100 Essential Films That Deserve More Attention - 48. Kajaki

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.

Kajaki
Director - Paul Katis

Country - UK

Year - 2014

Runtime - 108 minutes

Christopher Nolan’s Dunkirk is a masterclass in how to create tension in a war film and is even more impressive when you consider the enemy is never shown on screen. Kajaki is a similarly intense war film based upon a true account that ratchets up the tension to unbearable levels with an unseen enemy causing havoc for a company of British soldiers stationed in Afghanistan. Whereas the fleeing English are pursued by Nazis in Dunkirk, the unseen danger in Kajaki is a cluster of unexploded anti-personnel mines in a scorching, dried out river-bed, where any movement could set off a barrage of explosions.

It is here where a company of relatively inexperienced soldiers face almost insurmountable odds of survival and must pull together to courageously overcome one of the greatest threats they may ever encounter. The build up to these dramatic events establishes the various personalities present in the company with the usual gung-ho antics and machismo conversations you may come to expect from a war film but it also sheds light on the human side of these soldiers as they nervously wait to be called into action. By utilising a largely unknown British cast, director Paul Katis has ensured that we are completely in the dark as to who will survive from the unit and this leaves us as shell-shocked as the company whenever an explosion takes place.

The desolate surroundings of the company's base provide a stunning backdrop to the film's events, a backdrop which Katis uses to his advantage with a handful of sumptuous establishing shots. The lifeless desert terrain and its occasional pockets of water, which the soldiers take great pleasure in using for a refreshing dip, exhibit the traits of an idyllic setting, albeit a grossly misleading one. Potential enemy activity nearby breaks the spell of the naturally beautiful environment and engages the momentum of the story as a group of intrepid soldiers head out to investigate and do their duty.

From the moment the first mine explodes we are thrust into a shocking and upsetting life or death situation. This has a huge impact on the emotional state of the servicemen who see their unit slowly falling to pieces around them, as well as being a distressing turn of events for the audience. Katis pulls no punches in showing the gory aftermath of the explosions as these young soldiers inadvertently set off numerous mines. The horrific wounds are displayed in all of their grisly detail; heightening the sense of realism and making the stomach churning situation even more uncomfortable and nerve-wracking for the viewer.

This is as much of an endurance test for the audience as it is for the company of soldiers who find themselves at the mercy of an unforgiving environment. There may be a handful of ill-advised decisions during the life altering events we witness but it's easy to look back on the situation with hindsight, and far more difficult to imagine if you would be able to act with such conviction and bravery in the same situation. Being able to put your own life at risk for the safety of others whose lives depend on your courageous actions is an inspiring and selfless personality trait to possess, and many of the soldiers are willing to do just that. The intensity of the situation exacerbates until it becomes a harrowing nightmare; a nightmare that we could easily switch off (if we were affected enough to do so) but those who experienced it first hand had to endure, using all of their strength and willpower if they were to have any chance of surviving to see another day.

A powerful and heart wrenching coda details the aftermath for those involved alongside
photos of the real life heroic soldiers, adding an overwhelming sense of emotion to what is already an incredibly draining and disturbing film. This sad story has been retold with the utmost of respect to the devastated men who were there on the fateful day of the incident. Writer Tom Williams doesn't judge or condone anyone's actions and presents his account without bias to allow the audience to form their own views on where the mission falls down. Kajaki is a gripping and poignant anti-war film that demonstrates the horrific and long lasting effect war can have on the countries that are ravaged by its evil nature. This is an important and impressive feature film debut from Paul Katis and marks him as a promising director who we should all be looking out for in the future.

If you take the time to watch Kajaki 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 - 47. Cafe De Flore

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.

Cafe De Flore
Director - Jean-Marc Vallee

Country - Canada

Year - 2011

Runtime - 120 minutes

Cafe de Flore is a bold and beautiful depiction of love and the profound connections forged between those whose souls align and intertwine. Clearly inspired by Krystof Kiezlowski's The Double Life of Veronique; its twin narrative takes the audience to two separate times and places as director Jean-Marc Vallee flouts a traditional approach to storytelling in his daring exploration of spiritual and metaphysical elements that tangle together from each of the fascinating storylines. As the connection between these separate strands becomes clearer it ignites an influx of introspection and contemplation surrounding the director's mysterious intentions. This heartfelt and deeply emotional journey may not always hold up under close scrutiny but the evocative moments depicted throughout Cafe De Flore convey a wealth of sensations that conjure up a truly tantalising viewing experience.

