Jane (2016)


Mousy So-hyeon and confident Jane walk the streets of Seoul.

(2016) Drama (Atnine) Lee Min-ji, Koo Gyo-hwan, Lee Joo-young, Park Kang-seop, Lee Seok-hyeong, Park Hyun-young, Kim Young-woo. Directed by Cho Hyun-hoon

Loneliness can change your reality. People who don’t relate well to other people sometimes find themselves almost desperate for human contact but don’t quite know how to maintain it. When it becomes part of a cycle of poverty and desperation, strange things can happen.

So-hyeon (Min-ji) is a runaway teen girl who has been living in a hotel room in Seoul with her boyfriend Jung-ho who has abandoned her. Alone and with nowhere to go, she slits her wrists and prepares to die. Enter Jane (Gyo-hwan), a transgender nightclub performer who also has a crush on Jung-ho. She rescues So-hyeon and patches her up, bringing her into an impromptu family of fellow runaways including Dae-po (Kang-seop), Jjong-gu (Young-woo) and Ji-soo (Joo-young).

Life is idyllic for So-hyeon for awhile, surrounded by the family she never had and the almost magical Jane who is everything that she is not – elegant, beautiful, self-confident and kind. However, nothing lasts forever and So-hyeon is eventually obliged to find herself another family, this one much darker and much less idyllic.

The story of the movie isn’t even about Jane but about So-hyeon. We are never quite sure if Jane is real or a construct of the imagination of the lonely and shy So-hyeon who early on in the film makes plain her unreliability as a narrator. We’re never sure how valid the two families are; are they both real? Is one real and the other one not? Are neither real? Hyun-hoon is not disposed to give the  viewer easy answers and in some ways that’s a blessing and in others it’s a curse.

Much of the movie has a dreamlike quality to it and that is reinforced by the ethereal IDM soundtrack which is alternately beautiful and occasionally discordant. Min-ji is a terrific actress who occasionally has to convey a lot with her silence. The standout here however is Gyo-hwan, himself an independent filmmaker, who instills in Jane a kind of presence that is both vulnerable and strong. Jane imparts a good deal of wisdom to So-hyeon (not all of it listened to) as well as a good deal of compassion. Her transgender status is taken matter-of-factly; it is not commented on much and it is taken as a matter of course that she is accepted for who she is which rarely happens in films these days even now.

The movie is framed by So-hyeon’s narration in the form of reading a letter. She reads it I believe three different times during the course of the film; you are left to determine what of the letter is true and what is the invention of So-hyeon and even who it is addressed to. I found the story hard to follow at times and some might get frustrated with the circular narrative. The ending takes a loooong time to arrive and when it does the payoff is not worth the patience. Some are also going to find So-hyeon to be a frustrating lead as she often seems to just go along to get along and despite her occasionally manipulative nature seems content to shuffle along through life, head down and eyes averted.

This is one of those films that is both engaging and frustrating at the same time. The repetitive nature of the story makes it a hard sell to begin with and the fact that it overstays its welcome doesn’t make it easy to recommend. However, the powerful performances and the occasional moments of intense beauty make this hard to ignore too. Juxtaposed are moments of ugliness and violence, particularly in the second half of the film. Definitely those who have adventurous tastes in movies will want to see this; those who are a little bit more traditional in their  storytelling needs will likely find this too much to take and should move on to the latest blockbuster.

REASONS TO GO: The atmosphere is dreamlike. An ethereal score enhances that feeling.
REASONS TO STAY: The ending is way too drawn out. So-hyeon is a little bit too mousy of a character to get behind.
FAMILY VALUES: There is profanity, violence and some adult themes here.
TRIVIAL PURSUIT: The music is from Flash Flood Darlings, a Korean electronic band.
CRITICAL MASS: As of 7/9/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Kids
FINAL RATING: 6/10
NEXT: The Midnight Matinee

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I Believe in Unicorns


This is what every Disney princess longs for.

This is what every Disney princess longs for.

