Tag: dog

Roxy (Roxy)

Posted on by Jeremy Clarke

QUICK SNAP: LIVE FROM TALLINN

The eponymous Roxy is a fight dog who has so far killed 12, no… 14, dogs. For no good reason, he bites a pedestrian’s hand, causing his walker to hand a wad of banknotes to seemingly unflappable, hired taxi driver Thomas Brenner (Devid Streisow) to straighten the situation out. Then his new fare has put Roxy on the back seat, his panting head inches away from Thomas’ face. “You have to buy a muzzle for this dog,” Thomas calmly explains to his fare. “It’s the law in Germany.”

Thomas, whose working life consists of picking up a fare from the railway station, taking them where they want to go, and then returning to the station to pick up the next fare, loves routine and order. In his intermittent voice-over running through the film, we learn that his grandfather was in the Wehrmacht and his father the Stasi, the latter eventually committing suicide in 1990. He has learned from his late mother to never look people in the eyes, a survival mechanism, a way of remaining invisible.

In his flat, his inherited collection of die-cast model cars and motor vehicles sits in lovingly sorted, pre-arranged positions on wall-mounted ornament shelves. His set of dice sit in ordered rows on his pristine tray except when he rolls them for his own amusement, always replacing them in exactly the same place. The tray is covered in tiny images of iconic, naked women, occurring at regular, spatial intervals. He often visits the local bar for a quiet drink, where conversations with latent nymphomaniac barmaid Sara (Valliamma Zwigart) inevitably end in sex.

His latest fare, though, is set to turn his highly ordered life routines upside down. Levan (Vakho Chachanidze) and his friends are criminals or gangsters or some such, we never find out exactly what, but clearly not to be messed with. Levan is impressed with Thomas’ ability to stay cool under pressure, pays well and offers more work. A ride or two later, he’s joined by his pretty, young wife Lisa (Camilla Borghesani) and young son Vova, eight (Raphael Zhambakiyev). Vova asks a question: which is stronger – lion or tiger? It’s a question that sets Thomas thinking.

And then one night, they’re in a restaurant and someone attempts to shoot them. Whatever their history is, these people are on the run and their pursuers are close behind. At this point, Thomas might try to extricate himself from the situation, but he doesn’t. Levan is impressed that Thomas never asks about his background but simply does whatever needs to be done. Above all, Levan is concerned not for himself but for his wife and son. Thomas finds the group a safe house. And Levan offers Thomas a piece of advice about dealing with animals which flies in direct contradiction to his mother’s: always look them in the eyes.

In the scenes that follow, Thomas is asked by Levon to help them obtain fake passports. Surely there must be someone he knows who knows someone who knows someone. Thomas starts asking around to see what he can do. Then he is contacted by people claiming to be agents of a foreign power in pursuit of these men, who want him to help them. They, too, pay well. The only way he is going to survive is by playing one side off against the other, which could prove quite lucrative. What’s more, Thomas gets on really well with Vevo, and Lisa is a very attractive woman…

Also in the picture are Levan’s underlings Andrej (Ivan Shvedoff), Niko (Nicolos Tsintsadze) and the none too intelligent Sasha (Sandro Kekelidze) not to mention a troupe of avant-garde theatre actors who do a nice sideline in fake passports – among them a woman in a blue bodysuit with a fake penis and a truly fearsome, blonde-bewigged man (Waléra Kanischtscheff) sporting a turquoise pantomime dress.

Not only is this one of the most cleverly plotted and executed thrillers in years, which never misses a trick, it’s also about some very interesting ideas. What exactly is power, and how is one person able to wield it over another? When is the time to do as you’re told, and when is the time to strike out and take decisive action? Which is stronger – lion or tiger? We follow Thomas’ journey as he moves from invisible everything-in-its-right-place man towards something far more dangerous, brilliantly expressed in Streisow’s superb performance.

The film is a masterclass in casting, with a superb clutch of performances from the various supporting cast members, including the small boy and, for that matter, the dog. It’s also flawlessly structured, shot and edited. And consistently inventive to boot.

Moreover, it’s a welcome addition to that small, select subgenre of the taxi driver movie which includes such seminal outings as Taxi Driver (Martin Scorsese, 1976), Taxi (Carlos Saura, 1996), Collateral (Michael Mann, 2004) and A Taxi Driver / Taeksi Woonjunsa (Jang Hoon, 2017). Collateral, in which a mysterious stranger arrives into town and hires a taxi driver to drive him around, probably the closest to it. The film is a real winner and distributors should be falling over themselves to acquire it in territories round the world. An utterly enthralling, stunner of a thriller which deserves to be a massive, worldwide hit. Don’t miss.

Roxy plays in Tallinn Black Nights Film Festival. Watch the trailer below:

Judy & Punch

Posted on by Jeremy Clarke

Seaside. Nowhere near the sea. A small town in the 17th century where allegations of witchcraft are regularly punished by torture, confession and stoning and the local Constable is an ineffectual ninny.