Our first exposure to Vallee's distinct vision is an intimate farewell at a Canadian airport in the present day where Antoine Godin (Kevin Parent) says goodbye to a woman and two young girls. This departure implies we are witnessing a husband leaving his wife and daughters for a flight but it transpires he has left his wife, Carole (Helene Florent), - and the mother of his children - three years ago, and the lady he embraces for one last time before he boards his plane is his new (and much younger) girlfriend, Rose (Evelyne Brochu). Antoine's job as a DJ involves travelling the world and this brief farewell is the first of many difficult departures that occur throughout both strands of the story. Connections between the two segments are perceptible from this very first scene but will elude first time viewers who will not have the requisite knowledge of what is yet to come in order to grasp the subtle clues as they pass by.

The second story transports us back in time to Paris in the 1960s where a young mother, Jacqueline (Vanessa Paradis), gives birth to her son, Laurent, who happens to have Down's syndrome. Her husband's distress at this occurrence is the cause of the film's second departure when he abandons the mother of his newborn son, leaving Jacqueline to raise Laurent as a single parent. Jacqueline's steadfast devotion to her baby demonstrates a passionate love that grows as he blossoms into a young boy. From here onwards the subtle parallels between the two storylines become more apparent and attentive viewers will take great delight in piecing together the parts of this intricate puzzle as they attempt to understand the mystical, and incredibly satisfying, correlation.

Credit is due to Marin Gerrier, the young actor with Down's syndrome who plays Laurent, in an impressive debut performance - the inexorable bond he shares with his on screen mother appears genuine throughout - and it is a shame that he has not been seen on screen since. Laurent's loving attachment to Jacqueline depicts a beautiful relationship that only comes into question with the arrival of a young girl (who also has Down's syndrome) who joins his class at school. This development is the cause of much heartache for Jacqueline, and is demonstrated by the sheer passion Paradis injects into her role, as her steadfast devotion to Laurent's every need is no longer reciprocated by the unwavering intense love they once shared.

Shocking scenes of anguish and despair follow, along with a handful of eerie sequences that echo the techniques used by horror film directors when exploring the psychological pain of their tormented protagonists. By branching out into unexpected territory in this manner, Vallee heightens the pervading sense of spirituality as moments of deja vu cause ripples across both timelines and toy with the audiences curiosity - a curiosity that inevitably holds steadfast as the fascinating story unfolds in a mesmerising fashion.

Returning to present day Canada we learn that Antoine is haunted by past memories he shared with his ex-wife, Carole, and her presence is missed not just by Antoine and his two daughters, but by his own parents, who both make their feelings known to him. Antoine and Carole share amicable greetings whenever their children exchange hands and these encounters weigh down on Antoine's relatively new relationship with Rose, as her jealousy adds additional strain to his current state of being. Parent brings an imposing raw energy to his portrayal of Antoine; an energy that is matched by Brochu as Rose, particularly as she lights up the screen with her alluring smile and sultry dance moves when we see them meet for the first time in a vivid recollection.

We travel back to Antoine's past in a number of beautifully realised sequences that depict his teenage years with Carole and the blossoming romance they once shared. The young actors in these roles, Emile Vallee and Chanel Fontaine, convey a natural innocence that heightens the sense of sorrow around the breakdown of their relationship in years to come. This constant sorrow and despair can be overwhelming in parts but Vallee always pulls the mood back with sequences of pure unadulterated bliss, and the contrast between these two juxtaposing elements takes you on an emotional journey almost as demanding as those experienced by his characters

How you interpret and react to the eventual union of the two thematically similar strands is likely to be indicative of your enjoyment of the film as a whole, and perhaps explains why Cafe De Flore is considered by many to be a divisive film. Vallee's vibrant imagery and inventive use of music throughout paint an enrapturing picture with sequences that resonate on a level that stirs up forgotten memories of past experiences. The subtle bliss of the title song Cafe De Flore gradually transforms into a haunting elegy as its music accompanies defining moments in both of the storylines. This visually stunning and incredibly spiritual approach to film-making will certainly appeal to those who are attuned to artistic expression and do not shy away from experimental works, but it also risks alienating audiences who prefer a more conventional method of storytelling.

Flashbacks and flash forwards are handled with a style and panache that, at times, sees the images from both stories merge or collide, further cementing the crossover of world's that permeates the film's central themes. Each facet of the film evokes an aching poignancy for lost loves and failed relationships, delving deep into the hearts and minds of its key characters. Vallee has a flair for fascinating visuals, possessing a keen eye that respects the delicate intricacies of his set pieces. He finds the time to linger on his actors when they display the purest and rawest of emotions, heightening his meticulous work and creating breathtaking scenes of real power that mesmerise time and time again.

