‘The Chair’ is a dramedy worthy of a second season: A Review of the new Netflix series

From Dr. Cristina Yang in Grey’s Anatomy to Dr. Ji-Yoon Kim, chair of Pembroke University’s English Department, Sandra Oh has proven to be an effective voice for inclusion in the entertainment industry.

Sandra Oh in The Chair, a new Netflix series

The Chair is a notable addition to Netflix’s original series, newly released in August 20, 2021. The six, 30 min. episodes pack subject matters that are relevant in academia and society today. So, if you feel it has not fully delved into such issues, I hope a second season would allow it to elaborate.

The most obvious one is the academic chair, the symbol of authority in academia. Professor Ji-Yoon Kim, aptly played by Sandra Oh in an astute mix of comedic and realistic fervour, is the first Asian American and woman of colour to chair the English Department of Pembroke University, a second tier liberal arts college striving to remain relevant. Dr. Ji-Yoon Kim’s obstacles are duly multiplied just because of who she is, a woman English professor of Korean ancestry.

When talking with Yaz (Nana Mensah), a young, black woman faculty whom Ji-Yoon wants to appoint as distinguished lecturer, Ji-Yoon says, “when I first started, it was like ‘why some Asian lady teaching Emily Dickinson?'”

Ji-Yoon’s troubles are manifold. Enrolment in the English Department has dropped more than 30%, budget has been chopped, and many of the 87% white male faculty have long passed the borderline of retirement. Ji-Yoon’s department is striving to recover its raison d’être. Her own daughter Ju Ju asks her, “Why are you a doctor? You never help anybody.” A question must have lodged in many a minds.

As for Ju Ju, a role superbly played by Everly Carganilla, she’s a heart-breaker. Ji-Yoon faces single-parenthood with added difficulties as Ju Ju is an adopted daughter of Hispanic heritage. Mother-daughter bond doesn’t come easily, especially with an intelligent and challenging child. Ji-Yoon has no other childminding support other than her reluctant, Korean father. The traditional Korean family event (E5) where a baby chooses her future career is interesting and adds spice to the academic scenes.

Characters are realistic, albeit in a comedy it’s expected to see overly dramatized ones like Bill (Jay Duplass), too stoned or drunk to remember he has a class to teach. His excuse, he’s still recovering from the loss of his wife, and a daughter who has just gone away for college and has no intention to return. The class he teaches, Death and Modernism, draws a full capacity all because of his popularity… but not for long.

As a comedy, the writing isn’t your LOL funny type. The humour, especially on the ripe old professors, tends towards cliché; nevertheless, the writing is interesting, especially when they try to include literary allusions into the dialogues. Knowing T. S. Eliot’s Prufrock just might enhance one’s enjoyment.

Overall, a subject matter that’s long due and a new series that deserves many more seasons to come.

~ ~ ~ Ripples

Your Summer Reads into Movies and TV Series 2021 – 2022

Enjoying your summer reading by the lake? Here are some upcoming adaptations to be released this year or in 2022, books you might have read or to lengthen your TBR list:

All My Puny Sorrows by Miriam Toews

This is the first of the eight published novels by Toews to be adapted into film. Her Mennonite background growing up in Steinbach, Manitoba, informs her writing. A story of two sisters as the elder, an accomplished concert pianist, struggles with severe depression. To premiere at the Toronto International Film Festival this September.

Anatomy of a Scandal by Sarah Vaughan

Coming out as a British mini TV series in the fall of 2021. Marital relationship, or extra, the issue of consent, and courtroom drama. Michelle Dockery (Lady Mary Crawley of Downton) is a good choice for a prosecutor with a baggage, and Rupert Friend looks just right as a cunning politician. The audiobook is a good summer listen by the pool.

The Last Duel by Eric Jager

Historical thriller based on a true story (so says the trailer) during the Hundred Years’ War, a knight came home from combat to hear his wife accuse the squire of rape. Indecision in the court of law leads to decision by a duel. A stellar cast with Matt Damon, Adam Driver, Jodie Comer, Ben Affleck. To premiere at the Venice Film Festival this September.

The Lincoln Lawyer by Michael Connelly

After the underwhelming 2011 movie that starred Matthew McConaughey, a remake as a Netflix TV series developed by David E. Kelly sounds exciting. Kelly is a writer/producer who has eleven Primetime Emmys under his belt, his latest for Big Little Lies. Good to hear Christopher Gorham the CIA super tech in Covert Affairs (2010-2014) also on board.

The Lost Daughter by Elena Ferrante

Maggie Gyllenhaal’s full feature directorial debut. Enticing cast: Olivia Colman, Dakota Johnson, Peter Sarsgaard, Jessie Buckley, Paul Mescal, Ed Harris. A woman enjoying some alone time at the beach helps a mother to find her lost daughter, an experience that triggers her memory of lost and found.

The Magpie Murders by Anthony Horowitz

Not till I started reading Horowitz did I find out several TV series are based on his works, e.g. Alex Rider and Foyle’s War, or with some of his screenplays like Midsomer Murders, just to name a few. The Magpie Murders is now a mini-series on PBS Masterpiece. I’m eager to see Lesley Manville play Susan Ryeland, the publisher turned amateur sleuth in the book.

Pachinko by Min Jin Lee

Since its publication in 2017, buzz of the adaptation of this National Book Award finalist has been sounding and now, finally, Lee’s fan of the Korean family saga will be pleased to know it’s coming out as an Apple TV series this year. K-drama aficionados will appreciate the star-studded cast. What more, the newest Oscar best actress winner Youn Yuh-jung, the eccentric grandma in Minari, will be on board.

The Silent Patient / The Maidens by Alex Michaelides

After working as a relatively unknown screenwriter, Michaelides hit the mark with his psychological thriller The Silent Patient and catapulted to the bestsellers lists. His debut novel has since been optioned by Brad Pitt’s Plan B production. The Maidens is in development as a TV series. Looks like a screenwriter has the insider knowhow to write a novel that’s screen-ready, big or small.

Pieces of Her by Karin Slaughter

There’s no shortage of crime mystery and thrillers to feed the streaming platforms and production co’s. Another Netflix series adapting another prolific crime writer. This is the first of Slaughter’s 18 novels to be adapted for the screen. A violent incident at the mall exposes a secret past of a mother whose daughter suddenly realizes she doesn’t know her mother at all. Toni Collette stars.

Persuasion by Jane Austen

A cast to remake the 200+ year-old novel for a new era. This is British theatre director Carrie Cracknell’s (National Theatre Live) film debut, helming a production with Dakota Johnson as Anne Elliot and Henry Golding, of Crazy Rich Asians fame, as Mr. Elliot, obviously not the gout-ridden old man but Anne’s cousin. I’d like to see him as Captain Frederick Wentworth though.

