100 Essential Films That Deserve More Attention - 14. Ladybird, Ladybird

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Ladybird, Ladybird

Director - Ken Loach

Country - UK

Year - 1994

Runtime - 102 Minutes

Ladybird, Ladybird is a powerful and deeply moving account of a troubled mother, Maggie Conlan, who has her children taken away from her by Social Services. Maggie has a history of falling for the wrong men and struggles to care for her four children, all fathered by different partners that have since moved on. When she meets Jorge, a Paraguayan expatriate who finds her sad demeanour intriguing and wants to help her, Maggie finds the opportunity to put her past behind her by establishing a relationship based on trust and love instead of abuse.

It eventually transpires that Jorge also has a troubled past, albeit in far different circumstances due to the political heritage of his native country. When the unlikely couple learn that they will soon become a family, Social Services intervene and both of their troubled backgrounds come under scrutiny, bringing further agitation and heartache to Maggie's already precarious outlook on life. Her cruel neighbours exacerbate Maggies' condition by appearing in court to testify against her fitness as a mother, and the relentless downward spiral of her situation seems unending.

Ken Loach's docudrama style of filming lends itself perfectly to this heart-wrenching true to life tale, providing audiences with a raw insight into the hardships of a single mother trapped in an endless cycle of abuse that stems from her childhood. We experience the emotionally draining episodes of Maggie suffering at the hands of her violent partners through flashbacks that would be too much to take without the small glimpses of hope and humour that Loach delivers in her encounters with Jorge.

Crissy Rock, who plays Maggie, invests all of her energy in a fiery and compelling performance that saw her take home the Best Actress award at both the Berlin and Chicago International Film Festivals in 1994. Her devastating portrayal of a mother pushed to the edge of her limits is anchored by Vladimir Vega's riveting representation of the sympathetic and devoted Jorge who acts as the perfect counterpoint to her volatile nature.

Ray Winstone makes a lasting impression as Simon, one of the abusive men in Maggie's past, who she turns to time and time again out of desperation and the fear of losing her children. It is these gruelling confrontations that make for the most uncomfortable viewing; battering audiences senseless with the cruelty and heartlessness of a callous man, and leaving us rooting for Maggie to find a sense of peace and happiness in her new life with Jorge.

Loach is best at his bleakest; this is as dark and disturbing as his social dramas come, and all the more devastating that it is based upon a true story. His smatterings of hope and optimism do help to ease the tension in parts but do not prevent Ladybird, Ladybird from being an exhausting experience. Films that have such a substantial impact on the audience may be difficult to sit through. However, a film that has the power to move viewers and leave them deep in thought and reflection is surely one that should be praised. If you are new to Loach then this would be a bold place to start but one that will ultimately affirm whether you are likely to appreciate the other incredible pictures that comprise his remarkable filmography.

If you take the time to watch Ladybird, Ladybird then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 13. Secuestrados

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Secuestrados

Director - Miguel Angel Vivas

Country - Spain

Year - 2010

Runtime - 85 Minutes

As everyone who has been following this series should know by now, I love nothing more than watching films that provoke powerful emotional reactions from the viewer; be it overwhelming sadness, sheer horror, or even utter disgust. Secuestrados is a rare beast that conjured up all of these feelings and more when I first saw it, and it has stayed with me ever since in the dark recesses of my celluloid memories. Far more than just a blistering assault on the senses, Secuestrados - or Kidnapped which is its English title, is a meticulously crafted work of technical prowess; a brutal horror film edited together from only twelve unbelievably realistic takes.

From the very first scene it is clear that this is no ordinary horror; the shocking brutality of the opening sequence shows the death of a character in a horrifically candid manner. This gives us an insight into the cruel nature of the attackers, who are clearly comfortable shedding the blood of others. The unfortunate family who are the latest victims of this callous cohort of murderous thieves have just moved into their new family home; a beautiful Spanish villa that we come to know intimately as the camera weaves its way through the hallways to capture every heart stopping moment of the break in. 