Cafe De Flore is a stunning piece of art that explores the enthralling possibilities of the cinematic medium whilst providing audiences with a gripping scenario that plays out in an imaginative and original manner. This is an intricate film that rewards repeat viewings and continues to offer up new surprises on each return visit. The meticulous and enchanting visuals combine with the accompanying soundtrack to bore deep into your subconscious; stirring up an emotional response with a magnitude that is rarely experienced whilst watching a film - but should always be treasured when it does. Jean-Marc Vallee's unconventional but flavourful approach to directing found the perfect subject matter to explore in Cafe De Flore, and this bittersweet tale of romance rises above its unusual structure to deliver a sublime encounter with heartache that demands your utmost attention.

If you take the time to watch Cafe De Flore 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 - 46. Sorcerer

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.

Sorcerer
Director - William Friedkin

Country - USA

Year - 1977

Runtime - 121 minutes

After making his mark on the American cinematic landscape with The French Connection and The Exorcist, director William Friedkin boldy decided to tackle a loose remake of Henri-Georges Clouzot's thrilling French masterpiece, The Wages of Fear, which was also based upon the novel by Georges Arnaud. His magnificent vision of the existential thriller involved months of filming in South American jungles in a move that bears similarities to Herzog's ambitious and wonderful follies; Aguirre, The Wrath of God and Fitzcarraldo. Production costs spiralled and the studios backing the film made huge losses when it was released only a week before a certain film by George Lucas, sadly ushering it into obscurity and almost consigning the film to history as it languished untouched for many years before being recut and restored for modern audiences.

The version we see today isn't vastly different from that which was presented in 1977 but the addition of a stirring Tangerine Dream soundtrack and the essential inclusion of each of the main character's back stories at the start of the film (some of these scenes were removed or inserted as flashbacks in a number of the film's international releases) heighten the intensity of the nail-biting scenario and add important character development. As in Clouzot's stirring adaptation the story focuses on four downtrodden men from various walks of life who take on the unenviable and lucrative task of transporting volatile explosives over incredibly precarious terrain to help stem the fire from an explosion at a distant oil field. One false move could spell certain disaster for these fearless drivers as they traverse long forgotten tracks through the jungle, and encounter all manner of dangerous obstacles such as rickety bridges, impenetrable foliage and violent bandits.

Sorcerer is a real slow burner of a film - the perilous journey doesn't commence until almost an hour in - but by the time it gets going we are fully invested in the fate of the four desparate men as they take what could be the only chance to escape their hellish lives in the tropics. The intriguing setup provides invaluable insight into why they have all ended up in this uninviting part of the world, working for a pittance in a place where they are unlikely to ever be found by those from their past lives who might be seeking them. These scenes help us to understand what drives the protagonists and enable us to harbour an emotional investment as they come face to face with one of the most life-threatening challenges they could ever experience.

Friedkin poured his heart into the creation of Sorcerer and there are many elaborate scenes that
showcase his unbridled passion for this project. One of the standout sequences is when the drivers attempt to transport the trucks across an almost impassable bridge (that is literally falling apart at the seams) over a river whilst being assaulted with torrential rain. It is a bravura moment where you are left completely and utterly stunned; not only due to the incredible intensity of the heart-stopping scenario but by the sheer audacity of the film-makers in realising such a treacherous action sequence that continues for far longer than you would expect possible. This is pure cinema - a phenomenally suspenseful thrill ride that gnaws at the very crux of what it feels like to be alive.

Roy Scheider takes top billing as Jackie Scanlon, an American Irishman who takes refuge in the South American jungle when fleeing from the mob. His steady nerves and skill behind the wheel secure him a place in the assignment and his character becomes more unhinged as the trucks inch ever closer towards their destination. Bruno Cremer portrays Victor Manzon, a once successful French businessman down on his luck who would do anything to be reunited with his wife. These are tragic men who are struggling to survive against the unpredictable tide of fate and (along with Francisco Rabal as Nilo and Amidou as Kassem) they provide an astonishing depth of emotion in their performances; anchoring the films heavy themes with a raw and visceral expressiveness of character that leaves you breathless - in total awe and appreciation of the dedication to their craft.

The camaraderie between the men is shallow and fragile; they are bound together through their actions but remain ever fearful that a single mistake from their companions could spell certain doom for the mission and their life. They all seek dominance and control over the risky decisions they face and the hostilities between the four are as fascinating to behold as the deadly manoeuvres they undertake whilst grappling with the controls of the trucks. Friedkin focuses in on the wheels spinning and the explosives shaking in the rear compartment just as much as the frightened reactions from his protagonists and these cuts heighten the heart-palpitating tension close to unbearable levels.