Three Pines by Louise Penny

Left Bank Pictures is producing a series based on the acclaimed Canadian crime writer Louise Penny’s novels for Amazon. French Canadian Chief Inspector Armand Gamache from the fictional community of Three Pines in Quebec will have a life on the streaming platform. Left Bank is the producer of The Crown on Netflix.

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Some previous lists here and here.

‘The Truth’ Movie Review

When you have a cast consisting of French actresses Catherine Deneuve and Juliette Binoche together with American actor Ethan Hawke, that’s attraction enough. Further, a film written and helmed by the Cannes winning Japanese director Hirokazu Koreeda (Shoplifters, 2018) adds an intriguing element, as this is his first non-Japanese film shot outside of his home country.

Deneuve plays an aging French film actress, Fabienne Dangeville, who has just written a memoir. Already 50,000 sold––and boasting to her daughter twice that number––the success in book sales, however, cannot rescue her from the dimming of her career as a film star.

Reminiscent of French director Olivier Assayas’ Clouds of Sils Maria (2014) where Binoche herself plays a French actress sinking into oblivion as prime acting roles go to the younger and much more popular personalities. But The Truth is lighter in mood and sprinkled with comedic effects and subtle humour.

Fabienne’s daughter Lumir (Juliette Binoche), a screenwriter living in New York, comes all the way to Paris on the occasion of her mother’s book publishing, her husband Hank (Ethan Hawke), an actor, and daughter Charlotte (Clémentine Grenier) in tow. To Lumir, it’s a homecoming after a long while. Cracks between her and her overbearing mother surface as soon as she enters the house.

First off, she’s upset that Fabienne didn’t let her read the manuscript before publication as she had promised. Now reading it for the first time that night, anger replaces disappointment. She confronts her mother the next morning:

 “Who are you kidding? I can’t find any truth in here.”

Fabienne, of course, doesn’t care what her daughter thinks. It’s her memoir, her take. In the book, she presents herself as a loving mother, like finding joy in picking her daughter up from school. Lumir says it’s untrue, for her mother had never picked her up from school, always her dad Pierre (Roger Van Hool) or the family’s faithful servant Luc (Alain Libolt). Her memory of Fabienne is an absent mother who basks in the limelight of her own stardom. In reply, Fabienne says:

“I’m an actress. I won’t tell the naked truth. It’s far from interesting.”

As for Hank, effectively played by Hawke, his duty seems to be there only to support his wife. Not knowing French, Hank is a complete outsider. And in the eyes of his celebrity mother-in-law, he can hardly be called an actor. Daughter Charlotte has a few delightful scenes on the subject of truth and fantasy.

The next day, they all follow Fabienne to the studio for the rehearsal of a film she’s in, but playing a minor role with the major star being a younger, reputed actress Manon Lenoir (Manon Clavel). Now the conflict shifts from mother daughter to that of the fading star and rising talent.

The studio setting is another layer Koreeda has created to bring out cinematic ‘truth’. The green screen itself by its very function works as a fake background, ‘deceiving’ in its purpose. Further, special touch up can alter even the eye colour of the actor. And most hilarious of all, but all wrapped in a serious tone, what we see is an intense scene between two characters alone on screen is actually hovered over in a short distance by a horde of people who are not in costume doing their real-life job. Sarcasm and humour are the subtle effects from scenes like that. Koreeda’s insight is astute in revealing what filmmaking is: fiction pretending to be real.

The middle part of The Truth about the studio shooting is a little weighed down as a play-within-a-play based on a short story by the acclaimed science fiction writer Ken Liu. This section of the movie is complex and multi-layered. While intriguing, it requires more than one viewing for clarity. This too, could well be Koreeda’s intension as he directs a French film, inserting a story within a story, which is a French artistic device, the mise en abyme. Like standing between two mirrors, one can see multiple images.

Overall, The Truth is a light-hearted feature, leisurely paced with embedded humour. Koreeda’s intention might be more cerebral than comical. The cast in itself is appealing enough, presenting a piece of cinema verité showing that truth is elusive even among the closest of family or the most sincere of artistic expressions.

~ ~ ~ Ripples

The Truth is now on Netflix.

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In participation of Paris in July hosted by Tamara at Thyme for Tea

Related Ripple Reviews:

Clouds of Sils Maria directed by Olivier Assayas

Our Little Sister directed by Hirokazu Koreeda

Nomadland: From Book to Screen

It first started with journalist Jessica Bruder camping in a tent then later in a van for three winters in the desert around Quartzsite, Arizona. Her plan was to get acquainted with a group of modern-day nomads living in RV’s, vans, and car campers. Bruder’s three-year research resulted in the non-fiction book Nomadland: Surviving America in the Twentieth-first Century (2017), an eye-opening account of a fringe population growing in large numbers after the 2008 financial meltdown. Many of the nomads were once middle-class Americans who had lost their jobs, homes, investments and retirement savings during the economic crisis.

Bob Wells, who started the website CheapRVLiving.com in 2005, is the guru of nomadic living. But it was after the 2008 economic catastrophe that he saw the traffic to his site ‘exploded’. Linda May and Swankie are two of these nomads in their 60’s and 70’s. To sustain their living, many become migrant workers doing seasonal work and hard labour in Amazon warehouses to earn minimal wages.

Bruder’s book is rich in data and testimonials. While offering an in-depth look at how the nomads not only survive on bare essentials but how they find community, friendship and support, at the same time, it is a scathing social commentary on the human toll of the 2008 financial meltdown, and a stark revealing of exploitive employment of a vulnerable, elderly labor force.

What follows is intriguing. One of my first questions to ask Frances McDormand if I had the chance to interview her would be why she thought Bruder’s non-fiction work, though exceptional, would make a good movie so much so that she acquired its film rights.

Cut to the Toronto International Film Festival, September, 2017, where the film Three Billboards Outside Ebbing, Missouri starring McDormand was screened. Stepping out of a press junket for her film, McDormand went to catch another TIFF selection, The Rider directed by Chloe Zhao. After watching, she knew who she’d want to direct the movie adaptation of Nomadland.

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Frances McDormand and Chloe Zhao on the set of Nomadland. Photo by Joshua James Richards

Adhering to her first two features, Songs my Brothers Taught Me and The Rider, director Chloé Zhao casts real-life, non-professionals to play a cinematic version of themselves. She shot her debut work in the Pine Ridge Reservation in South Dakota and have Lakota youth tell their story. For The Rider, about a cowboy facing the end of his career after a fall during a rodeo resulting in a traumatic head injury, Zhao casts a real life bronco who’d suffered a similar tragedy to play himself.

Zhao’s signature naturalistic rendering is how she styles the adaptation of Nomadland. Real life nomads in Bruder’s book, Linda May, Swankie, Bob Wells among others all appear as themselves, enhancing authenticity. To develop a narrative vein, Zhao creates two fictional characters, Fern (Frances McDormand) and Dave (David Strathairn), to weave among them.