The tension rises even further when director Miguel Angel Visas uses split screen to provide the audience with two simultaneous viewpoints of the shocking events. We see the father’s frantic attempts to satisfy the criminal’s demands by taking as much money as he can from a cashpoint whilst being held at gunpoint, and his daughter’s upsetting attempts to pacify those keeping her hostage. It is unclear if the father will make it back in time to prevent the situation escalating, and the dual view of these shocking scenes ratchets the tension to almost unbearable levels.

With the action confined to twelve individual takes the camera is unable to cut away from the violence, and the audience is forced to participate as a voyeur throughout the relentless carnage. It is impressive how realistic these scenes of violence are and truly frightening to imagine being in a similar situation; under assault in that safest of places – your own home.

Although the surge in popularity of the home invasion flick was waning in 2010, this Spanish
masterpiece (yes - I'm going there) startled audiences with its raw, unflinching violence and stunning camerawork that placed the viewer uncomfortably up close to the stomach-churning depravity on show. Perhaps this is the reason why it failed to find a following, as Kidnapped is certainly not for the feint-hearted. How can you recommend a film with such abhorrent depictions of violence by criminals with no redeeming traits?

I recommend it to you now with caution; if The Strangers terrified you, The Last House on The Left shocked you to the core, and Eden Lake left you emotionally devastated then the experience of watching Kidnapped will be profoundly worse. If, however, the combination of extreme cinema with a masterful approach to the artistic sensibilities of the film-making process is something that appeals to you, then look no further, you might be about to stumble on your new favourite horror.

If you take the time to watch Secuestrados then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 12. I Stand Alone

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

I Stand Alone

Director - Gaspar Noe

Country - France

Year - 1998

Runtime - 93 Minutes

Renowned for his controversial and explicit films, Gaspar Noe is an accomplished and brazen director, who creates thought-provoking and challenging cinema. His first feature length film, I Stand Alone, was a follow-up to his successful short film Carne - an intimate character study of a butcher (Philippe Nahon) who is left to raise his daughter alone when his wife abandons him shortly after the birth. This sequel of sorts builds upon the story established in its predecessor but can be viewed independently of it, as the events depicted in Carne are briefly revisited at the start of I Stand Alone.

Noe’s unique filming style is abrasive yet utterly captivating. He thrives on experimenting with editing techniques and uses well-timed cuts accompanied by harsh sounds to jar the audience and bring a frenetic sense of urgency to the proceedings. This chimes well with the harsh outlook of the butcher, whose frantic outbursts are accompanied by an inner monologue comprised of a seemingly never ending stream of dark, malicious thoughts. We are even given a warning towards the end of the film that this is the last opportunity for us to leave the cinema before I Stand Alone reaches its horrific, provocative climax. It is stylistic choices such as these that heighten both the tension and anticipation and, impressively, Noe’s graphic vision lives up to the expectations that he boldly cultivates from the outset.

Philippe Nahon’s central performance is a phenomenal tour de force; you can sense the inner range seething under the surface as the butcher wrestles with his conscience, and see the anger and frustration in his eyes when he is pushed close to breaking point. It is clear that the butcher cares for his daughter but his sense of justice and morality is skewed and his poor decisions lead him on a downward spiral of violence and bloodshed.

Warnings of the film’s disturbing nature should be heeded. Noe refuses to shy away from showing extreme violence that is far more nauseating than the violence seen in most horror films. The use of blood and gore is not too excessive, and this grounds the stark notions of suffering Noe creates in realism, enhancing the suffocating atmosphere as the film’s harrowing imagery slowly sinks under your skin and claws away at your psyche. The weight of each sickening punch and the impact of each gunshot forces you to recoil as the reverberations shudder through your speakers, culminating in a deeply unsettling assault on the senses that will inevitably leave you shell-shocked.

By the end of this stark, depressing journey into the butcher’s own personal hell you are likely to feel violated and scarred – with certain images burned deep into your retina, never to be unseen. A film as potent as this understandably garners criticism from those with either a conservative or nervous disposition. Yes, I Stand Alone is incredibly disturbing, and even nihilistic in parts, but Noe’s art has meaning and is not exploitation without purpose.

