Arts: Film

Waves by Trey Edward Schults

TILLEY BENNETT | FILM EDITOR

The destructive nature of trauma held together by unwavering love. Split into two equally moving sections connected by an image of a girl riding her bike, Schults creates a melodrama that is testament to his ability to create an immersive cinematic experience. The first half of Waves follows 17-yearold Tyler (Kelvin Harris Jr) as he navigates the politics of high school, sporting success and relentless paternal pressure. Schults creates a unique and intimate experience between the viewer and Tyler as we try to keep up, just as he does, with the persistent pace of his life. Kelvin Harris Jr is triumphant in portraying Tyler as a young man on the edge. The film is at times difficult to watch as it is so all-consuming. Whether it be through use of a brilliantly crafted soundtrack which is not only evocative of Tyler’s youth and pop culture but also a mirror into his deteriorating mental state. Equally through use of intense, intimate camera angles and an engulfing use of light and colour viewers witness a character spiral with an inability to act. It is the helpless feeling that Schults creates in the viewer that makes the tragedy all the more heart-breaking. Unexpected and life-shattering, the tragedy alters Tyler’s life forever much as Waves does for viewers. Tyler’s father, Ronald (Sterling K. Brown) knows first-hand the obstacles that race can put in the way of success for his children and wants to create a life for them without hardship. Although in doing so he often loses sight of the immediate effect of his actions. There are also times when perhaps Schults could let viewers assume the intentions of Ronald rather than oversharing and loosing intimacy between character and viewer. However, when tragedy strikes, and Ronald’s face is painted with the glow of police lights, his expression evokes all the pain he had tried to protect his children from and makes for an even more heartbreaking story. In the second half of the film, focus is moved onto Tyler’s younger sister Emily (Taylor Russel) who is understated in comparison. The whole experience of the film alters with her character, the camera movements and soundtrack become more relaxed. However, the aftermath of the trauma remains. Emily seems to be numb to her environment, sticking to her routine but not experiencing life to the fullest. Emily’s section at times feels like a relief from the intensity of Tyler’s, however viewers are not naïve to the fact that she is also experiencing immense pain. With multiple nods to 1920’s German cinema and modern expressionism, Schults does not hold back in defining his style as a Filmmaker. He creates a story focused on love and how easily mutated it can be. The family that viewers almost feel like they are part of become consumed by grief, echoes of past mistakes, and conversations that they believe could’ve changed their family’s fate. Ultimately, Schults tells a tale of a family having to co-exist with a tragedy that will constantly burden them. Waves is a film that will stay with you for weeks after watching it, it is unrelenting and deeply moving.

New Year, New Movies ANANYA KRISHNA | CONTENT WRITER

Film content writer, Ananya Krishna, brings you her top film picks for 2022’s upcoming cinema. The Batman (4th March) Rumours about Pattinson playing Batman have been circulating for a few years now and we finally get to see it happen. Of course, since Nolan’s trilogy and Ledger’s incredibly performance as the Joker, Batman movies haven’t received great reviews from critics and audiences alike. The trailer showcases a lot of fantastic cinematography and the accuracy of the casting. The Northman (8th April) Probably one of the most hyped non-comic movies of the year, Robert Eggers is back working with

Willem DaFoe and Anya Taylor-Joy on this historical epic. Set in 10th century Iceland, it is a tale based on the Norse saga which inspired

Shakespeare’s Hamlet. A Viking prince played by

Alexander Skarsgård who seeks revenge on his uncle after he murdered his father. The film also stars Nicole Kidman, Ethan Hawke, and Bjork. Eggers did his research into the different Vikings of Iceland, Swedish, Norway, and the Ukraine. Don’t let its connections to Hamlet fool you, it seems more a Game of Thrones story than an Early Modern English play. Dr Strange: Multiverse of Madness (6th May) Undoubtedly the most anticipated Marvel film, this is the Spiderman No Way Home of 2022. With Elizabeth Olsen coming back as Scarlett Witch and the trailer teasing Evil Dr Strange who we met in What If...?. There is a lot happening in Cumberbatch’s next appearance as Stephen Strange. Baz Luhrmann’s Elvis Biopic (3rd June) Most notable for the time Lana Del Rey pined for the role of Priscilla Presley, Luhrmann’s Elvis Biopic will be released in June of this year (not with Del Rey as Priscilla). Austin Butler will play Elvis and Tom Hanks as Colonel Tom Parker, Elvis’s agent, this movie both directed and co-written by Luhrmann, whose last film was the Great Gatsby (2013). While it’s not known whether Butler will be doing his own singing or how much of Luhrmann’s usual pazazz will be seen, what we do know is that it will be a looking specifically at Presley’s