In the film, an unadorned McDormand, spot-on with her weary and dishevelled looks as Fern, mingles and makes friends with the nomads, learning the ropes of self-sufficiency. With Linda May, she works as a camp host and as a warehouse worker with Amazon’s CamperForce. Through the dialogues, some of Bruder’s researched data and testimonials flow out naturally.

Born in Beijing, China, Zhao was uprooted when just a teenager to travel to the UK for school and later to the US. She graduated from college in Massachusetts, after that attended NYU Tisch School of the Arts and is now living in California. Her diasporic experience is itself a kind of a nomadic journey. It could well be that her liminal identity, an insider-outsider multiplicity, has equipped her with a unique point of view as a filmmaker.

Shot in five Western States on location where nomads frequent, the film Nomadland is essentially about one woman’s journey towards healing as she takes to the road. Fern and her husband Bo had long worked for US Gypsum and built their home and community in the company town Empire, Nevada. When Bo died of cancer, and later the whole town disappeared from the map as US Gypsum shut down its plant in 2011 after 88 years, Fern stayed in her company house till the very end. There’s this poignant dialogue when she talks to Bob Wells:

“Bo never knew his parents and we never had kids. If I didn’t stay, if I left, it would be like he never existed… It’s like my dad used to say: ‘What’s remembered lives.’ ”

From a non-fiction book on nomads surviving America, Zhao has turned it into a humanistic, personal narrative of loss and healing. While the book is more explicit in its critique and social commentary, Zhao’s film exudes a tone of acceptance, as her focus is not so much on societal ills or corporate greed but the humanity of the characters.

The camera follows Fern in her attempts to connect her past with her present, as she travels down the road to an unknown future. Shot in the magic hour of dawn and dusk and accompanied by the pensive score by Ludovico Einaudi (The Father, 2020), cinematographer Joshua James Richards (The Rider, 2017) knows when to capture Nature’s golden light to elicit depth and allow time for thoughts. While nature is a healer––and we see many soul-stirring scenes reminiscent of Terrence Malick––Fern’s journey to recovery rests in the memories of the ones she still loves even though they have all departed.

And with that, Zhao invokes The Bard. In the latter part of the film, Fern meets a young drifter Derek again and they chat. Derek is lost for words when writing letters to his girlfriend. Fern suggests he uses a poem, and upon his prompting, she shares the one she used as her wedding vow, Sonnet 18. When two characters sitting on gravel ground beside a makeshift fire for warmth adjacent a highway and one recites a Shakespearean love sonnet, it seems incompatible with the setting. But then, why would it be?

What follows is probably the most beautiful sequence in the film. From memory, Fern starts: “Shall I compare thee to a summer’s day?/Thou art more lovely and more temperate…” As she goes on, the camera shifts to the evening sky and finally rests on Fern in the van looking at slides of her dad, mom, sister, and herself as a young child as we hear her voice-over continuing with the sonnet towards the last lines: “So long as men can breathe, or eyes can see/So long lives this, and this gives life to thee.” Thereafter, the camera follows Fern to the redwood forest, where her outstretched arms can only span a tiny portion of a tree trunk, herself minuscule in comparison.

Thus she drives on to a destination unknown. And ‘this’ that gives life could be two-fold. Nature and her memories of loved ones, not a sonnet written with words but one etched deep in her heart.

~ ~ ~ ~ Ripples

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Nomadland won Best Picture, Best Director, and Best Actress at the 2021 Academy Awards, among 230 other wins internationally.

Jessica Bruder, Nomadland: Surviving America in the Twenty-First Century (W. W. Norton & Company, 2017) 273 pp., hardcover. The book won Barnes & Noble Discover Great New Writers Award. Jessica Bruder is an adjunct professor at the Columbia University Graduate School of Journalism.

This article also posted on Shiny New Books. Do check them out.

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Other Related Ripple Reviews:

Nomadland: A Book Review

The Rider is Poetry on Screen

Three Billboards outside Ebbing, Missouri

Cannes Film Festival 2021, July 6-17

The pandemic has made armchair travellers of us. As many countries are still keeping Covid restrictions intact, some requiring quarantine for international arrivals, the best way to travel, at least for now, could well be sticking to your imaginary itinerary.

For the highly motivated, the prestigious Cannes Film Festival will resume July 6-17 this year, after a cancelled 2020 event. For filmmakers, this is good news, Cannes is bursting with films that have accumulated since 2019. So, put on your running shoes and head to the Promenade de la Croisette (photo above, source: Wikipedia Commons) and walk up the red carpet at the Palais des Festivals. After Covid, I’m sure the Cannes gate keepers will loosen up a bit with the high-heel code. Instead, Covid measures will be in place.

Saftey protocols include face coverings, social distancing, showing of full vaccination, if unable to provide, there’ll be Covid tests onsite. And, according to Reuters, while there will be ‘no kissing at the top of the red carpet’, festival director Thierry Fremaux said restrictions should not be too onerous.

Imagine you’re at the Palais des Festivals, the venue of the Cannes Film Festival, here’s what you’ll see…

Jodie Foster will kick off the 74th Festival de Cannes as the special guest of the Opening Ceremony. Foster first stepped on the red carpet at Cannes in 1976 when she was only 13 years old as the film she was in won the Palme d’Or, that’s Martin Scorsese’s Taxi Driver. This time, she will be awarded an honorary Palme d’Or.

You might also catch a glimpse of the jury president Spike Lee on the Croisette. Other celebs sightings could well be the stars in the official selections. The following are the ones I anticipate watching (For the full list, click here to the Cannes website)

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In Competition:

Annette (France) – Opening Film, Leos Carax directs Marion Cotillard, Adam Driver

Bergman Island (France) – Mia Hansen-Løve directs Mia Wasikowska, Tim Roth

Drive My Car (Japan) –  Ryûsuke Hamaguchi directs Hidetoshi Nishijima, Masaki Okada

Flag Day (USA) – Sean Penn directs Katheryn Winnick, Josh Brolin, Sean Penn

Memoria (Thailand) – Apichatpong Weerasethakul directs Tilda Swinton, Daniel Giménez-Cacho

The French Dispatch (USA) – Wes Anderson directs Timothée Chalamet, Elizabeth Moss, Frances McDormand and all the Wes Anderson usuals

A Hero (Iran) – Asghar Farhadi directs Amir Jadidi, Mohsen Tanabandeh

Un Certain Regard:

Blue Bayou (USA) – Justin Chon directs Justin Chon, Alicia Vikander

After Yang (USA) – Kogonada directs Colin Farrell, Jodie Turner-Smith

Cannes Premiere:

In Front of Your Face (Korea) – Hong Sang-Soo directs

Mothering Sunday – Eva Husson directs Olivia Colman, Colin Firth, Josh O’Connor

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‘The Father’ depicts dementia in suspenseful realism

Dementia is a land where its inhabitants can never come out, and visitors can only look in from the outside. To add to the isolation, they speak a different language outsiders don’t understand.

