Connect with us
The Nightingale The Nightingale

Film

Jennifer Kent’s ‘The Nightingale’ Is a Chilling Revenge Epic

‘The Nightingale,’ Jennifer Kent’s follow-up to ‘The Babadook’ expands her style and vision and disturbs far more than traditional horror.

Published

on

After the surprise success of Jennifer Kent’s The Babadook (2014), horror aficionados waited with bated breath to see what her next project would be. Rather than crafting another horror film, Kent opted to write and direct the brutal colonialist epic, The Nightingale. This is a revenge drama, and not at all a horror film, yet the Sundance crowds anxiously awaiting admittance seemed to operate under the misapprehension that it was. Their confusion about the film’s genre is understandable — The Nightingale is a painfully brutal film, one with horrors that far exceed Kent’s previous film, even if it’s not horror per se. It seethes with anger and grief, and confirms Kent’s emotive abilities.

Set in 1825 on the island now known as Tasmania, The Nightingale concerns the atrocities enacted by British soldiers, both against the convicts who have been transported to the island as well as the dwindling numbers of Aboriginal people. Clare (Aisling Franciosi), an Irish woman transported after a theft conviction, leads a dull, monotonous life of service for the soldiers of a nearby barracks. She finds moments of pleasure among the doldrums thanks to her husband and her new baby. Her gift is song, and she sings Irish tunes when alone to occupy herself and soothe her young infant. As comforting as her vocal gift is, it also plays a role in her future torments.

When Clare is summoned to sing at a banquet for a visiting captain, she catches the eye of nearly every soldier, most of whom are drunk and haven’t been with a woman in months or years. We learn that Clare is actually an indentured servant in the service of the commanding lieutenant; he has vouched for her, allowing for her release from prison, and her eventual marriage and child. She is three months overdue for her release from servitude, as the lieutenant continually delays writing her letter of release. After her performance before the troops, something snaps, and the lieutenant’s frustrations with Clare and the violent lust of the soldiers collide. In a painfully disturbing scene, she is raped by the lieutenant and his sergeant, while her husband and baby are slaughtered. Clare survives the encounter, and the next morning she sets off to kill the lieutenant and his men. Fueled by anger and grief, she commandeers a horse and hires an Aboriginal guide named Billy (Baykali Ganambarr) to lead her toward the soldiers, who have marched toward the northern part of the island.

There’s much that’s bloody and disturbing in The Nightingale, but Kent never slips into a Tarantino-esque revenge fantasy. She keeps her story firmly rooted in its period details; we’re always aware of the great difficulties Clare faces in merely traveling on her own, let alone in killing the men who have destroyed her family. None of her friends can help her, as they would be sent back to prison. She’s unable to find supplies or shelter on the journey, as few people are willing to help a woman without an accompanying man. And every man she meets along her trek through the Tasmanian forests wishes violence upon her.

But just as she foregrounds the dangers facing women during the period, Kent pays close attention to the ravages of colonialism and racism — not even Clare is blameless. She seethes with anger and distrust during her first couple days with Billy; it’s only her need to survive long enough to dispatch the lieutenant that keeps her from gunning him down. Clare’s own racism is a difficult but wise choice from Kent. A lesser filmmaker would have tried to suggest that because of the daily misogyny Clare experiences, she would be more understanding and accepting of the Aboriginal people. But of course, that’s hogwash — she’s been bathed in the same racism that affects most of the other white people on the island. Clare is infected with many of the same vile beliefs that animate the soldiers she’s pursuing, but that doesn’t make her quest any less compelling.

The Nightingale Movie Review

Most compelling of all, though, is Franciosi’s performance. The Irish-Italian actress has a wonderfully compelling face that seems to bump every emotion up to ten. It’s hard to see the look of grief on her face in the wake of her family’s slaughter without bursting into tears yourself. When she switches into revenge mode, she seems possessed by some foreign spirit. Ganambarr’s talents are less showy, but he gains a marvelous determination as Clare’s quest merges with his own.

Almost as impressive as Franciosi’s performance is Sam Claflin’s as the lieutenant. Claflin initially seems like a respectable man, before revealing himself to be a misogynist and rapist. But as the film progresses and he treks north in search of a promotion, he unleashes unexpected levels of depravity. The transformation could easily have seemed forced, a poor attempt to make him an even bigger villain, but Claflin makes the descent into evil both compelling and totally believable.

