwriter: Thomas Bezucha Distributor: Focus Features Running Time: 114 min Rating: R Year: 2020. Despite a searing performance from Diane Lane, writer-director Thomas Bezucha’s Let Him Go ultimately self-immolates. Get the Indie Focus newsletter, Mark Olsen's weekly guide to the world of cinema. Donate today to support our free and trustworthy journalism. It’s a gorgeous, suspenseful cinematic achievement. Filmmaker Phillip Youmans’ “November” transforms Claudia Rankine’s play “Help” into a haunting “choreopoem” on white privilege. That’s the nearest thing to filmmaking in Pakistan since we don’t really have a film industry to train into or even proper film schools. The titles below (all presently streaming on Netflix) have shown us utopias, dystopias, distant planets, and our own Earth destroyed. And on the rare occasions when Allah Rakhi can let down her guard, Mumtaz unlooses a lovely, dimpled smile that reveals a lively sense of fun. The conjuring of this feeling has been Springsteen’s life project—it thrums throughout his and the E Street Band’s recent Letter to You—and such a feeling connects his music with a strain of American films concerned with working-class complications, like Elia Kazan’s On the Waterfront and John Avildsen’s Rocky. The 1985 film centers on Connie (Laura Dern), a 15-year-old from a farm in the Northern California suburbs. Joel’s memories go backward in time from the last gasp of their love to their initial spark, but there are sideways detours along the way that take him to infancy and memories of his first childhood humiliation. (The gruffly charming Costner usually recedes into the background in the role of a skeptical but steadfast wingman.) A disproportionately tall, spindly, and perpetually moist gray something or other, Larry is a gene splice of the Babadook and the monsters from A Quiet Place. Oliver communicates with others using a smartphone app that offers him words and phrases, rather than letters, to choose from. Arguably, this kind of story is always fetishistic. Eric Henderson, When Hideaki Anno ended Neon Genesis Evangelion, his elaborate analogy for his own untreated depression, with a moment of calming, redemptive group therapy, the backlash he received from fans who wanted a cataclysmic climax was overwhelming. Dukhtar (دختر) "Daughter" is a new entry in emerging independent Pakistani Cinema. There are specific reasons why child marriage, especially the forced marriage of underage girls to much older men, is tied in with numerous social, cultural and religious traditions in Pakistan, as well as other regions where this is common. These great horror films are currently streaming on Netflix. Meant to offer moral instruction, risqué pleasure, or, more recently, feminist commentary, the genre sublimates the actual threat of sexual violation into an extended scenario of confinement and (attempted) escape. Sky particularly makes no sense, as she’s present only to goose Stanley and Lion, offering a wan reprise of the bad girl with a good heart. California’s November election will feature 12 statewide ballot measures. However, it is the female directors who are scrutinized heavily in the industry and bear the brunt of criticism. These are great validations that female directors are out there. Though the father appears ill, the matriarch (Julie Oliver-Touchstone) is convinced that his lifeforce is being sucked away by a demon or perhaps even the devil himself. However, the social, economic, and legal positions of slaves have differed vastly in different systems of slavery in different times and places. Its schematic organization of what Marty McFly (Michael J. The characters in those other films feel like human beings, while Elin and Tobias are less surprising automatons stuck in a vice of repetition that mirrors the process of recovery and nothing else. It's the most Nolan war movie you could imagine, told in a unique way that ramps up the intensity and - especially when viewed as the director intended in IMAX - puts you right there on that fraught beach. Gonzalez, The Guest is carried by an intense and surprising mood of erotic melancholia. “We often tend to hear only one kind of story, of people who went for training camps and then were there only for the war but this man chose to leave that life of war for love and that was important to show that,” says Nathaniel. Bertino pushes a funereal quality to its breaking point, which is very much the intention, however maddening. Netflix. Even as Cam gives new meaning to “ghosting” when Alice watches “herself” online, the film’s strengths come from an intimate familiarity with the anxieties that accompany a life predicated on thriving in a gig economy still owned and operated by impenetrable customer service mechanisms and corporate channels of older, sweaty white men. The Bangkok International Film Festival on Ending Violence Against Women and Girls runs Nov. 26 to Nov. 29 at SF Cinema Central World Plaza.

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