In his role as an 80-year-old man afflicted with dementia in The Father, Anthony Hopkins has shown he’s an apt interpreter of that language. With his astute performance, the iconic British actor becomes the oldest person to win an acting Oscar this April, his second after The Silence of the Lamb in 1992.

The Father is based on the 2012 play Le Père by French playwright director Florian Zeller. It received the Molière Award for Best Play in 2014. The English version was translated by Christopher Hampton in 2016 and performed on Broadway. Hampton and Zeller co-wrote the adaptation to film. At this year’s Academy Awards, they won Best Adapted Screenplay. This is Hampton’s second Oscar win for writing; his first was for Dangerous Liaison in 1988. And for Zeller, his debut feature garnered six Oscar nominations including Best Picture.

Zeller’s intriguing way of storytelling lets viewers experience vicariously what a dementia sufferer goes through. First off, it is uncanny that Hopkins’s character is named Anthony. The film is shot from his point-of-view.

The editing by Yorgos Lamprinos strings together seamlessly the conflicting perspectives of Anthony’s: the mingling of memories, the confusion of happenings and imagination, the loss of a timeframe for past events, the distortion of present realities, and perhaps most disturbing for those close to him: unrecognizable faces. Describing how Zeller achieve these effects will be like giving out spoilers. I’ll just say this, The Father is like the Rashomon of dementia.

Zeller’s film is cinematic realism depicting the condition of dementia. The confused, bewildered look of Hopkins in close ups is accompanied by repetitive, eerie music, rendering the scenes suspenseful, not far from a Hitchcockian thriller. When one has lost the capacity of one’s brain, it is a scary experience. Anthony knows his way down the hallway to his room, but is this his flat? Where’s his watch, again? And, what happened to that painting that used to be hanging on the wall? The cast of seven brings out a powerful narrative in just 97 minutes.

Another realistic portrayal is Olivia Colman as the daughter Anne, who has to convince her father that he needs help. She struggles with the conflict between filial love and personal freedom, her husband (Rufus Sewell) does not make things easier for her either. And to complicate matter further, Anne is not her father’s favourite but her younger sister Lucy…

We’ve had a couple of excellent films on the subject of aging and dementia in the past. Away from Her (2006) directed by Sarah Polley who adapted Alice Munro’s short story is about a wife stricken by Alzheimer’s, and Michael Heneke’s Amour (2012) narrates an aging husband caring for his debilitated wife after her stroke, both received Oscar nods. Zeller has contributed to this repertoire of films with a perspective from the point-of view of the patient, adding to it a daughter’s internal conflicts.

No matter how much Anne tries to keep her father living with her, his condition needs professional care and monitoring, something she finds hard to get through to a dementia patient who is determined to be self-reliant. Colman’s performance is sensitive and moving.   

A very clever man, this father hasn’t totally lost it. The scene where he meets his new caregiver Laura (Imogen Poots) in Anne’s home shows how sharp he can still be, and not just Anthony the character, but Hopkins the actor, who is in his top form.

Original music is by Ludovico Einaudi (Nomadland, 2020) whose score reflects the mental state of Anthony’s, enhancing the cinematic effects. The opera music at the beginning of the film which Anthony is listening to, and later reprises is from Bizet’s Les pêcheurs de perles. The poignant piece is his link to the person he once was, the song entitled Je crois entendre encore: ‘I believe I still hear.’

Eventually, the inevitable question has to be asked by Anthony, an antithesis to a cathartic ending: ‘Who exactly am I?’

~ ~ ~ 1/2 Ripples

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Related Reviews on Ripple Effects:

Away From Her

Rashomon and other Stories by Ryunosuke Akutagawa

And When Did You Last See Your Father

Asian Heritage Month Movie List

May is Asian American and Pacific Islander Heritage Month. In Canada, it’s Asian Heritage Month. Asia is the largest continent in the world, encompassing countries from the Middle East to the Pacific Islands. As this event is celebrated in North America, the term refers to North Americans born or naturalized and living in the US and Canada with ancestral heritage from these countries. Interestingly, I find this Good Housekeeping site highly informative regarding the AAPI references.

There are many movies made by filmmakers of this demographics in North America. The following are some worthy titles, each has its unique way of leaving a mark. Links are to my reviews on Asian American Press or Ripple Effects.

I’m presenting my list in chronological order to highlight the historical development.

The Joy Luck Club (1993)

Movie poster from 1993

The first studio film with a mostly Asian American cast flying into the ‘mainstream’ radar. Adapted from Amy Tan’s debut novel, it tells the stories of multigenerational Chinese immigrant families in America. The breakout film of director Wayne Wang, who at that time had been making movies for over 10 years. Unfortunately, it would take twenty-five more years for another feature of the kind to come out.

Water (2005)

India born Canadian director Deepa Mehta’s final work in the Elements Trilogy, Water was an Oscar nominee for Best Foreign Language Film representing Canada in 2007. The heart-wrenching plight of a little Indian girl is told with beautiful cinematography. A ‘Foreign Language Film’ from Canada? Yes, just shows the multiplicity of our identity and the blurring definition of the word ‘foreign.’ This Oscar category was renamed Best International Feature Film in 2020.

The Namesake (2006)

Here’s a prime example of the multiplicity of identity. A film adaptation by the acclaimed Indian-American director Mira Nair. The Namesake (2003) is the first novel by Jhumpa Lahiri, the London born American Pulitzer winning writer of Indian descent, who now resides in Italy and writing in her adopted language, Italian. The story depicts a colourful and conflicting journey of the America born second generation visiting their parents’ homeland.

Life of Pi (2012)

This adaptation of Yann Martel’s Booker Prize winning novel was the winner of Oscar Best Picture in 2013 and with it, Taiwanese American Ang Lee won his second Oscar for directing. Stunning CGI visuals transfer Martel’s magical realism onto the big screen to tell the story of a 16 year-old youth adrift in the Pacific Ocean with a Bengal tiger. Opportune time and place to explore existential issues. Both book and film are worthy of the accolades they had garnered.

The Big Sick (2017)

The real-life, mixed-race marriage of actor/comedian Kumail Nanjiani and his therapist wife Emily V. Gordon co-wrote this screenplay about a mixed-race courtship between a Pakistani American comedian and his love interest, a white young woman played by Zoe Kazan, with Holly Hunter and Ray Romano as her parents. An entertaining depiction of cultural clash and final resolution.

