Disobedience (2017)

Based on the novel by Naomi Alderman, this film gives a glimpse into an extremely tight-knit religious community.

Rav Krushka (Anton Lesser) dies suddenly while delivering a sermon at synagogue in a community of strict Orthodox Jews in England.

His only child, daughter Ronit (Rachel Weisz) is a popular portrait photographer living and working in New York. When she receives news that her father has passed away, she leaves straightaway and flies back 'home', even though it has not been home to her for many years.

She has been all but completely ostracised from the small community for reasons I won't go into here (I don't want to spoil that revelation for you if you should choose to watch the film). Her father, the highly respected rabbi of the community, refused to acknowledge her for most of her life; the newspaper article that reported his passing named him as 'childless'.

Dovid Kuperman (Alessandro Nivola) and Ronit Krushka (Rachel Weisz).

When she arrives, she goes to the only place she can think of: the house of close friend Dovid Kuperman (Alessandro Nivola). He is surprised to see her again after so long, but welcomes her in nevertheless, inviting her to stay with him and his wife Esti (Rachel McAdams). He was the rabbi's best student, and is believed by many to be the next in line for the position.

The three of them had been very close when they were younger, and Ronit is surprised that Dovid and Esti ended up marrying one another. Ronit and Esti had been even closer, and as far as Ronit knew, Esti was only attracted to women.

As Ronit deals with the aftermath of her father's death, and struggles to even be recognised as family, she and Esti begin to rekindle their friendship from years previous, which quickly turns into something more, threatening to not only ruin her marriage, but tear the entire community apart.

Dovid (Alessandro Nivola) and his wife Esti (Rachel McAdams).

The screenplay is written by director Sebastián Lelio and Rebecca Lenkiewicz, adapted from Alderman's novel. I have not (yet) read the book, so am unable to comment on the finer points of the adaptation. However, the script is - in my opinion - fantastically structured. It is filled with well-rounded characters who are all filled with conflicts of many different kinds, and plenty of drama to keep you invested in the story from beginning to end.

Danny Cohen's cinematography is wonderful, the majority of the film shot with the camera in hand-held fashion. Though it is hand-held, it is not too jerky, but just feels more natural than a stationary camera on a tripod would do. There are plenty of interesting camera angles used as well; this is certainly not your typical film, at least not in the way it is shot.

I must mention the score as well, despite the fact there isn't much of it to comment on. Composer Matthew Herbert uses his music very sparingly throughout the film, and it is at no point distracting. The music is always well-suited to the emotional truth of what is going on at particular points, as opposed to just matching the physical action. Naturally, as the film deals more with emotional issues than physical ones, this use of music is perfectly suitable.

Esti (Rachel McAdams) lights the candles in preparation for the Sabbath, as
Ronit (Rachel Weisz) and Dovid (Alessandro Nivola) look on.

The performances of the cast are absolutely magnificent. It is difficult to identify a clear standout among the ensemble cast, but I will say that Rachel McAdams gives - without a doubt - the best and most heart-wrenching performance of her career.

Director Sebastián Lelio has made a beautiful film here, one that I was not especially aware of prior to reviewing it, but one that I'm sure I will enjoy more and more upon repeat viewings. There is so much in this film, and so much going on under the surface, and so much that goes unsaid between characters, that I think it would take a repeat viewing to be able to appreciate it on that deeper level. But even with just the one viewing (so far), I am able to appreciate that this is an amazing film.

10 out of 10.

Colette (2018)

Set in France at the turn of the 20th Century, this film tells the true story of Colette, an author who desperately wants to be recognised in her own right.

Colette (Keira Knightley) is married to Willy (Dominic West), a womanising celebrity in Paris, known across France as a gifted writer. The problem is, he hasn’t written a single word of anything he is known for; he merely contracts ghostwriters to write everything for him.

Once he discovers that Colette has a way with words, it isn’t long at all before he demands that she pen his latest project: a novel that will catapult his name into the annals of great literature.

Wanting to please him more than anything, she agrees, and the resulting work - Claudine at School - becomes an overnight bestseller, necessitating the need for multiple sequels, adaptations, endless merchandising deals, and more.

And yet Colette never receives any credit for all her hard work. Willy continues to take all the glory for himself, much to the chagrin of his wife.

I can’t really say any more about the plot without spoiling anything for you, the viewer, so will instead move on to a few other points worth mentioning.

Firstly, the production design (by Michael Carlin) and costume design (Andrea Flesch) are absolutely impeccable. I did not for a second doubt that I was observing life in 19th Century Paris (and surrounds). Everything we see on the screen adds to the overall atmosphere, and there are no disappointments in either of these categories.

Secondly, the performances of the cast, which to say the least, are divine. Knightley - in the title role - truly shines at every moment. She has come a long way in her career, and it wouldn’t surprise me in the slightest if we don’t see her accepting an Academy Award in the very near future.

West also gives a beautiful performance as Willy, and all the scenes between the two of them are positively electric, full of raw emotion, yet handled with just the right amount of subtlety and nuance.

The music (while slightly anachronistic in parts) is perfect in every instance. There isn’t a lot of score in the film, but where there is, it is truly inspired, and perfectly suits the action on screen, or the emotion of the scene which it supports.

The script (by Richard Glatzer, Rebecca Lenkiewicz and director Wash Westmoreland) is also superb. The dialogue is very British (appropriately, as this is a British-made film), and though I would classify the film as a drama, there are many laugh-out-loud moments in the script. A large proportion of the dialogue feels like it is straight from the wittiest of British comedy, and allows for brief interludes of tension-relieving laughter through the serious drama of the film.

An honourable mention must go to Fiona Shaw, who plays Colette’s mother, a role she handles so well that it is natural to assume the two of them have a long and touching history together.

A beautiful film that ought to have been more recognised that it has been (particularly with the upcoming Academy Awards), this is a truly beautiful work of art. It may not be completely perfect in every respect, but it was certainly an experience to watch.

7 out of 10.