Those who take something from this twisted masterpiece would be highly recommended to seek out Noe’s other films. The infamous Irreversible is an experience that ups the ante even further than I Stand Alone and Enter the Void is unlike anything I have ever seen before, or since. There are not many directors who start their career with such a powerful statement and fewer who continue to provide audiences with a consistent level of artistry as they develop their style over a series of unforgettable and truly mind-blowing films. Gaspar Noe certainly stands alone as a unique voice in extreme cinema, and his shocking debut is still a force to be reckoned with even twenty years after it first left its blistering mark on all who encountered it.

If you take the time to watch I Stand Alone then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 11. Images

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Images

Director - Robert Altman

Country - USA

Year - 1972

Runtime - 104 Minutes

Prolific film directors can often suffer the misfortune of having select films simply fading into obscurity over time. Five time academy award nominee Robert Altman is one such film-maker who directed a number of American classics throughout his incredible career, including MASH, Nashville and The Player. Many of his lesser celebrated films have left an indelible impression on audiences lucky enough to see them but don't garner the recognition awarded to his commercially successful films. Coming off the success of McCabe & Mrs Miller, Altman directed a nightmarish horror film, Images (1972); a bleak exploration of schizophrenia that retains the power to startle viewers almost fifty years later. Images was well received on its initial release – Susannah York even won the Best actress award at Cannes for her staggering performance – but it appears to have drifted out of the collective consciousness of cinephiles as time has passed by.

Taking its cue from Ingmar Bergman's radical study on identity, Persona (1965), Altman plays around with bizarre imagery and strange sounds to invoke the utter confusion that his main protagonist, Cathryn (Susannah York), suffers at the hands of her cruel psychological condition. Cathryn's distress is exacerbated by the absence of her busy husband, Hugh (Rene Auberjonois), so he plans a quiet weekend away together at a remote Irish cottage to ease her tension whilst allowing them some time to relax before the arrival of their first born.

Their plans for a peaceful retreat are put on hold with the arrival of Hugh’s friend, Rene (Macel Bozzuffi), and a strange parade of other visitors including those who live nearby or pass the cottage whilst out for a walk in the countryside. As we begin to see the instability of Cathryn’s mental state, it becomes apparent that not of all those who stop by are really there, and she has as much difficulty as us discerning who is real and who is merely a figment of her imagination. The schizophrenia really begins to take hold when Cathryn imagines she is being visited by her ex-lover who died many years ago, and as her agitation worsens, she starts to lash out at the apparitions that plague her, endangering herself and others around her.

There are some alarming scenes of bloody violence and a suggestive sex scene that emphasise the fragile state of Cathryn’s mind but Altman’s care and attention to these sequences places them firmly in the realm of art house rather than exploitation. Altman takes his cue from Hitchcock’s shower scene in Psycho in which we never actually see the blade penetrate the skin. He prefers to allow the audience to fill in the gaps, alluding to the graphic violence that accompanies Cathryn’s breakdown and making us believe we see more than is actually shown through the use of well-timed cuts or displaying the gory aftermath of such incidents.

York’s central performance is a tour de force in acting. The torment Cathryn experiences is disarming and frightening as she reacts to the apparitions with genuine terror and confusion, and York encapsulates this emotional distress with a bravura depiction of a schizophrenic. Those who play the imagined characters are equally as captivating with their strange and aggressive behaviours that provoke Cathryn; heightening the dramatic tension and adding to the illusion that they only exist in her mind.

Altman went on to revisit this fascinating concept for his later film 3 Women, which is the perfect companion piece to Images, and although it tones down the horror in favour of a more surreal approach to the subject matter, it is equally as compelling, and is far more well-known than its spiritual predecessor. For me though, Images remains my favourite of the two; successful film directors rarely venture into the world of horror - with many viewing it as a fantastical avenue that isn’t credible - and it is always a joy to see such an accomplished director’s stance on the genre. This cruel and compelling character study is a superb art-house horror and it fills me with a pang of regret that Altman never again explored the darker side of cinema.