Columbus (2017)

A quiet, visual depiction of the interplay between modern architecture, human relationships, and the existential search for meaning and connection. A most unusual subject matter aesthetically handled by Korean American director Kogonada. John Cho breaks away from the type cast as Sulu in Star Trek to prove himself worthy as a character actor of quality.

Crazy Rich Asians (2018)

The new trend Asian American filmmakers and talents hope to see, twenty-five years after The Joy Luck Club. Director Jon M. Chu turns Kevin Kwan’s breakout novel into a blockbuster hit, catapulting Asian American talents to mainstream fame: Constance Wu, Awkwafina, Henry Golding (ok, so he’s a British Chinese), Gemma Chan (she too), with the full support of international star Michelle Yeoh (the first Asian Bond Girl in Tomorrow Never Dies.)

Free Solo (2018)

Husband-and-wife directors Jimmy Chin and Elizabeth Chai Vasarhelyi captured the stunning climb made by Alex Honnold up the 3,000 feet vertical wall of El Capitan in Yosemite National Park with only his bare hands and feet, solo and free from ropes and safety gears. Chin is himself a renown mountain climbing legend and photographer, having mounted Meru Peak in the Himalayas, as well as Everest several times. Oscar winner of Best Documentary Feature in 2019.

Driveways (2019)

Korean American director Andrew Ahn tells the story of an ageing Korean war veteran’s friendship with a shy 8-year-old boy (Lucas Jaye) who shows up with his single mom (Hong Chau) next door. A quiet and poignant portrayal of friendship that crosses the borders of age and race. One of Brian Dennehy’s last films before his death in 2020 at age 81. A nominee for Best Feature Film at the Berlin International Film Festival in 2019.

Late Night (2019)

Daughter of Indian immigrants, Mindy Kaling has made a name for herself with her versatility as a comedian, actor, writer, producer, and director. Late Night is her own story, parallel with her career starting out in The Office as a writer and actor. Here, a girl of Indian ethnicity enters into a late night TV show as a writer, serving the very demanding host Katherine Newbury, played by Emma Thompson. Directed by Nisha Ganatra, a Canadian American of Indian descent. A delightful film.

The Farewell (2019)

Chinese American director Lulu Wang shares her own family experience boldly in this semi-autobiographical film. The cultural perspectives of how to deal with a family member with terminal illness could be totally opposite. Instead of a judgemental tone, the film uses an artistic styling and humour to tell a very personal story. Awkwafina became the first Asian American to win a Golden Globe Best Actress in a Motion Picture for her fine performance.

Minari (2020)

MINARI_02405_R Alan S. Kim Director Lee Isaac Chung Credit: Josh Ethan Johnson

The trend continues. With six Oscar nominations this year and one win by South Korean veteran actress Youn Yuh-jung who plays the eccentric grandma of the family. Directed by Lee Isaac Chung, Minari is an autobiographical drama of Chung’s childhood growing up in an Arkansas farm operated by his immigrant father from South Korea. Gentle and slow-paced storytelling with a powerful punch.

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‘Minari’: The Little Seed that Could

Minari is a semi-autobiographical narrative based on director Lee Isaac Chung’s childhood experience. It tells the story of a Korean immigrant father striving to succeed in America while his wife strains to keep their family together. In the midst of the struggle for a better life, two children watch and learn and grow. 

Chung’s counterpart in the movie, seven-year-old David (Alan Kim), follows his parents Jacob Yi (Steven Yeun) and Monica (Yeri Han), together with his older sister Anne (Noel Kate Cho), to relocate from California to rural Arkansas in the 1980’s. Driven by the ambition to be successful, especially in the eyes of his children, Jacob has purchased 50 acres of land to start a farm growing Korean produce. With the influx of Korean immigrants coming into the country during that time, Jacob sees a wealth of opportunity.

MINARI_00195_R Alan S. Kim, Steven Yeun Director Lee Isaac Chung Credit: Melissa Lukenbaugh/A24

Jacob and Monica still hold a day job at a hatchery doing chicken sexing, separating the male chicks from the female, but Jacob sees no future in the routine work. The farm is his dream. In the sexing process, the male chicks are discarded, for they don’t taste as good and can’t lay eggs. A ready object lesson for him to teach his young son: be useful. And when he digs a well, he dismisses the dowsing method offered to him. “Koreans use their heads,” he tells David.

Monica, however, sees a very different picture. The dream home in the country for Jacob is for her, realistically, a trailer on wheels held up by cinder blocks. Water is from a well which later is drained dry to the crops. There’s no community nearby. Her main concern is living far from a hospital as David has a life-threatening heart murmur. “Don’t forget to keep praying,” she tells David. The couple’s opposing views lead to frequent conflicts in front of the children.

The tipping point comes when Monica’s mother is recruited to help with the kids. Arriving from Korea, Grandma Soonja (Youn Yuh-jung) brings with her Korean spices and rarity not found in America, as well as Korean songs, memory of courtship that has long been buried by her daughter and son-in-law.

For David, Grandma is far from what he has expected. She is a raucous card player, swears, doesn’t cook or bake, uses half his room and, aggravating his annoyance, snores. The interplay between grandma and grandson make up some light-hearted scenes which elicit from Kim performance in his natural poise alongside the veteran, seasoned Youn. The key element in their eventual bonding is love. Kudos to Chung for his screenplay and directing.

MINARI_02405_R Alan S. Kim Director Lee Isaac Chung Credit: Josh Ethan Johnson

Another supporting role that has added spice to the film is Paul (Will Patton), a practical farm help to Jacob. A devout Pentecostal, Paul’s eccentricity is a laughing stock even with church kids. Jacob does not subscribe to his beliefs. Admirably, the two can still work in harmony.

Premiered at the 2020 Sundance Film Festival and winning both its Audience Award and the Grand Jury Prize, Minari has come a long way this past year garnering accolades. The film is now an Oscar nominee in six categories including Best Picture, Best Director and Original Screenplay for Chung. Yeun becomes the first actor of Asian descent to be nominated for Best Actor. Youn gets a nod for Best Supporting Actress and composer Emile Mosseri for Best Original Score.

Compared to his acclaimed debut feature Munyurangabo (2007), an arthouse, experimental film about two youths in post-genocide Rwanda, Minari is a conventional take on a personal, family story. The storytelling is linear and captured in realism, as we follow the Yi family’s first arrival to rural Arkansas and the daily struggles as an immigrant, farm family. The film’s subject matter and Chung’s handling is deceivingly simple.

Thanks to the eponymous vegetable, the minari, Lee transfers the specific to a wider scope in different layers. Minari is a Korean watercress that grows hardily in wet soil. Grandma has brought some minari seeds with her from Korea and sows them beside the creek near their home. As days go by, the plants thrive on their own, an apt metaphor for the resilience and adaptability of immigrants taking roots in a new soil. 

