The Dark Wind (Reseba)


Purity is hard to come by.

(2016) Drama (Mitosfilm) Rekish Shahbaz, Dimen Zandi, Maryam Boobani, Adil Abdulrahman, Abdullah Tarhan, Nalin Kobani, Imad Bakuri, Hassan Hussein Hassan, Helket Idris, Mesud Arif, Sherzad Abdullah, Shahin Kivork, Heider Bamerni, Berfin Emektar, Mame Cheto. Directed by Hussein Hassan Ali

Genocide is a condition that has often been imposed on the Yazidi, a tribe of people living in the Kurdish region of northern Iraq. Because they are not Muslims, they have become targets of ISIS who in 2014 invaded their region and began murdering them and selling their women in street side slave markets.

Reko (Shahbaz) and Pero (Zandi) are an attractive couple who have just become engaged when ISIS arrives. In the confusion, Pero hides with a group of village women only to become discovered by ISIS fighters; eventually she is sold off to the highest bidder. Reko, who works as a security guard at an American oilfield (early on in the film, one of Reko’s co-workers jokes “All of Kurdistan is an oilfield.” He arrives too late to save his fiancée but he does see some action with the Peshmerga resistance. In between fire fights, he searches for his intended, finally locating her in Syria and bringing her home.

Pero is almost a zombie by the time she returns home, staring straight ahead most times with a catatonic gaze, dissolving into screams when something reminds her of her horrific ordeal. When it is discovered that she is pregnant, life is turned upside down for both families – Ghazal (Boobani), the faithful and loving mother of Pero, knows that it will mean the end of her engagement. Reso (Abdulrahman) who is her father cannot bear to look at his shamed daughter. As for Reko’s father Hadi (Tarhan) it is his opinion that Pero is damaged goods who cannot marry his son, despite Reko’s obvious love for her.

The movie is shot simply but effectively and was given leave to shoot in the actual Yazidi refugee camp which houses nearly half a million of those who have fled their homeland. We get a sense of the desolation and despair that comes from being forced from one’s home, of being the target of a fanatical and powerful group that wants them wiped from the face of the Earth. However, as one elder shrugs, “this is the 73rd attempt at genocide” for this beleaguered people and they seem content to endure and continue. That they can trace their lineage back to ancient Mesopotamia is impressive especially considering how they have continually been the target for genocide over the millennia.

Zandi delivers a performance that is absolutely incredible. Possessed of an external beauty that is otherworldly – and a much better world than this one at that. She is the very picture of a dutiful and demure young woman who wants nothing more than to be with the man she loves. The horrors that are inflicted on her occur entirely off-screen; we only see the results of them, largely in Zandi’s eyes and her body language. We often think of the real carnage of war is limited to the battlefield but one viewing of this film will certainly set the viewer straight on that score – what the women endure in terms of rape, sexual slavery, abduction and forced breeding is absolutely unthinkable.

The film has generated some controversy – elements of the Yazidi were upset at how their culture was portrayed as backwards and intolerant. I didn’t especially agree with that but certainly there are individuals portrayed here that were certainly intolerant but there were also many who were not. As for being backwards, the Yazidi have a pretty desolate part of the world to live in and there isn’t a lot of room for luxuries to make things easier. Life for them isn’t easy and while I wouldn’t say they are backwards, they have a lifestyle that we Westerners would be hard-pressed to emulate but it is clear that they, like most of us, are tied to the place they live in ways that go beyond how easy it is to live there.

This is a powerful and moving film that reminds us that what ISIS is doing is not happening in a theoretical way; there is an actual human face to the victims of their brutality and consequences of their heinous acts. Ali should be applauded for shining a light on the deprivations of an ancient people and those who think that ISIS is just misunderstood should watch this one with an open mind. This film has no U.S. distribution yet which hopefully will change once it has been on the festival circuit for awhile; at film festivals in the Middle East it has already won some prestigious awards. This is a movie that deserves to be seen by a whole lot of people.

REASONS TO GO: The performance of Dimen Zandi is absolutely mesmerizing. The genocide of the Yazidi people in northern Iraq is not getting much coverage. Some of the scenes are powerful indeed.
REASONS TO STAY: Occasionally the cinematography looks like it was taken on a home video camera. At times the cast seems disconnected with what they are doing.
FAMILY VALUES: There is a good deal of profanity, racial slurs and some violence.
TRIVIAL PURSUIT: Ali intended to appear at the North American premiere at the Miami Film Festival but President Trump’s travel ban was, he felt, too much of a risk so he withdrew his application for a visa.
CRITICAL MASS: As of 3/5/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Syrian Bride
FINAL RATING: 7.5/10
NEXT: Toni Erdmann

Wolves (2016)


Game on!

