We Could Be Equals Just For One Day

Team Experience is at the Tribeca Film Festival. Here's Jason on Equals.

I'd be curious to know if Lil Nicky Hoult got into his parents Blockbuster stash around the tender age of eight and saw some things he wasn't supposed to see... like perhaps the 1996 film Trainspotting and the 1997 film Gattaca? Because he's totally spent the past year trying to remake the two of them. Kill Your Friends, the Trainspotting wannabe, has already come and gone without much love lost or gained, and now we have Equals, a shiny "doomed by science fiction" romance for the Swipe Right Age.

Equals - the tale of a gleaming future where emotion's verboten - makes a much more successful case for itself. Yes it echoes Andrew Niccol in every perfume-ad pretty shot, all futuristic silvers and golds shimmering beneath the camera's upturned palm. You've never seen skin as devastatingly luminescent as Hoult's here - he resembles nothing less an unnamed organism from under the sea seeing light for the first time, a spectacle of unspeakable translucence squinting at the sun.

His purity has a point and a purpose though, beyond just its usual pretty surface charms - his cheeks flood with color, bathing the screen and the palette, pinkening, tells us he's seeing what a lot of us have for awhile now... namely hot damn, Kristen Stewart, you're on fire! Burn it up!

Yes, the other half of this romance is no stranger to the soft glow of twilight (you know, Twilight) but far from sullen here KStew is a barely contained nervy jangle, a tremor, dark eyes sunken in a sea of foam. She makes you lean in, which is what this romance needs - look closer. Closer. And once you do, once you're spinning in their orbit, wham, that's that. You're under. They make a surprising pair but they work, and there's defnitely a queerness to it - they're meeting in the middle, gender-wise, with their utilitarian costuming and eyelashes for days; love like an invention, self-built, new and shiny... so shiny it stings.

Grade: B

Remember Jason Scott Lee?

The Jungle Book last time around. Mmmmm, 1994.

Strike a Pose

Team Experience is at the Tribeca Film Festival. Here's Manuel on Strike a Pose.

Perhaps it’s unfair to compare Strike a Pose with Madonna: Truth or Dare. After all, that now iconic documentary is really on a league of its own. Then again, this newer doc, which focuses on the male dancers from that 1991 film (and from the Material Girl’s Blond Ambition Tour) cannot help but drum up the comparisons. As a pseudo-sequel to Truth or Dare, Strike a Pose is perhaps less enthralling—no Warren Beatty or Antonio Banderas here—but just as entertaining. And while the first twenty or so minutes of the film do indeed feel like a sequel in spirit if not in name (we get to revisit the tour and the doc in ways that show us how much these dancers kept to themselves even as they seemingly opened up their lives for Madge and the camera), this documentary soon reveals itself to be something much rarer.

In profiling these men 25 years after the fact, Strike a Pose becomes a rare portrait of the middle-aged dancer, a figure that we’re not often offered on screen. It’s often hard to hear what these guys went through—you’ll be surprised to hear candid talks about AIDS that even Truth or Dare, despite its activist zeal given its time,couldn’t and didn’t breach—and it’s even more heartening to see their resilience. It was hard, many of them note, to have always lived with the, for better or for worse, “Madonna dancer” label especially given how their relationships to the Queen of Pop frayed soon after (addiction, rehab, and lawsuits didn’t help). By the time we see all of them reunite for the first time in decades and see them playing the infamous game of “Truth or Dare” again, you cannot help but feel a kinship to these people some of us have felt we’ve known for just as long. For Madonna fans, this is an unmissable film. But where directors Ester Gould and Reijer Zwaan succeed is in producing a touching portrait of ageing, of finding the inspiration and the drive to keep going even when the promise of youth (and the promise you had in your own youth) threatens to disappear.

Grade: B+

Ronit Elkabetz (1964-2016)

Terrible news to report today. The great Israeli actress Ronit Elkabetz has passed away at only 51 years of age. 

Her last film proved to be her biggest hit (Gett: The Trial of Viviane Absalem) -- we interviewed her right here -- but that courtroom drama was far from her only gem. We first fell (and fell hard) for the intense raven haired beauty in the astounding Late Marriage (2001) where she played the older woman in a sexually intense love affair with a slightly younger man (Lior Ashkenazi) whose parents were eager to marry him off to a "proper" bride and end his long-standing bachelordom. She won the Ophir (Israel's Academy Award) for that film, one of three wins for her as Best Actress.

If you've never seen "Late Marriage," you really must.She also starred in Or (My Treasure) (2004), the international hit The Band's Visit (2007), and other films in both France and Israel. In the past ten years she'd branched out from acting and with Gett she was directing and writing (along with her brother Shlomi), while continuing to dazzle in front of the camera. Awards groups took notice. She won prizes at the Hamptons, Chicago, Palm Springs, San Sebastian and Jerusalem film festivals for Gett and that last feature also resulted in multiple Ophir nods and a Golden Globe nomination for Best Foreign Film. 

Elkabetz was battling cancer and is survived by her husband and three year old twins. She will most definitely be missed, her rich expanding career cut suddenly short.

Doc Corner: Nostalgia for the (Cinema) Light

Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand. This week we're highlighting Nostalgia for the Light.

Nostalgia seeps through Peter Flynn’s sophomore film, The Dying of the Light. For good reason one might say. Like many of a certain generation who were too young to appreciate the glory of the mechanics of film projection when it was as common as day and night, I sometimes sound like a fetishist when it comes to talking about the flicker of celluloid as it whirs through its paces on its way to being projected onto the big screen.

Flynn, it would appear, is the same. His first film, Blazing the Trail: The O’Kalems in Ireland, was about people behind the camera in the 1910s, but his newest film is about the people behind the projector – the men and (infrequently) women who were in charge of spinning and threading the celluloid from reel to reel of film through projectors and onto cinema screens. (more after the jump)

Click to read more ...