In contrast to a grim lesson of discarding the male chicks at the hatchery David learns from his father, the minari along the creek is a visual reminder of being alive and useful. Grandma sings its praises, for the versatile vegetable can be put in kimchi, stew, and soup, and used as medicine when sick. “Minari, Wonderful.” Grandma and David burst out in an impromptu song. A delightful scene is captured by the camera. As the wind blows, the plants bow as if acknowledging their praises. A moment of magical realism.

As time goes by, the minari plants thrive, and David’s heart condition has improved on its own such that surgery is no longer needed. In the climactic scene and its fallout, a contrast is particularly notable. Jacob sweats and labors on his crops which can be gone in an instant, but the minari grows naturally in the wild and David’s illness healed, pointing to a harvest of transcending grace that is beyond human efforts. The denouement is a gratifying close to a chapter of childhood memory.

~ ~ ~ 1/2 Ripples

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I thank Asian American Press for allowing me to post my review here in full.

Women Direct Films

When did women first direct films? If you type these words in your search engine, you’ll see this year pop up: 1896 and the name Alice Guy-Blaché (1873-1968). In her filmmaking career that spanned over two decades, Alice Guy had written, directed, or produced more than a thousand films in France and later in America. She was a pioneer in fictional narratives, comedies, actions, travelogues, musicals (yes, films with sound), just to name a few categories of her cinematic works.

Be Natural: The Untold Story of Alice Guy-Blaché (2018), directed by Pamela Green and narrated by Jodie Foster is a fascinating documentary, a must-see, now streaming on the free platform Kanopy.com. “Be Natural” were signs Alice Guy put up in her studio for her actors as a reminder.

Cut to 2010. In the annual study The Celluloid Ceiling on women behind-the-scene employment in filmmaking, only 2% of the top 250 films made that year in the US were directed by women. In 2018, it was 4%. Then there was a big jump in 2019 to 12%. In 2020, due to the pandemic, the study included 100 top films instead of 250, the percentage of women directors increased to 16%.  

2019 appears to have marked a tipping point, hopefully a trend that stays, as more women are being recognized as ‘profitable’ in the filmmaking business. Further, people also found out women can direct various genres, including action and superheroes movies too. Just wonder what Alice Guy would had thought if she were around.

On this day, March 8, 2021, in honor of the many woman directors working, I’m posting a list with their names first then their works released for the year back to 2019. This is only a selection and mainly for films distributed in North America. You might recognize some names or titles of books. In alphabetical order:

2021

Ana Lily Amirpour – Mona Lisa and the Blood Moon

Clio Barnard – Ava & Ali

Camilla Belle – Phobias

Shari Springer Berman (co-director) – Things Heard and Seen

Halle Berry – Bruised

Kay Cannon – Cinderella

Jane Campion – The Power of the Dog 

Nia DaCosta – Candyman

Livia De Paolis – The Lost Girls

Julie Delpy – My Zoe

Claire Denis – Fire

Augustine Frizzell – The Last Letter from your Lover

Maggie Gyllenhaal – The Lost Daughter

Rebecca Hall – Passing

Sian Heder – Coda

Joanna Hogg – The Souvenir: Part II

Eva Husson – Mothering Sunday

Lisa Joy – Reminiscence

Dea Kulumbegashvili – Beginning

Mélanie Laurent – The Nightingale

Lena Khan – Flora & Ulysses

Castille Landon – Fear of Rain

Mia Hansen-Løve – Bergman Island

Lila Neugebauer – Red, White and Water

Megan Park – The Fallout

Amy Poehler – Moxie

Céline Sciamma – Petite Maman

Cate Shortland – Black Widow

Liesl Tommy – Respect

Kate Tsang – Marvelous and the Black Hole

Lana Wachowski – The Matrix 4

Olivia Wilde – Don’t Worry Darling

Robin Wright – Land

Robin Wright, Catherine Hardwicke – Together Now

Chloé Zhao – The Eternals

_______

2020

Niki Caro – Mulan

Sofia Coppola – On the Rocks

Autumn de Wilde – Emma

Josephine Decker – Shirley

Clea DuVall – Happiest Season

Mona Fastvold – The World to Come

Emerald Fennell – Promising Young Woman

Nisha Ganatra – The High Note

Liz Garbus – Lost Girls

Julia Hart – I’m Your Woman

Eliza Hittman – Never Rarely Sometimes Always

Patty Jenkins – Wonder Woman 1984

Natalie Erika James – Relic

Miranda July – Kajillionaire

Regina King – One Night in Miami

Roseanne Liang – Shadow in the Cloud

Phyllida Lloyd – Herself

April Mullen – Wander

Mira Nair – A Suitable Boy

Gina Prince-Bythewood – The Old Guard

Dee Rees – The Last Thing He Wanted

Adriana Trigiani – Then Came You

Cathy Yan – Birds of Prey

Jasmila Zbanic – Quo vadis, Aida?

Chloé Zhao – Nomadland

_______

2019:

Elizabeth Banks – Charlie’s Angels

Chinonye Chukwu – Clemency

Mati Diop – Atlantics

Lisa Barros D’Sa – Ordinary Love

Anna Boden (co-direct) – Captain Marvel

Gabriela Cowperthwaite – Our Friend

Nora Fingscheidt – System Crasher

Nisha Ganatra – Late Night

Sarah Gavron – Rocks

Greta Gerwig – Little Women

Rose Glass – Saint Maud

Kitty Green – The Assistant

Alma Har’el – Honey Boy

Marielle Heller – A Beautiful Day in the Neighborhood

Kathleen Hepburn, Elle-Máijá Tailfeathers – The Body Remembers when the World Broke Open

Nahnatchka Khan – Always Be My Maybe

Jennifer Lee (co-director) – Frozen II

Kasi Lemmons – Harriet

Melina Matsoukas – Queen and Slim

Shannon Murphy – Babyteeth

Lydia Dean Pilcher – A Call to Spy

Kelly Reichardt – First Cow

Lorene Scafaria – Hustlers

Angela Schanelac – I was at Home, But…

Céline Sciamma – Portrait of a Lady on Fire

Lulu Wang – The Farewell

Olivia Wilde – Booksmart

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Related Ripple Reviews:

Nisha Ganatra’s Late Night

Greta Gerwig’s Little Women

Kelly Reichardt’s Certain Women

Lulu Wang’s The Farewell

Ripples from the history-making 78th Golden Globes

Last night I dreamt I was interviewing Chloé Zhao. Not just a sit-down interview, but I actually hung out with her as buddies. That was a dream, and that much is true.  

Before the dream, I was watching the 78th Golden Globes Awards show aired live last Sunday night. This year, it’s a much scaled down, stripped to the minimal, virtual event. The show must go on, as they say. So, we have Amy Poehler from the Beverly Hilton in Los Angeles and Tina Fey from the Rainbow Room in New York being pulled together on one screen as if they were standing side-by-side for the fourth time hosting. A technical marvel.

