Sharing my excitement about the films I’ve seen so far at the Jerusalem Film Festival, in the order I saw them.
Thelma
I’ve admired June Squibb in her various supporting roles over the years, and it’s a thrill to see her make Thelma a film, and character, to remember. Funny, poignant, and fast-paced, Thelma – written, directed, and edited by Josh Margolin is a comedy action film with heart. While Thelma’s daughter Gail (Parker Posey) and son-in-law Alan (Clark Gregg) are concerned and feel that Thelma may no longer be capable of living independently, grandson Danny (Fred Hechinger) steps up to give Thelma the help she needs, visiting often and patiently teaching her how to use her computer. When Thelma falls for a phone scam, it sets off a wacky series of events, with Thelma determined to get her money back, and her family frantic with worry.
Margolin has stated that the film was inspired by his own grandmother, and there is a beautiful intimacy in his depiction of the relationship between Thelma (Squibb) and her grandson Danny (Fred Hechinger). It’s not easy being an adult, and it can take a while to figure things out – as Danny is struggling to do. On the other side of the lifeline, having figured out how to manage life’s challenges, one begins losing some abilities, like memory – as Thelma is experiencing. It makes sense that these two understand and support one another. Richard Roundtree brings so much warmth to his role as Thelma’s reluctant sidekick Ben. Roundtree, who will always be remembered for his portrayal of Shaft, died in October 2023, and Thelma is one of his last films.
All Shall Be Well
Angie (Patra Au Ga Man) and Pat (Maggie Li Lin Lin) are a happy couple who have lived together in harmony since their mid-twenties. Now retired, they live comfortably after the sale of their textile factory. Written and directed by Ray Yeung, the film opens with scenes of their quiet companionship, and warm family life. Pat’s grandchildren call Angie Grandma too, and the entire family accepts and embraces their relationship. But when Pat dies suddenly, Angie is bereft in every way. The life they built together is now shattered, and because Pat did not leave a will, her brother is now the executor and inheritor of her property.
Patra Au Ga Man is so moving in her depiction of Angie, a woman who has relied on her partner Pat in so many ways, and must suddenly contend not only with her grief, but also with a way of life that has come to an end. Cracks begin to form in the once loving relationship between Angie and Pat’s family, as they desire to take ownership of the apartment that is Angie’s only home. An excellent ensemble of actors reflects the nuances of this complex situation, as the possibility of an inheritance draws a line between who is family, and who is not. Patra Au Ga Man imbues Angie’s character with a powerful resilience and a capacity for compassion.
The Sugarland Express
Steven Spielberg is a creative genius, and one must not forget that Goldie Hawn is a very talented actor.
Not A Word
Written and directed by Hanna Antonina Wojcik Slak, Not A Word is a bleak and enigmatic film that has an intriguing premise, and gets some things very right, but ultimately felt frustrating. Nina (Maren Eggert) is a conductor and divorced mother who is raising her teenage son Lars (Jona Levin Nicolai). Lars has not been himself lately, and Nina is worried, but she cannot penetrate her son’s morose silence. What the film depicts with painful accuracy is the struggle between maintaining a demanding career – even when she is not at work Nina feels the pressure of an upcoming concert, and her phone never stops ringing – and the all-consuming effort it takes to raise a human being. There is an element of suspense that is pleasurable, but I felt that the fragmented conversations and many silences between Nina and Lars never develop in a satisfying way.
Caught By the Tides
Jia Zhang-Ke’s Caught By the Tides is an epic film that covers changes in China’s social and economic fabric over two decades, enfolding within the panoramic landscape a romance and a woman’s coming into her own. The opening flow of images and scenes of China in 2001 had me at once riveted and confused, trying to search out the main characters and find a thread of narrative to cling to. It’s there, and it’s a pleasure to see young Qiao Qiao (Zhao Tao) and her spirited approach to life, whether she is dancing, modeling, or deflecting unwanted male harassment. The mystery for me was what she saw in Bin (Li Zhubin), but fall for him she did, and was heartbroken when he decided to leave the region of Datong to seek his fortune elsewhere. She is so much in love that eventually, when he does not write or call, she decides to search for him. Zhao Tao brings depth and a playful spark to her portrayal of Qiao Qiao, her eloquent gaze and expression conveying feeling beyond words.
Handling the Undead
A sensitive study of grief meets zombie movie in Handling the Undead, and the merging of the two feels strained. Based on a novel by John Ajvide Lindqvist, and directed by Thea Hvistendahl with a screenplay by Lindqvist and Hvistendahl, the film follows three families as they contend with the return of their undead loved ones. The wonderful Renate Reinsve (The Worst Person in the World) is Anna, a young mother who is devastated by the death of her young son. Sharing in her grief is her father, who is driven to a desperate act. In each of the families, the desire to be reunited with a loved one – be it a lover, mother, or son – even if they are far less than fully alive, is keenly expressed. The narrative of grief is beautifully articulated, and I warn you – so sad. But then there’s some weird zombie film action that felt like it came from another movie. I am ambivalent about this one.
There’s still time to see several of these at the festival – the full program is on the Jerusalem Film Festival website.
