Una (2016): Drama

A young woman visits the workplace of an older man, and the encounter reveals dark secrets that neither of them can put behind.

Unsettling theme, uneasy pace, and an uncomfortable watch. It becomes obvious from the very beginning what the premise is but David Harrower’s script (and original play), Benedict Andrews’ camera, and Nick Fenton’s editing use “predatory” techniques instead of just tackling what you already know is going to happen. Psychologically, it is like when anticipating someone to die but not being ready at all when they actually do. If the comparison seems unfair, this is what happened to Una; she died on the inside.

Fenton’s editing keeps this steady pace from beginning to end, offering neither excitement nor boredom, but maintaining a realistic sense of time for the story to unfold and disclose information that the audience is not sure if they want to know (until they know for sure they don’t). Benedict Andrews and director of photography Thimios Bakatakis mount the cameras over the shoulders and follow Una and Ray down a rabbit hole that depresses and divides our feelings. Cinema, by its nature is, intentionally or not, a form of voyeurism, but Andrews’ directing wants to make it obvious that this is the intended purpose. He wants you to be this omniscient voyeur of Una and Ray’s story and make sure you are uncertain about casting the stone you are holding. It is one of them films where you can’t wait to end, it doesn’t, you want to turn it off, but, simultaneously, you cannot not know the end. And as if the plot is not utterly stomach twirling enough, the subplot makes it even worse for Ray who, in the meantime, has been forced to announce to some of his employees that they are fired… while Una is there.

The moment I really wanted to put an end to both of their suffering (and mine) and turn it off, was about an hour and ten minutes into the film, where after Una’s particular line you know that this abhorrent situation is gonna go to hell. I could hear my heart pounding and felt like sweating. And I put a full stop here just in case you decide (after all that) to watch it. What’s important to do at this point is to praise Rooney Mara and Ben Mendelsohn for their performances on an individual level and their tough chemistry on a collective one.

Harrower and Andrews put their audience into a very tough spot by not distinguishing who is the prey and who is the victim when in a case like this it should have been pretty obvious. I do not condemn that, if anything it is remarkable, but it is not a film I can recommend to anyone.

Stay safe!

A Ghost Story (2017): Drama / Fantasy / Romance

A white-sheeted, nostalgic ghost, permanently resides in its home and everything that, in the passage of time, becomes after that.

A friend of mine called me, laughing at IMDb’s reviews on this one. So, even though I don’t really look at reviews before I watch a film, I only read the titles. I’ve seen cases before where reviews are either 1 or 10 and nothing in between, and since the titles were entertaining, I decided to give it a shot.

Let me be clear from the beginning. A Ghost Story is not for everyone! What we are dealing with here is an interesting yet peculiar storytelling with protracted steady medium and long shots that initially make little sense. The narrative unfolds though and life, linearly or not, moves on with just a few edits. Be patient with these shots and think that your life does’t have cuts either. It would also help if you perceived the narration as omniscient – being everywhere simultaneously. During this journey, I couldn’t help but feel the ghost’s loneliness and entrapment. The ability to manoeuvre in time and the inability to do nothing about it. Imagine yourself seeing the world spinning, confined by your questionable existence. An existence that is unknown to everybody as much as it is to you. But still you wait for someone to finally acknowledge this questionable existence you have become. Admittedly, after the ghost’s free fall, the convolution becomes also questionable. But please remember what I said earlier about the non-linear.

Have you ever wondered what the origins of déjà vu are? Cinema is a form of expression. That’s why it’s art. The aforementioned protracted shots make sense somewhere halfway through the film while understanding the narrative and David Lowery’s subjective perception of time and space. Let the mise-en-scène inaudibly “speak” when the silence is deafening. You may be wondering where is she? Has she become a ghost too? Has she gone to a final destination? Is there a final destination? But then think of something that you can, potentially, answer. Who is waiting for you?

Stay safe!

P.S. A few days after I watched it, it came to light that one of the producers was accused of raping one of the film’s young girls. Hollywood’s depravity spreads like pestilence!