Nominees were at home or wherever they were at that moment, wearing whatever they felt like, watching and giving acceptance speech via their own small screen. A few of them were at the Beverley Hilton adorning glamorous, designer gowns, a reminder of previous Globe glitters and the red carpet.

Other than the unprecedented format, history was made last Sunday night.

Chloé Zhao became the second woman to win the Best Director Golden Globe award in the 78-year history of the Hollywood Foreign Press Association’s annual extravaganza. She is also the first Asian woman to do so. What more, her film Nomadland won the top prize, Best Motion Picture – Drama. As a co-producer, she became the first woman producer of Asian descent to receive that accolade.

For a historical reference, Barbra Streisand was the first female to win a Best Director Golden Globe with Yentl in 1984. Taiwanese-American Ang Lee claimed that honor twice with Crouching Tiger, Hidden Dragon in 2001 and Brokeback Mountain in 2006, the only other Asian American to take that award.  

If it’s not due to Covid 19, never could there be a Best Director and Best Motion Picture winner accept the Golden Globe dressed in an olive color t-shirt, hair in pigtails. She probably might not be at home, maybe at work on location. But still, I remember the Cannes controversy where female stars were frowned upon––no they didn’t outright say ban––for not wearing heels on the red carpet.

It’s in this unassuming manner that Chloé (I’m sure she wouldn’t mind me calling her by her first name) picked up her color-matching mug to toast everyone and gave her virtual acceptance speech. Quoting the ‘guru’ among the nomads, Bob Wells, she said:  

“Compassion is the breakdown of all the barriers between us. A heart-to-heart bonding. Your pain is my pain. It’s mingled and shared between us.” She then went on to say, “this is why I fell in love with making movies and telling stories cause it gives us the chance to laugh and cry with each other, to learn from each other, to have more compassion for each other.”

An iconoclast, no doubt. If not because of the pandemic, I can’t imagine a female Globe winner in a t-shirt and I assume, no make-up, and speaks from her heart, not to shun the glitter of the gold but just to be her normal self of a human being, most likely here too, as an identification with the nomads in her film.

Accepting the Best Motion Picture – Drama award, she said about Nomadland:

“At its core, for me, it’s a pilgrimage through grief and healing. So, for everyone who has gone through their difficult and beautiful journey at some point in their lives, this is for you. We don’t say goodbye, we say see you down the road.”

Maybe that image rippled in my mind as I went to sleep and conjured up that dream…

Well, see you down the road, Chloé. And hopefully then, not in a dream, but for real.

***

Related Ripple Posts:

Nomadland Book Review

The Rider is Poetry on Screen

Top Ripples 2020

Love Classics from Book to Screen

Love in all its forms: steadfast, unrequited, hidden, or blind… These classic novels aren’t just about romance, but deal with their subject matters in the context of their social milieu, gender relations, class disparity, individual aspirations and angsts, as the authors explore that elusive entity called love.

What better time than now to watch these movie adaptations again, or for the first time, since many of us can’t go anywhere under pandemic restrictions. So, here they are, the Ripple list of stay-at-home viewing for Valentine’s 2021. Links are to my Ripple reviews.

The grounds in The Mount, Edith Wharton’s home from
1902-1911. Photo taken by Arti, Oct. 2015.

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The Age of Innocence by Edith Wharton – With this novel, Wharton became the first woman to win the Pulitzer in 1921, which makes this year the 100th anniversary of her Prize honour. Wharton’s depiction of the Gilded Age and Newland Archer’s inner torments are aptly captured by Martin Scorsese (1993), and of course, Daniel Day-Lewis and Michelle Pfeiffer.

A Room with A View by E. M. Forster – Merchant Ivory’s 1985 production remains the definitive classic. Lucy opening the window of her (exchanged) room in the Pensione Bertolini to see the view of Florence, enwrapped by the voice of Kiri Te Kanawa singing “O mio babbino caro”. And what a cast: Helena Bonham Carter, Maggie Smith, Judi Dench, Daniel Day-Lewis.

Anna Karenina by Leo Tolstoy – Here’s a story of an unhappy family; true enough, epic in its unhappiness, as the ending shows. The Joe Wright directed, Tom Stoppard scripted adaptation (2012) is worth a look for its highly stylized rendition. How many other versions? At least three dozen.

Breakfast at Tiffany’s by Truman Capote – George Peppard and Audrey Hepburn make ideal screen lovers, but life isn’t ideal. Holly Golightly singing “Moon River” by the fire escape of her NY apartment is heart-tugging. Yes, that’s her own voice. But major flaw I try to ignore is Mickey Rooney’s Mr. Yunioshi. Have to forgive and forget that dated, racially stereotyped portrayal.

Emma by Jane Austen – It has been 24 years since the last full-length feature of Emma was made for the big screen, time for a millennial version (2020). Rising star Anya Taylor-Joy got two 2021 Golden Globe Best Actress nominations for her roles in Emma and The Queen’s Gambit. The multi-talented Johnny Flynn (The Dig) is the updated Mr. Knightly.

The End of the Affair by Graham Greene – The 1999 movie came out three years after The English Patient, another one of Ralph Fiennes’s dead-end passion for someone he can’t have. Graham Greene’s classic is Colin Firth’s choice to record for UK Audible, a series by famous actors reading their favourite classic novel. What more can you ask?

Far from the Madding Crowd by Thomas Hardy – As much as I enjoy Carey Mulligan’s works, for this one, I think the director and screenwriter had mishandled the adaptation, albeit I must say I love the lush green Dorset landscape. For nostalgic reasons, maybe it’s time to revisit John Schlesinger directing Julie Christie as Bathsheba Everdene (1967), with Alan Bates and Peter Finch.

Goodbye Mr. Chips by James Hilton – May not be on the list of early 20th C. classics, but the 1969 film is a gem. Peter O’Toole won a Best Actor Golden Globe for his role as poor old Mr. Chips, and Petula Clark is a natural. The scene where she sings out ‘Fill the World with Love’ at the school assembly is hilariously inspirational.

The Great Gatsby by F. Scott Fitzgerald – I like Robert Redford as Gatsby (1974), but Carey Mulligan as Daisy (2013), so, it’s a toss-up between the two versions. Also, I think Gatsby is great not because of his extravagance and opulence, on which Baz Luhrmann’s 2013 version focuses. He’s great because of his steadfast, and you could say, blind, love for Daisy. The only reason he strives to climb to the top is to win her back. The 1974 version is more subtle, screenplay written by Francis Ford Coppola.