Some Nightingale viewers have apparently been disappointed that Kent didn’t make another horror film as her Babadook follow-up. As one of the few people who never cared for that film, it was refreshing to see just how much more developed and moving The Nightingale is compared to its predecessor. The Babadook was a clever idea executed with workmanlike care, but The Nightingale is a film made of flesh and bone, one that lives and breathes — and bleeds.

Editor’s Note: This article was originally published on January 31, as part of our coverage of the Sundance Film Festival. 

 

Brian Marks is Sordid Cinema's Lead Film Critic. His writing has appeared in The Village Voice, LA Weekly, The Los Angeles Times, and Ampersand. He's a graduate of USC's master's program in Specialized Arts Journalism. You can find more of his writing at InPraiseofCinema.com. Best film experience: driving halfway across the the country for a screening of Jean-Luc Godard's "King Lear." Totally worth it.

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Advertisement

Film

The Best Movie Trailers of 2019

Published

on

Best Movie Trailers 2019

They exist to sell a product, but there’s also something about movie trailers that inspires certain ticket buyers to get to the theater early: the promise of movie magic. Before we have a chance to be disappointed by their final products, the best trailers are constructed to show off endless potential — the suggestion that audiences are in for an amazing cinematic treat. Of course, it doesn’t always work out that way, but there’s nothing better than being seduced — and for a few moments, that’s exactly what the best movie trailers of 2019 do. Below are some of my favorites from the past year.

Smarmy Murder

Knives Out

Rian Johnson’s followup to The Last Jedi seems to have found a safer home for the director’s irreverence (I’m not aware of any diehard murder-mystery fans, at least), and it’s trailers have been free to lean heavily into that twisted playfulness. If you’ve gone to a theater in the last three months, it’s been hard to avoid seeing this one a million times (including at times as an ad before the previews), but the relentlessly snappy pacing, ironic edits, and pervasive shots of actors hamming it up really drive home that Knives Out is looking to be a wickedly fun romp. Whether it succeeds or not, there’s no question that the trailer makes me want it to. 

Ready or Not

This one hits more traditional beats when it comes to unspooling its gleefully barbarous premise, and knows just how to mix the tension with the violence with the cheeky one-liners. But it’s the use of The Righteous Brothers’ “Unchained Melody” that really pushes this trailer over the top, as the song works brilliantly for both magnifying the drama during the screaming moments, and providing an excellent contrast between its blatant romantic sincerity and the sarcastic amorality of this bizarre predicament. Also, Henry Czerny.

The Hunt

This one’s a bit more subtle about its dark comedy, but there’s no question that there are plenty of smirks lurking just below the surface of this premise. A cabal of elitists hunting a bunch of backwoods yokels for sport is the kind of satiric setup that has potential for real bite (enough to get the film’s release indefinitely delayed, apparently), and this trailer does a great job of playing that element up, suggesting a more brutal and sardonic version of The Hunger Games. The tired look on Betty Gilpin’s face as she moseys down train tracks or calmly drives over someone’s head showcases a low-key humor that hopefully is reflected in the final product. Fingers crossed that The Hunt eventually sees the dark of theaters.

Moody, Mysterious Spooks

Midsommar

There’s always something refreshing about a horror story that takes place in the daylight, and the trailer for Midsommar appeals perfectly to this sentiment. Plucky strings, tribal drum beats, and plenty of off-kilter camera angles help set the creepy stage for a relationship problem that is about to manifest itself in a physical problem, but one that is smartly only hinted at. The bright, lush environment and comforting tradition initially draws you in (like any good cult would hope), but exactly what’s in store for this young woman and her companions? Flashes of gore and deformity near the end are what linger, even after a sunny visual finale. Very enticing.

The Lighthouse

It’s possible that this trailer could have just consisted of nothing but the weather-worn faces of Robert Pattinson and Willem Dafoe staring back at the audience, punctuated by the droning bellow of the fog horn, and that might have been enough to sell people on this thing. Of course, what follows is a stark, visual feast that also does a masterful job at dropping clues as to the possible supernatural mystery, but layering them in the potential madness. Dark, ominous trappings are slathered on as thick as the sea-faring accents, giving off an old-fashioned horror vibe. Despite a deep dislike for the actual film, I could watch this trailer forever, and dream of what else could have lurked out on that lonely island.