(2016) Sports Drama (IFC) Michael Shannon, Taylor John Smith, Carla Gugino, Chris Bauer, Zazie Beetz, Wayne Duvall, Jake Choi, John Douglas Thompson, Danny Hoch, Christopher Meyer, John Michael Bolger, Matt Gorsky, Cindy Cheung, Noah Le Gros, Matthew Porretta, Seth Barrish, Ron Simons, Gibson Frazier, Jessica Rothe, Lynn Marocola. Directed by Bart Freundlich

 

We look at young people much the same as we look at the game of basketball. Mostly, we see the grace, the athleticism and the beauty but what we don’t see are the pounding, the punching and the ugliness that go along with the game – or in being young. Those of us who were once young may remember how rough a go we had it but we have trouble tolerating that same roughness in the young.

“Saint” Anthony Keller (Smith) is a star high school basketball player who has a good shot at getting a scholarship to Cornell. He’s a sharp shooter in the New York City high school athletic scene who is lights out from three point land. He is attending one of the toniest private academies in the City, has loving, supportive mother (Gugino) and a father who also once had high school athletic glory advising him. But Lee Keller (Shannon), while outwardly supportive, has a dark side. Most obvious is a gambling problem which has put him deeply in debt with the kind of people you don’t want to owe a nickel to, let alone fifty thousand dollars.

Anthony also has a sweet girlfriend named Victoria (Beetz) but there is definitely trouble in paradise between the two of them. She wants to go to college in California while his institute of higher learning of choice is Cornell in New York. The pressures begin to mount on Anthony, particularly since his father is getting more and more abusive and more and more out of control. During a street basketball game, he meets ex-New York Net Socrates (Thompson) who urges him to believe in himself. He needs to do that more than ever, particularly since the Cornell coach (Porretta) is questioning Anthony’s will to win, particularly because Anthony has a habit of passing to friends rather than taking the critical shot himself.

It all comes to a head as the basketball playoffs progress and the pressure mounts for Anthony to prove himself. With everything that Lee has built crumbling around him and Anthony feeling the pressure for the first time in his life can Lee shrug off his own demons and his own intense jealousy of Anthony’s success? More importantly, can Anthony take the next step from being a great scoring threat to being a potential college basketball star?

The word you’ll see used most commonly to describe this basketball film is ”cliché.” The story is extremely predictable, taking tropes from sports dramas both based on reality and fiction. What Anthony goes through here is nothing we haven’t seen celluloid athletes have to overcome before. I will say that the basketball sequences are actually believable and seem to have actors who can actually play ball and look comfortable doing it. That’s not always the case with sports dramas.

The cast is pretty good though. Shannon is an Oscar-nominated actor who always seems to turn in a performance that just can’t be ignored. He is as intense an onscreen presence as there is in Hollywood and it’s hard to take one’s eyes off him whenever he is onscreen. Shannon gives Lee an undercurrent of passive-aggressive rage that combined with his obvious character deficiencies makes him a compelling – not quite a villain but a flawed antagonist. While there is obviously plenty of father-son love here, there’s also an alpha male contest that flares up, sometimes with catastrophic results. One of the things that really caught my attention was that there is a point late in the film where Lee does something unconscionable – one wonders if it is an accident, male posturing gone out of control or worse still – a deliberate attempt for Lee to change the fortunes of Anthony’s team so that he could win by betting on his son’s team to lose. It is not clear which is the case, but it does make for fascinating consideration.

Most of the other roles are underdeveloped or underwritten. Smith is a fresh-faced talent who hints at having it in him to become a big star, but Anthony as written is either too good to be true or too polite to let his feelings out. He is generally polite and respectful of his elders but he isn’t above taking out an opposing player when his temper flares up. Gugino is a very talented actress who doesn’t get the respect she deserves, at least to my way of thinking. She rarely gets roles that really let her shine and basically she’s the cliché Long-Suffering Mom here. Chris Bauer as a family friend is a little too nice considering that Lee is such a jerk, but then that’s what the script calls for.

I would have liked to have seen this go a little bit more out of the box, but the writer chose to play it safe. Since Freundlich was the writer, he can’t blame the writing for the troubles with his film – well, I suppose he could. I would have liked to see more depth of character and less stereotypes and less of white people rapping (which just looks silly) and less dumb humor (such as an Asian player being chastised for using the “N” word the way the African-American players do). There are some wins in the movie, just enough to make it worth a view but not enough to make it worth spending a lot of time, effort or money in seeking it out.

REASONS TO GO: The brotherhood of athletes on the same team is nicely captured..
REASONS TO STAY: The plot is pretty rote and contains many ludicrous notes.
FAMILY VALUES: There is a good deal of profanity, racial slurs and some violence.
TRIVIAL PURSUIT: Wolves debuted at the 2016 Tribeca Film Festival.
BEYOND THE THEATERS: Amazon, Vudu
CRITICAL MASS: As of 3/5/17: Rotten Tomatoes: 41% positive reviews. Metacritic: 46/100.
COMPARISON SHOPPING: Hoosiers
FINAL RATING: 6/10
NEXT: Dark Wind