Howards End by E. M. Forster – The 1992 Merchant Ivory production is classic, the more recent adaptation derivative of it. James Ivory directing, screenplay by Ruth Prawer Jhabvala (Best adapted writing Oscar), cast Vanessa Redgrave, Emma Thompson (Best Actress Oscar), Anthony Hopkins, Helena Bonham Carter. Book and film worth revisiting time and again.

Jane Eyre by Charlotte Brontë – With over twenty adaptations for the big and small screens, which one do you choose? I appreciate the newest 2011 full-length feature directed by Cary Fukunaga. The storytelling is fresh and cinematography stylish, screenplay by Moira Buffini who 10 years later scripted The Dig. As for the actors, I can’t say whole-heartedly that the Fassbender and Wasikowska duo are as good as Ciaran Hinds and Samantha Morton though.

Little Women by Louisa May Alcott – Greta Gerwig’s 2019 adaptation of Little Women is a joyous celebration of family and life, and paints for us what love is all about. One of the best films I’ve watched in recent years and an updated version for today. This would make a fine 2021 Valentine’s stay-at-home viewing.

Out of Africa by Isak Dinesen – Best to be an armchair traveller during a pandemic, and let the movie transport you to a freer landscape. As for this one, lament a love unrequited. Being in Africa, Karen (Meryl Streep) should have known that she can’t chain a lion to one spot. Denys (Robert Redford) has to roam the mountains on his own. While Mozart might be able to subdue him momentarily, the wildness inside him can’t be tamed.

Parade’s End by Ford Madox Ford – Ford’s tetralogy was adapted into a 5-episode BBC mini-series (2013), which didn’t get much attention this side of the Atlantic. The love between Christopher Tietjens (Benedict Cumberbatch) and Valentine (Adelaide Clemens) is latent and restrained, and does not surface in more realistic way until the last episodes. Why, there are more important issues to deal with such as a World War, women suffrage, and Sylvia Tietjens (Rebecca Hall).

Pride and Prejudice by Jane Austen – Here’s a dreamy scenario: time rolls back 25 years for Colin Firth to do a remake. This time, let’s have Carey Mulligan to play Elizabeth Bennet, ok, roll back 10 years for her, and never mind that she was Kitty in 2005. Failing these, I’ll settle for the 1995 BBC series again. But thanks to our dear Jane, we can always revisit her characters in our literary dreamscape,

Sense and Sensibility by Jane Austen – I’m sure Emma Thompson would want to roll back 25 years too, when in 1996 she won an Oscar and a Golden Globe for her adapted screenplay of this first novel by Jane Austen. She’d no doubt want to bask in the limelight again, for that night she gave her Golden Globe acceptance speech that Jane herself would have applauded.

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A shout-out to The Classic Club, an admirable endeavour.

‘The Dig’ is a Visual Meditation on Time and Life

Don’t judge a movie by its title. The seemingly uninspiring title packs a lot of story and ideas. Based on a true event and the novel of the same name by John Preston, the dig refers to the historic excavation of an Anglo-Saxon ship and the treasures inside its burial chamber, the medieval grave of possibly a warrior king dating back to 600’s AD. The archaeological event took place at the start of WWII in 1939 on Edith Pretty’s Sutton Hoo property in Suffolk, England. For a historical reference point, just seventeen years earlier, English archaeologist Howard Carter discovered the tomb of Tutankhamun.

Director Simon Stone has chosen to turn a spectacular archeological find into a lyrical, visual narrative that is elegiac and ponderous in tone. His focus isn’t so much on the unearthed treasures but the process of the dig, and the human stories adhere to it. A valuable asset Stone holds in his helm is an excellent cast.

Carey Mulligan plays Edith Pretty, the widow of a Colonel whom she still mourns at his grave while raising their young son Robert (Archie Barnes). As an amateur archeology enthusiast, she has a feeling the mounds on her grounds have something significant buried. Hiring a local excavator, Basil Brown (Ralph Fiennes), she watches her hunch realized.

However, Edith’s deteriorating heart condition is a constant reminder of her own mortality, a tug at her soul, brewing a deep concern for her son Robert after she’s gone. Mulligan acts not just with her facial expressions; her whole body speaks to the fragility of life. While treasures are unearthed, her fears and sentiments are buried deep within.

To interplay with Mulligan’s delicate demeanor, Fiennes delivers an understated performance with the unglamorous character Basil Brown. A country excavator, stooped in posture, quiet yet determined, apparently knowing much more than he shows. It is gratifying to see the two of them interact in a naturalistic way, their expressions equally sensitive and nuanced.

Reading about Carter’s discovery of the tomb of Tuktankamun, Edith is apprehensive about finding human remains in the dig, as that’s like disinterring the dead. Brown answers with his view of the philosophy of the discipline: “… that’s life what’s revealed. And that’s why we dig.” And, as his wife May (Monica Dolan) points out, it’s about continuity for the next generations, so they know where they come from.

The ‘untrained’ Brown––with no academic credentials but learned the skill from his father passed down from his grandfather––has to yield to the authority of the famous archaeologist from the British Museum, Charles Phillips (Ken Stott). Phillips takes over the dig as soon as he arrives on the site with his team of specialists.

Among them are the archaeologist couple Stuart Piggott (Ben Chaplin) and his young wife Peggy (Lily James). Their incompatibility is obvious; Stuart is happier with fellow team member John Brailsford (Eamon Farren) than with his wife. Later, the arrival of Edith’s cousin Rory Lomax (Johnny Flynn, Mr. Knightley of Emma, 2020) further alters the relational dynamics. While at the dig, Rory is called up by the RAF, a worrisome commission as war with Germany breaks out.

There’s interesting play with sound, or the lack of. For some short moments in certain scenes, there’s just silence. All sound and music halt. Most other times, the score is meditative, quiet piano playing. There are often juxtapositions of scenes linked by voice-overs, offering a fresh way of storytelling. This is effective not just to show what’s happening at different places or time, but that the dialogues can be relevant for different people in other situations as well.

Cinematographer Mike Eley captures on screen some exquisite sights of the English open country, wide shots shrouded with a hazy light, sometimes teal, sometimes golden. Terence Davies’s Sunset Song comes to mind, albeit The Dig is a much quieter film.

Young Robert’s fantasy with the cosmos and his imaginary tales cannot be brushed away as just spice to animate the mood. Kudos to Moira Buffini’s screenplay, the film wraps up with mother and son laying close together in the dug-up ship under a starry sky at night, as Robert tells his mother and Brown observing nearby, his woven tale of the ship taking the queen home to the stars to meet the king, leaving everyone behind, a poignant metaphor and a fable-like send off. Mulligan and Barnes are treasures here. That aerial shot is magical.

The Dig begins streaming January 29, 2021 on Netflix. I’ve watched it twice so far, once isn’t enough to capture all that need to be noted to appreciate.

~ ~ ~ ½ Ripples