If Only They Lost the Song

1917

Bolstered by gorgeous images courtesy of the great Roger Deakins (whose sumptuous cinematography can only help no matter what it’s in), this trailer does a masterful job at communicating to audiences just what a nail-biter this WWI story promises to be. Starting out with an innocuous shot of two soldiers lazing beneath a tree, and ending with one of them dodging explosions, the tension is meticulously built step by step, gunshot by gunshot…until a sappy, tone-deaf song called “Wayfaring Stranger” cuts in halfway through and tries to ruin everything with hammy emotional telegraphing. It’s a curious choice, as the textured, frank visuals and dialogue don’t otherwise give off a manipulative vibe. Still, there is stirring power in that imagery, enough to make me want to see more. Just…save the song for the end credits, please.

What. The. Hell.

Bird Talk

It’s generally not desirable to feel even slightly repulsed after viewing a movie trailer, but I have to confess that the bizarre images here are cut together in a way that doesn’t quite agree with me. So why is it good? Because that seems to be exactly the sort of note Xawery Zulawski’s film is trying to hit, with its disorienting fish-eye lenswork and indecipherable depictions of what seems like general depravity, even if I can’t point to exactly why. Even the special effect for that weird flaming car looks wonky and nightmarish. Not every film has to be pleasant to work, and neither does a trailer; Bird Talk looks intense and intriguing and indecipherable, and that’s good enough for me.

Pleading For Attention (and Actually Getting It)

Joker

Every year there are trailers for movies that desperately want to be taken seriously as films, and I’m not sure there was a better example of that in 2019 than Joker. With its gritty, scum-on-the-lens look, an early burst of cruelty, and use of Jimmy Durante’s “Smile” to lay the irony on thick, there’s no question of this promo distancing the final product from traditional ‘comic book’ movies. There’s also no question that the trailer does a magnificent job at showcasing the film’s best element: a writhing, tortured, smirking, dancing, on-the-edge Joaqin Phoenix. While it’s debatable whether Joker itself ultimately deserved all the attention, putting Phoenix’s performance front and center in the trailer was the best way to get it.

The Cream of the Trailer Crop

Richard Jewell

This is a fantastic example of how to communicate an overall old-fashioned approach to sharp storytelling, yet break up the standard formula with well-timed asides. The premise and protagonist are firmly established through standard trailer character development, but it’s the interspersing of those chilling interrogation scenes that really drive the point home and solidify the character as supremely sympathetic. The soft piano notes are joined by a growing orchestra, the frequency of these inserts picks up as the blatant railroading intensifies, and by the time the crescendo hits, the trailer has told a story that we want to see a resolution to — and that subtle nod suggests it’s going to be a very, very satisfying one.

Once Upon a Time in Hollywood

Almost a mini-movie in itself, the trailer for Once Upon a Time in Hollywood spans the range of emotional beats found in the film it’s cut from, roughly (and impressively) in the same order, all while cementing the unmistakable tone of the film’s creator. What’s being sold here is exactly what audiences are going to get, and that’s a sprawling Hollywood epic filled with sharp dialogue, offbeat B-movie/TV show asides, and a undercurrent of a looming, horrific incident that will come to a head in the last reel. An aging cowboy, a loyal sidekick, a radiant princess, and a creepily smiling ogre are set in a neon fantasy land full of make believe, where dreams (and sometimes nightmares) come true. It’s a primer for a magical fairy tale, and also the most complete, all-encompassing, masterful trailer of the year.

***

Of course, these are just my picks for the best trailers of 2019 — what are yours?

Continue Reading

Film

70 Best Movie Posters of 2019

Published

on

Best Movie Posters of 2019

Deciding the best movie posters is no easy task…

I remember when I was younger, I used to head to the video store and rent movies I’d never heard of based solely on the movie poster art. This was, of course, a different time— sure, the internet was a thing, but we didn’t have countless websites, not to mention social media platforms, promoting new movies online with news stories, movie stills, featurettes, teasers, trailers and so on. Not to say that sort of marketing didn’t exist in the past, because it did, but it wasn’t always in your face. For better or for worse, the internet changed the way studios market movies, but one thing that hasn’t changed is the use of a poster to help build excitement and anticipation for an upcoming film. Most posters continue to be an important marketing tool for filmmakers worldwide and so once again, we’ve decided to collect images of our favourite movie posters revealed over the past twelve months. If you checked out our list of the best movie posters of 2018, you’ll remember it included posters for indie gems, thrillers, horror movies, foreign language films, Hollywood blockbusters and everything in between. This year is no different, although it should be said that some marketing campaigns were so good, we’ve decided to include more than one poster for a few select films. Also worth noting, we didn’t include any fan-made poster art below. That out of the way, here are the best movie posters of 2019.