However all that is forgotten at the town’s palace of entertainment to which local celebrity Mr. Punch (Damon Herriman, also in The Nightingale, out next week) and his wife Judy (Mia Wasikowska) have returned with their popular puppet show featuring his puppet as a gleeful wife-beater and hers as his spouse, dutifully trying to protect their baby.

In the daytime, Punch is perfectly happy to be he who casts the first stone at an official stoning of paraded, accused, so-called witches while his missus is rather less enthusiastic. She has been trying, none to successfully, to wean him off the evils of drink, but the competition in the form of local woman of ill repute Polly (Lucy Velik) tempting him down the local boozer is proving too much for him to resist.

Home life is difficult: he hates their loyal but ageing caretaker couple and is so useless at looking after their baby girl that at one point the infant almost crawls into a blazing hearth fire.

When family circumstances worsen, Judy leaves Punch and falls in with a mainly female group of dissenters camping out in the woods. This Judy may have been thrashed within an inch of her life by her soused husband, but she’s had enough and is now working out how to fight back.

This is impossible to accurately synopsise without spoilers (hopefully I’ve given nothing away). It’s also filled with riotous detail – pub brawls, public hangings and stonings, official Ruffians who practice their violent law enforcement work whether the Constable agrees with their methods or not.

For generations of Brits, Punch and Judy as performed by a seaside puppeteer in a small vertical tent are indelible archetypes from childhood, along with the baby, the policeman, the dog, the string of sausages and the crocodile. Aussie director Mirrah Foulkes completely understands these figures, skilfully exploiting them to very specific narrative ends. She conjures a terrifying fantasy land where freedom confronts bigotry even as everyday folk marvel at the magic world brought to life by theatrical puppeteers.

As such, this plugs right into some powerful myths buried very deep in the British psyche then plays around with them to great effect. For anyone who grew up with the terrifying Mr. Punch, his much put upon wife and child and all the rest, this is essential viewing. And coming a week ahead of likewise impressive The Nightingale, it suggests there may be something of a wave of Australian fantastique at the moment.

Judy & Punch is out in the UK on Friday, November 22nd. On VoD in March.

Marona’s Fantastic Tale (L’Extraordinaire Voyage De Marona)

Posted on by Jeremy Clarke

We here at DMovies don’t usually get excited by an animated film about a dog and its owner. It would have to be a very special movie indeed to make that happen. Well, Marona’s Fantastic Tale is just such a movie.

It’s bookended with a device straight out of film noir. The main character has been hit by a car and is lying in the road, dying, in the arms of an old friend who got to him a few seconds too late to prevent disaster. Him isn’t correct though: both characters are female. Marona is a dog while late teenager Solange is her owner.

The narrative flies in the face of the idea that people take on pets and everything is hunky dory thereafter. Marona never has a stable life. She’s the last of nine puppies in the litter, so her mother names her Nine as if knowing that her daughter may not be around long and that a new owner will likely give her a new name.

The last to be born is the first to be given away as Marona is placed with her father, a haughty Argentianian mastiff of high birth unable to resist the charms of Marona’s seductive mongrel mother. We see very little of him as Marona only lasts about a day there and ends up walking the streets.

She is taken in by the kindly Manole, a penniless acrobat who busks for peanuts and rehearses wire walking and trapeze artistry in his garrett atop a building. He names her Ana. All is going well until he lands a circus job with a no pets contract.

Next, she attaches herself to construction worker Istvan who names her Sara. Initially, he lets her live on the building site where he works, then moves her in with his ageing mother for company. This sours when the old lady, given to violent turns, hurts the dog. So Istvan moves Marona into his home. Unfortunately, his wife regards the dog as little more than a fashion accessory and soon tires of her. Despite Istvan’s best efforts, the dog is soon homeless again.

Small girl Solange finds the dog in a park, renames her Marona and tales her home without telling her single mum or her grandpa. Her mum is furious, but somehow Marona is allowed to keep the dog. As a child she loves it dearly, but when she becomes a teenager, she finds looking after Marona a nuisance as she’s rather be out spending time with friends. One day, she abandons the dog in a park tying her lad to a tree so she herself can catch a bus downtown. When Marona breaks free and follows her, you know it’s not going to end well, especially after the dying dog sequence at the start of the film.

Visually the film is a treat. Manole the Acrobat is rendered in orange and yellow, moving with a captivating fluidity light years away from what you’d get in a classic Disney film. Istvan the gentle construction worker is a stocky blue body outlined in purple while his self-obsessed wife resembles a yellow version of a spooky ghost from a Fleischer Brothers cartoon. The portrayal of Solange and her family is more homely.

There’s a breathless street chase at the end as Marona follows the bus Solange has boarded, hard to watch because you’re expecting something to hit the dog at any moment.

Marona works not only as a film about the life of a dog but also as a series of snapshots of various sections of society – the insecure showman, the worker enslaved by the whims of his wife, the single parent family. On top of that. It’s a colourful, visual tour de force that will take your breath away. It fits the bill as a much better kids’ movie than most of the more commercial fare foisted on audiences by the major studios and it should equally delight dog lovers. Having said that, as a person who neither has young kids or dogs, I adored it. And I suspect you will too.

Marona’s Fantastic Tale showed in competition in Annecy. Watch the film trailer below: