Arts: Film

Belfast: A Beautiful Coming of Age Story

ANANYA KRISHNA | CONTENT WRITER

Kenneth Branagh’s Belfast offers a ftting, though unconventional, childlike take on the troubles in Northern Ireland. Following a young boy named Buddy and set in 1969 Belfast, the flm follows a Protestant family navigating the unrest in Northern Ireland while Buddy’s father (Jamie Dornan) is away in England working. Unlike a usual historical flm which captures the pain and despair of such a tumultuous part of history, Branagh’s Belfast takes a similar route to Taika Waititi’s Jojo Rabbit where he explores the horrors through the lens of a younger character. While Buddy from Belfast is more of a modelling on Branagh’s own childhood, it still captures how civil unrest and religious disparity shapes a young person’s life. The movie also acts as an ode to life before 1969 in Belfast and the entire movie is coloured by this nostalgia. From the frst scene to the credits, this movie serves as a brilliant ode to Belfast and to Branagh’s own childhood. We are at a point in cinematic technology where black and white flm is a plot device rather than any necessity. Poorly used, it is more annoying that moving, especially if there are technicoloured scenes also present in the flm. Yet in Belfast this is never poorly used and in fact is the perfect medium for a flm of such heavy subject matter that, considering the age of the protagonist, doesn’t always focus on it. No matter whether you are watching a lighthearted scene of Buddy pining after a girl in his class or spending time with his grandparents, the black and white flm makes sure you never forget what is happening in the background. The few scenes of colour are done beautifully with one scene of Buddy and his grandmother (played by Dame Judi Dench) watching a movie in colour while their world is in black and white, the small detail of having the movie’s refection in Dench’s glasses alone shows the incredible attention to detail present throughout the flm. Despite any criticisms of Branagh’s handling of the civil war, the beauty of the flm cannot be disputed by anyone. Anyone who has little to no knowledge of Ireland between 1969 and 1998 should read up a bit on it before watching the flm. While it’s not heavily centred on the actual events of 1969 Belfast, it will still make the whole experience less confusing. Speeches may seem a bit long and repetitive at times and this translates to the movie sometimes, yet it does make the story seem more realistic and less beautifed.

The movie doesn’t ever try to pander to the audience and therefore doesn’t make you feel like you’re lost in another world. It was made with a purpose and is uncompromised in its aim which makes it feel that bit more authentic. It doesn’t exclude audience members though, the exact opposite, for while you may not understand everything going on, you know your place as an observer. You feel every bit of pain, joy, sadness, and despair, and so if for no other reason, watch this movie to celebrate

Maid: A Discourse on Domestic Violence

ZAHRAA AHMAR | CONTENT WRITER

Abuse is not linear, ‘It grows like mold’. Maid is a true story based on Stephanie Land’s memoir. The series follows a 23-year-old Alex (Margaret Qualey) as she navigates her way out of an abusive relationship, the troubles of shared custody with her ex-partner, providing for her daughter as a single mother, as well as attempting to look after her unmedicated mother who is diagnosed with bipolar disorder. Even though Maid revolves around Alex, the only time the viewer is directly and explicitly exposed to her thoughts are through a voiceover of her writing, perhaps mirroring her lack of voice in the abusive relationship. Metaphorical symbols like this are present throughout this breathtaking series. It showcases how abuse causes destruction in other areas of an individual's life such as self-esteem which is evident in Alex’s characterization. The series operates on a ‘show instead of telling’ basis. It offers the viewer a direct insight into the character's point of view creating a sometimes unnerving and somewhat chaotic viewing experience. The dark imagery and faded voices placed when Alex is being abused shifting into clearer sounds and a lighter atmosphere when she fnds peace elevates the viewing experience. Instead of having scenes where there is a verbal explanation of a character's feelings the director opted for a more creative decision. This can be seen applied to other characters too such as Alex’s mother, Paula, played by Andie MacDowell. Paula’s debilitating bipolar disorder is unveiled through camera movements like close-ups into her distressed face or master shots when the breaking point of her mental illness occurred.

Source: IMDb

The soundtrack is a sealing layer to this impactful series. Every song was chosen to perfectly encompass the emotion in a scene. One of the most heart-breaking scenes in this series is complemented with one of the most beautifully tragic songs: Dawn Chorus by Thom Yorke. This stomach-stirring song with its thought-provoking lyrics matches the intensity and devastation of the scene.

There is some relief throughout the series. It portrays innocence through the lens of a diffcult childhood and home life. What remains above all is the naivety and sometimes light ease that we all possessed when we were children. The world is cruel and often, unfair too, yet what this series offers is a new perspective. The most powerful tool anyone has is choice. This of course does not mean that systemic issues like racism or sexism are at the fault of the victim as the show also highlights. Instead, we can fnish this series with bittersweet hope by understanding that there will always be chances and choices. It may take time untill we get the pattern just right for our individual needs but to some capacity, they will be met.