Click on any one of the images to enlarge the posters.

The Best Movie Posters of 2019

Continue Reading

TIFF

The Piercing ‘Marriage Story’ Is Noah Baumbach’s Best Film to Date

TIFF 2019

Published

on

Marriage Story

In 2010, director Noah Baumbach began divorce proceedings with his now ex-wife, Jennifer Jason Leigh. The divorce was finalized three years later, and since then Baumbach has been in a relationship with actor and director (and occasional collaborator) Greta Gerwig. It’s impossible to view his newest film, Marriage Story, without taking into account his own dissolved marriage; this is a searching, seething work of recriminations and longing that pits two all–too–human parents against each other, and invites the audience to not only imagine which bits of psychic trauma are his own, but also to consider our own relationships, successful or not.

Marriage Story stars Scarlett Johansson and Adam Driver as Nicole and Charlie, a married couple living in New York City with their young son Henry. The film opens with a montage as Nicole recites the things she most loves about her husband, from the way he can cook and doesn’t mind waking up with their son, to his skill as a theater director. In turn, Charlie narrates his favorite aspects of Nicole, his regular lead actor. There are plenty of opportunities for tears here, but the unguarded emotions of these confessions might get them started right from the beginning. But just as they finish reciting these traits, we’re brought back to reality; these confessions were things that they had written down to read to each other as a kind of peace offering at the start of their mediation following a separation that has led up to their divorce. But Nicole doesn’t like what she has written — or at least doesn’t want Charlie to hear it. And if she won’t go, then it’s not really fair for him to read his. So neither tells each other what they most admire in the other, and instead stop seeing the mediator.

It’s the first strike in Nicole and Charlie’s mutually assured destruction agreement. Though they initially plan on avoiding using lawyers, Nicole gets tipped off to a well-regarded attorney (a funny and ice-cold Laura Dern) who advises her to take a maximalist position in order to ensure she gets half of everything she wants — at the very least. Once she has a lawyer, Charlie tries out a variety of legal counsels (a soothing Alan Alda and a fiery Ray Liotta), but the real conflict comes down to location; Nicole has taken Henry to Los Angeles while she films a pilot, and wants to stay even after it’s finished. Charlie, however, thought they would move back to New York. Each escalation in the feud necessitates an opposing reaction, and the two are driven further and further apart, even as they try to stay close for the sake of their son.

Marriage Story

Baumbach has admitted that some details of the film are based on his own divorce, but he’s also said he interviewed many of his friends who divorced around the same time, as well as lawyers and judges involved in divorce cases. In some ways, Marriage Story isn’t just a portrait of a couple separating, but a primer on divorce court that far surpasses something like Kramer vs. Kramer, which was out of date even in 1979. The film is also an opportunity to observe two of the best living actors at the top of their game. Johansson and Driver have a knack for finding the sweet spot between un-actorly naturalism and the stylistic ticks that we recognize as compelling acting. It gives us a sense that these people were actually a family, and really cared for each other. Baumbach’s script helps; it’s maybe his best writing ever, filled with so many painfully open moments, yet leavened with just the right amount of humor. He’s also as fair as he could be, and neither parent comes off as too saintly or self-centered.

Marriage Story ends in a circle of sorts with the discovery of Nicole’s notes about Charlie’s best qualities. Their marriage was effectively over before the film even started, but I kept thinking back to that lovely introductory scene. How might their journey to divorce progressed if they had the courage to speak openly to each other in that one moment? Perhaps something might have been better. Marriage Story doesn’t harbor any of those romantic illusions, however; once it’s over, it’s over.

Editor’s Note: This article was originally published on September 12, 2019, as part of our coverage of the Toronto International Film Festival.

Continue Reading
Advertisement
Advertisement

Trending