If you take the time to watch Images then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here

100 Essential Films That Deserve More Attention - 10. Angustia

People embrace the enchanting glow of the big screen for all manner of reasons; to journey to faraway places they could only ever imagine, to experience the escapism of a captivating story, or maybe to indulge in an obsession with the world of cinema. For me, all three of these reasons apply - and many more - but first and foremost is the satisfaction of recommending obscure films to other like-minded individuals who adopt them as their new favourites.

With over 100 years worth of films to choose from, and many of these now available at the click of a button, it can be extremely difficult to narrow your choices down to pick a film to watch. Although cinema has been around for over four times longer than my life on this earth, I have spent what some may consider an unhealthy amount of these years delving into the history of films to discover some of the best hidden gems out there.

This series of articles aims to highlight the overlooked masterpieces that I have unearthed whilst exploring the forgotten recesses of cinema. Take a gamble on any one of these films and I guarantee that you will be eagerly awaiting all future instalments in this series. You may well have heard of a number of these films; my aim isn't merely to shine a spotlight on the most obscure films out there, but to share my enjoyment of those films which don't have the cult following I believe they deserve.

Angustia
Director - Bigas Luna
Country - Spain
Year - 1987
Runtime - 86 Minutes

The horror genre is rife with films that toy with the audiences expectations; leading us deliberately down to dark, unsettling places where unimaginable horrors or mysterious experiences leave our knees trembling or our jaws agape. Some of the most imaginative horror films play with our expected notions of reality to confound and disturb us, leaving audiences vulnerable and more susceptible to the shock tactics employed by the warped minds of their creators. Angustia is one such horror from Spanish director Bigas Luna that takes the viewer through a bizarre and mesmerising ordeal, with a groundbreaking approach to storytelling that still feels innovative today.

From the offset it is unclear where Angustia is headed. At first we are presented with what appears to be a graphic Italian slasher flick, albeit one slightly more peculiar than Giallo fans may be accustomed to, until we discover this is only the set-up for something altogether more ingenious. Eyebrows will certainly be raised when the initial storyline segues into another in an unconventional yet intriguing fashion and, as the link between the two becomes more tangible, this is where the fun really begins.

Throughout Angustia there is a central motif of hypnotism, established by our introduction to the killer's mother (Zelda Rubenstein), who possesses the ability to control the mind of her doting son. This gift is used for evil purposes and the power she exerts over her son is strong enough to spill over into the minds of other submissive individuals. One of the film's standout scenes is an exaggerated portrayal of this hypnotism in action, where viewers could be forgiven for fearing that they too might succumb to the twisted grip of her psychic power.

Along with the fascinating visual effects it is Zelda's acting talent that adds credence to these spellbinding scenes. She is well known for her role as the medium in the Poltergeist series and her creepy performance in Angustia demonstrates once again why her presence can be so beneficial to genre films that require a distinctive character.

Angustia is both inventive and playful in the delivery of its intricate screenplay. To explain too much about the plot would deny the viewer the chance to experience one of the film's greatest accomplishments first hand. If you ever have the opportunity to see Angustia in the cinema then you would be well advised to do so. A large portion of the film's events take place in a cinema screen, and being in the same setting as the characters would serve to heighten the tension and deliver a truly chilling and unforgettable encounter with this unorthodox horror.

Meta-horror films that are self-referential and blur the line between horror fiction and reality became popular in the mid 90's due to Wes Craven's Scream and New Nightmare. The genre continues to thrive to this day with films such as Rubber and The Cabin in The Woods attracting a cult following among horror fans. Back in the 80's when the idea had not been explored to its fullest, Angustia's astonishing amalgamation of fiction and reality should have sparked a series of imitators. Instead, it remained an anomaly in the genre - an overlooked and largely forgotten horror. Most audience members were not ready to embrace such a crazy idea when it was first released - hell, maybe we still aren't ready - but those who approach Angustia with an open mind will enjoy a remarkable, one of a kind, horror experience.

If you take the time to watch Angustia then it would be awesome if you could also take the time to let me know what you thought of it, either by commenting below or tweeting me @filmbantha. Thanks, and enjoy!

For previous instalments in the series click here