TILLEY BENNETT | FILM EDITOR

Sam Levinson and his team have returned to HBO max with the internet’s favourite, hormone charged, psychedelic teen drama, Euphoria. Perhaps teen drama feels too frivolous of a genre to assign Levinson’s incredibly stylised, aesthetically driven cinematography. Having now reached the half-way point, it is clear than season two of Euphoria has become grittier, more emotional, and ironically, humorous. Euphoria, the frst time around, was something of a cultural phenomenon with its haunting soundtrack and innovative styling and make-up decisions embraced entirely by the internet, particularly TikTok. As viewers are reacquainted with the shambolic group of teenagers it is blatantly obvious that Levinson is taking season two in a different direction. Shot entirely on flm, it is not only the plot that has changed but also the entire stylistic vision of Levinson. Known for its hard-hitting portrayal of what it is to be the modern teenager, Euphoria has never been an easy watch. However, there was something endearing about the chaotic, and frankly problematic, group of teenagers’ viewers grew to know and love. Whether it be Rue Bennett’s (Zendaya) innocence despite her very real drug issue and demons, or the unspoken loyalty amongst Maddy (Alexa Demie), Kat (Barbie Ferreira) and Cassie’s (Sydney Sweeney) friendship, there was a warmth to the show that allowed viewers to emphasise with these characters in situations that otherwise feel unforgivable. Where heart may have been the forefront of the show before, it certainly is not now. Comfort is removed for viewers; the hard-hitting nature of the show is omnipresent and unavoidable. Season two opens with Trying to Get to Heaven Before They Close the Door, the title alone should have been warning enough that this season was not going to be easy. Opening with Zendaya narrating, Fezco’s (Angus Cloud) back story, viewers may fnd themselves questioning if they are watching Tarantino or The Sopranos. Viewers are then bought back into a morphed reality witnessing Rue’s relapse during a New Year’s Eve party. Zendaya’s commitment to her character is something to marvel at, she brings a likeable streak to an otherwise nihilistic character. Angus Cloud, whose charm has positioned him as the internet’s new boyfriend, has fnally been given chance to explore Fezco with more depth. Whereas Fezco is almost impossible to dislike, Cassie has been given a shocking, yet entertaining character arch. Euphoria does divide opinion with people fnding the idea of this school setting over-indulgent and ridiculous whilst others feel it is an accurate, albeit artistic, representation of youth culture today. Season two of Euphoria is just as captivating as the frst. As a viewer, it is important to remove yourself from the pace of the frst season and accept that these characters change as their life circumstances do.

Source: Netfix

Review: The Big Sick

DEVESH SOOD | CONTENT WRITER

Euphoria Season 2: Is the Difference Overbearing?

With Valentine’s this month, the urge to gush about The Big Sick is real. The flm seemed to be one that just came-and-went, almost completely ignored at the Oscars, and is not one many seem to talk about anymore. Originally watching it on a plane journey (the worst possible way to do so), the flm was euphoric, immediately worthy of a recommendation. Revisiting it 5 years later, it can be labelled as one of the best rom-coms ever. An autobiographical tale written by Emily V Gordon and Kumail Nanjiani and directed by Michael Showalter, the flm follows Kumail, a stand-up comedian becoming entangled with a woman named Emily. Expected to wed a woman from Pakistan, he fearfully keeps this a secret from his family, as put so elegantly in the flm: ‘You know what we call arranged marriage in Pakistan? Marriage’. However, getting news that Emily has been hospitalised and needing to be placed under a medically induced coma, the rest of the flm follows him as he has to fgure out where he belongs in the world. Clearly the story is loosely based on their experiences, with elements dramatised for the sake of the story. But this does not matter. On top of being a rare Western love story with an Asian lead, there is an active effort to discuss the culture clash, not just with marriage, but through the familial bond and the obligations of a child, something that seems to have been surprisingly untouched in most forms of media. This cultural questioning haunted many for years, and is a battle yet to be won, if ever. Living in an area with very few people of my background and learning the differing ways people approached these relationships left me dazed, forcing me to carefully navigate my life in a way that wouldn’t hurt the faith my family believed in, but not one necessarily shared.

And yet, it is almost impossible to watch this flm without a huge smile across your face, whilst often extremely heart-warming, especially at the start with the blooming of their relationships, the flm is just extremely funny. Outside of the stand-up routines, Kumail has several scenes with other comedians, including Bo Burnham, all with similar aspirations, forming a rivalry. Originating from two people wanting to share this wild experience with the rest of the world, Gordon and Nanjiani helped to create one of the smartest, most touching romantic odysseys in years. Despite the somewhat fat cinematography of the flm which unfortunately gives it more of a televisual look, the strength of the writing allows the characters to ooze off the screen, helping to tell a unique angle of young love, one you owe yourself to give a watch this Valentines.