My second feature film, Mercury in Retrograde, screens this Thursday, 11/30 at 2pm at the Oakton Pop-Up Film Festival in Des Plaines. It will be followed by a Q&A with me and cast members Alana Arenas, Jack C. Newell, Shane Simmons, Najarra Townsend and Kevin Wehby. The Q&A will be moderated by Kankakee Valley Daily Journal film critic Pam Powell.
The first two reviews of the film have appeared online to coincide with our screening and I am so grateful that the first critics to write about it have been so intelligent and insightful. At Cine-File Chicago, Kian S. Bergstrom calls it “a nuanced and troubling portrait of six people who, over the course of a long weekend, quietly and privately reveal that they are in the process of exploding inside…Many of the actors deserve special acclaim, especially Jack Newell and Alana Arenas, two local actors who play Jack and Golda, the one couple amongst the three to be married, inhabit their complex roles to a chilling degree…It is a trenchant, beautifully and disturbingly stylized look at misogyny and oppression.” In L.A. Splash magazine, Deba Davy writes: “The movie is beautifully shot, the outdoor scenes clear and sharp, the indoor experiences effortlessly equalizing; none of the characters escapes the eye of the camera. The scenes where the separate couples are alone together are startlingly realistic. Further, there is an overall restraint and respect used: while no important detail is spared, there is never an over-the-top deluge of ‘too much information.’ It’s a fine and forceful presentation.”
Update (11/28): At Daily Grindhouse, Jason Coffman writes: “MERCURY IN RETROGRADE is a deeply thoughtful, carefully observed drama with a roster of exceptional performances. By the time the credits roll, many viewers will probably find themselves unwilling to part with some of the characters to whom they may have grown attached…It’s the kind of film that demands the viewer’s careful attention, and rewards it in spades. A fully-realized slate of grown-up characters is a rarity in films at any level, and that alone would set MERCURY IN RETROGRADE above many of its contemporaries. But it’s the powerful specifics of each character’s story that makes this something truly special, and a film that no serious cinephile should miss.”
Update (12/04): The sheer number of reviews is getting difficult to keep up with. Please check the “External Reviews” section of our IMDb page for a comprehensive overview.
Hope to see you at the screening!
1. Fat Girl (Breillat)
2. Die Hard (McTiernan)
3. Before Sunset (Linklater)
4. Kedi (Torun)
5. The Square (Ostlund)
6. Insiang (Brocka)
7. Top of the Lake: China Girl (Campion/Kleiman)
8. Shattered Image (Ruiz)
9. The Disaster Artist (Franco)
10. Days of Heaven (Malick)
1. BPM (Campillo)
2. The Hole (Tsai)
3. Dazed and Confused (Linklater)
4. Viridiana (Bunuel)
5. Last Flag Flying (Linklater)
6. The Godfather (Coppola)
7. Breathless (Godard)
8. Lady Bird (Gerwig)
9. Chungking Express (Wong)
10. Double Play: James Benning and Richard Linklater (Klinger)
I have a capsule review of Daughter of the Nile, Hou Hsiao-hsien’s great portrait of urban Taiwanese malaise circa 1987, in this week’s Cine-File. It screens at the Gene Siskel Film Center four times over the next week in a beautiful new 4K digital restoration. You can read the full review below.
Hou Hsiao-hsien’s DAUGHTER OF THE NILE (Taiwanese Revival)
Gene Siskel Film Center – Check Venue website for showtimes
Until recently, DAUGHTER OF THE NILE has been the most difficult to see film of Hou Hsiao-hsien’s post-BOYS FROM FENGKUEI (1983) mature period; it has never been released on home video in the U.S. and was absent entirely from the Siskel Center’s Hou retrospectives in 2000 and 2015. It has also been the director’s most critically neglected work to date; when discussed at all, most critics, including Jonathan Rosenbaum, have tended to compare this contemporary urban drama unfavorably with the rural period pieces that immediately precede and follow it in Hou’s filmography (i.e., 1986’s DUST IN THE WIND and 1989’s A CITY OF SADNESS). When seen from the vantage point of today, however, thanks to a superb new 4K digital restoration by the Taiwan Film Institute, it seems obvious that this is where the modernist Hou of the 1990s was truly born. Based on a proposal from a record company, and conceivedof as a star vehicle for the young female pop singer Lin Yang, Hou, working with three screenwriters, turned the project into a highly personal and stunningly oblique examination of disaffected Taipei youth that prefigures his better known returns to the same milieu in later masterworks like GOODBYE, SOUTH, GOODBYE (1996), MILLENNIUM MAMBO (2001) and thecontemporary segments of GOOD MEN, GOOD WOMEN (1995) and THREE TIMES (2005). Lin, in her screen debut, gives a soulful, quietly riveting performance as Hsiao-yang, a teenage girl who works at a Kentucky Fried Chicken by day and goes to school at night, all the while trying to prevent her fractured family from breaking apart for good. Lin finds fleeting moments ofhappiness by imagining herself as the protagonist of her favorite manga, the source of the movie’s title, and when flirting with Ah-sang (Fan Yang), the best friend of her older brother, Hsiao-fang (future Hou regular Jack Kao), both of whom are on the verge of falling dangerously into a life of crime. Hou’s extensive use of nighttime exteriors, illuminated by neon lights and, in one unforgettable sequence, fireworks, combine with Lin’s past-tense voice-over narration to make the whole thing float by like a sad and haunting yet beautiful dream. If you have never seen a film by Hou Hsiao-hsien and are curious as to why a lot of critics, including me, consider him the best narrative filmmaker working today, this is an excellent place to start exploring his work. (1987, 93 minutes, DCP Digital) MGS
My Flickering Empire co-author Adam Selzer and I will be giving a book talk at the Sulzer Library in Lincoln Square tomorrow night, Tuesday, November 7 from 7-8:30pm. The event will include a lecture, screenings of rare short films from the early history of Chicago filmmaking (some of which were shot in Uptown not far from the Sulzer) as well as a Q&A session. You can learn more about the event at the Sulzer website here. This may be the last joint book talk that Adam and I ever give about Flickering Empire. Hope to see you there!
1. Brief Encounter (Lean)
2. The Trouble with Angels (Lupino)
3. Bicycle Thieves (De Sica)
4. A Short Film About Love (Kieslowski)
5. The Big Lebowski (Coen/Coen)
6. Failan (Song)
7. Breathless (Godard)
8. Some Like It Hot (Wilder)
9. The Road Warrior (Miller)
10. Halloween (Carpenter)