relationship with Parker – a tumultuous one that has Parker now remembered as controlling in both Presley’s career and personal life. Nope (22nd July) Jordan Peele is back with another horror which he has written, directed, and produced which also stars Get Out’s Daniel Kaluuya. Also starring Keke Palmer and Steven Yeun, not much is known about the plot and a trailer has not yet been released, however going off the poster perhaps it involves something extraterrestrial. If you liked Get Out or Us, this should be on your watchlist for this year. Black Panther: Wakanda Forever (11th November) This one is going to be very heart-breaking to watch following the death of Chadwick Boseman in 2020. Cast members from the first film have confirmed their reprisal of their roles including Letitia Wright as Shrui, Lupita Nyong’o as Nakia, Danai Gurira as Okoye and Angela Bassett as Ramonda. Ryan Coogler will also continue as director and Joe Robert Cole with again be a co-writer. Again, there isn’t much to know about the plot and so begins the wait for November to see what will happen.

Source: IMBD Source: IMBD

Spielberg’s West Side Story

DEVESH SOOD | CONTENT WRITER

Introducing the biggest box office bomb of 2021. West Side Story, directed by Spielberg, is a retelling of the 1957 stage play. An undeniable masterpiece, the original film adaptation from 1962 won 11 Academy Awards, yet the idea of a modern update is completely justifiable; outside being 60 years old, elements of that film have aged extremely poorly. Upon not only hearing the news of a remake, but that it would be directed by my favourite director working today, this was a hugely anticipated film. Thankfully, it was absolutely worth the wait. Zegler in her debut role, and who will star in the upcoming Shazam sequel, is a delight, bringing a warmth to Maria, the character that she first performed in her high school production. However, the absolute standouts are DeBose and Faist as Anita and Riff respectively. The former previously had been inhabited by Rita Moreno, who was not only amongst the few members of the 1962’s cast who were actually from a Latin background but actually won the Academy Award for her performance; she plays a new character in this film - a connective tissue acting as a touching tribute. While the main structure of the story is mostly intact, Spielberg has implemented a far grittier tone. Though the dancing is still here, and the influence of Jerome Robbins choreography can still be felt, it is more restrained, used more sparingly. Nevertheless, this surprisingly works; both gangs, especially the Jets, are more flawed in this version, helping to maintain the tonal flow, something the original film struggled with. Shot by Kamiński, long-time collaborator with Spielberg, provides several striking images, often paying homage to the original. Every camera movement is intentional, planned, and presenting a true artistic vision. Recently re-watching In the Heights, frequent cuts, and ‘top-heavy’ camera movements disservice the clear hard work put into the choreography. Never is the case here; both elements blend together, creating pure spectacle, whether it would be dancing through the streets or two rival gangs on the dance floor. Alas, Tony, played by Elgort wildly fluctuates. In the original, this character resembled the portrayal of most white men in the Kennedy era; a smiling, charming man who had moved on from the Jets. Here, this character has seen the most changes; now on parole, a more bitter and volatile character. Elgort often rises to the challenge, especially in his introduction and in the balcony scene. But he just cannot compete with his fellow performers. Furthermore, ‘I Feel Pretty’, seemed to be the only element that was in here by obligation rather than choice. Typically playing after the interval, but before the duel; a gradual reintroduction preparing the viewer for the events to come. Without an interval, and the existing effectiveness of the quintet leading straight into the duel, its inclusion seemed oddly perfunctory. Regardless, it should never have been released doomed to fail. Opening a week before the WallCrawler, this may be the clearest example of the mistreatment of numerous Fox properties under the Disney umbrella. Whilst SpiderMan deserves the love it has received, explore the West Side, and watch the master at work.