Sorcerer is a monumental thriller and a testament to Friedkin's astounding ability as a director; particularly when you consider that he overcame a plethora of setbacks throughout the film's volatile production. Tackling a reinterpretation of a renowned masterpiece and being successful in doing so is no small feat, and one that demonstrates just how remarkable Friedkin's talent is. When working on the restoration Friedkin himself said 'I felt then and still do that Sorcerer is the best film I've made', and I wholeheartedly concur that this is a masterclass in film-making that rivals The French Connection and The Exorcist.

If you take the time to watch Sorcerer 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 - 45. What Richard Did

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.

What Richard Did
Director - Lenny Abrahamson

Country - Ireland

Year - 2012

Runtime - 89 minutes

Director Lenny Abrahamson captivated everyone with his Oscar winning film, Room, in 2015, when it launched the career of child actor Jacob Tremblay and caused countless teary eyes. Prior to the success of Room, Abrahamson created a number of smaller scale features that likewise focused on strong characters in interesting circumstances such as the hard-hitting Irish drama, What Richard Did. This exceptional gem is one of his finest earlier works with a superb central performance from Jack Reynor as Richard - that acted as a calling card for Hollywood for both Reynor and Abrahamson.

Taking his cue from the stark British realism of Mike Leigh and Ken Loach, Abrahamson introduces us to Richard's world as he arranges an alcohol-fuelled weekend at a beach near his parent's holiday home. Richard's warmth and charm have helped to establish his alpha-male position in a social circle comprising his rugby team and their female friends, with Reynor portraying a likeable teenager who appears to genuinely care for those around him. Trouble arises in the form of a team-mate's attractive new girlfriend, Lara, who immediately captures Richard's attentive gaze, and this infatuation threatens to disrupt the otherwise peaceful nature of his circle of friends.

Roisin Murphy tackles the role of the vibrant love interest, Lara, with aplomb. Richard's candid and confident approach to wooing her has the desired effect as she falls for his roguish charms and faces her own difficult decisions on her next course of action. Their on screen relationship feels entirely natural and is a credit to both young actors - Abrahamson always coaxes the best out of his performers and this passion for realism enhances the impact of the storyline's events. It is almost as if we have grown up alongside these characters, particularly as we experience the light-hearted nuances of their social gatherings in the first part of the film, which conjure up memories of being a teenager without a care in the world.

It is clear from the film's intriguing title that Richard will, at some point, do something of note. However, it is not clear what this action or event may be, nor are we aware of its magnitude. Abrahamson's bold title choice builds up an expectation that we are likely to witness a scene which has a significant impact on Richard's life and he certainly delivers on this front. The subsequent fallout and reconciliation attempts Richard makes with both friends and family takes him on a cathartic and revealing journey that provides an emotionally draining hook as we witness his suffering first hand. Lars Mikkelsen takes on the role of Richard's affectionate father and they share a scene together that chills you to the core with its raw display of tangled emotions. The devastation of this encounter propels the film into a poignant and reflective third act as Richard becomes consumed by regret and this begins to cloud his judgement.

Abrahamson allows his characters to express themselves in scenes without dialogue that convey their inner feelings and tell us more than any spoken words ever could. These intimate and heartfelt sequences range from tranquil moments shared between lovers to ferocious outbursts of anger and frustration, and they all initiate a surge of emotion for the invested viewer. The camera lingers over these moments for longer than one might expect, allowing time for the reality of the situation to sink in; as if enraptured by the blissful or haunting imagery it captures.

The stunning Irish coastline acts as an enchanting backdrop to the proceedings, with the glistening flow of the tide lapping at the shore line like the swell of thoughts that plague Richard's mind in his darkest hours. Reynor bares his soul as Richard with a powerhouse performance that carries the weight of the film even when its momentum falters slightly in the sombre final third. This is a character you instantly connect with thanks to Reynor's bravura acting, as he demonstrates a dedication to his craft that is befitting of Malcolm Campbell's brooding screenplay, which has been loosely adapted from the novel by Kevin Power.  

Those with a penchant for involving (and surprisingly dark) character-driven dramas are likely to adore What Richard Did. It is by no means an easy watch but its provocative subject matter is handled in an eloquent and enthralling fashion even if it ultimately leaves you shell-shocked. Abrahamson's ability to create a beguiling spectacle from plunging his characters headfirst into unsettling scenarios and the sublime performances from his cast combine to make this a real Irish treasure that should not be missed. If you want to find out exactly What Richard Did (who doesn't?) then I suggest you tackle this searing drama head on for what will inevitably be an unforgettable encounter with an overlooked cinematic gem.

If you take the time to watch What Richard Did 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