(2014) Drama (Animals on Parade) Natalia Dyer, Peter Vack, Julia Garner, Amy Seimetz, Toni Meyerhoff, Justin Hall, Sam O’Gotti, Johnny Sequoyah, Eric A. H. Watson. Directed by Leah Meyerhoff

Florida Film Festival 2014

I am not a teenage girl. I have never been a teenage girl. I will never be a teenage girl. On the surface, I’m exactly the wrong guy to review this movie. However, I do have the benefit of having a wife who was once a teenage girl and her insights have been very helpful in writing this.

Davina (Dyer) is not your typical teenage girl – if there is such a thing. Her mom (T. Meyerhoff) is confined to a wheelchair. She’d been diagnosed with a debilitating disease and with her marriage on the rocks, she hoped a baby might make her husband stay. It didn’t.

So Davina is her mom’s caregiver on top of having to deal with normal teenage stuff – boy craziness, needing to find herself in a world that doesn’t necessarily want you to do anything more than conform, the fear that nobody will find you attractive, the fear that somebody will. On top of that she cooks and cleans and takes care of her mom’s needs. To escape her life, she has an active imagination in which unicorns exist and do battle with monsters, but she needs more than a fantasy life. Something has to give.

In a local park, Davina observes a skater boy named Sterling (Vack). He’s really cute. A hunk, even. She envies his free spirit. He admires her beauty. She’s a virgin but doesn’t necessarily want to stay that way. A tipping point is reached. She and Sterling run away, destination anywhere but there.

Now, I will be the first to tell you that in many ways the female teen audience has been underserved. Hollywood seems content to give them Twilight clones and while that might be plentiful box office, it doesn’t really give them any insight into themselves, into the things they are going through. You know, life. Sure there are occasional movies with bitchy cheerleader cliques and high school angst but those movies have a tendency to lack any sort of reality, or even empathy.

So you’d think I’d be breaking out the champagne and party hats for a movie like this and to an extent, but that isn’t the case. I’d really, really like to, because I think the movie can be valuable to parents and their daughters, but I have a few issues with it. I will be the first to tell you that some of them might be a little unfair.

Seeing as many films as I do, you get a sense of some of the cliches that independent films are rife with. One of them is the confusion between child-like and childish. Now your definitions may vary but I define the former as possession of the wonder that a child experiences and the latter as doing whatever occurs to you without thought of consequence. While I get that the characters here are little more than children, their behavior is completely childish. It can get grating, particularly when they get all indie-cute and start running around fields like maniacs, laughing and acting childish. I wouldn’t mind so much if I hadn’t seen the same kind of scene in dozens of indie films in the past couple of years alone. I found these scenes distracting and annoying and veteran filmgoers probably will too.

I do think that the unicorn sequences which are mainly stop-motion animation are clever and imaginative and they are likely some of the most memorable things about the film. Vack plays Sterling a little bit too much with dude-ness which may irritate anybody outside the California state lines, but Dyer does a bang-up job as Davina and even though she too got on my nerves with her actions sometimes, so would any teenager I hung out with for more than an hour.

So it will come as no shock to you, dear reader, that my wife loved this movie much more than I did. I fully intended to give this a much more scathing review but she prevailed upon me with some fairly logical points and said in her gentle but firm way that just because I’m not the audience this film is meant for doesn’t mean it isn’t a valid experience for someone else. Fair enough, but that then leads to the conclusion that this movie isn’t for everybody and I honestly think it could have been. I’m not saying have the young kids act like responsible adults – that wouldn’t be realistic – but make them less cliche indie film characters. Then maybe it becomes less of a film for a certain age and gender bracket but one we can all share – and perhaps learn from. Even so, this should be mandatory viewing for teenage girls and those who love them.

REASONS TO GO: Teen girls will find this compelling. Some interesting images. Unicorn animations are fun.

REASONS TO STAY: Relies on indie sass. The immaturity of the leads may be grating on some. More childish than child-like.

FAMILY VALUES:  Occasional swearing, teen drinking and partying as well as some frank teen sexuality.

TRIVIAL PURSUIT: Toni Meyerhoff, who plays Davina’s mother, is actually the director’s mother and was diagnosed with Multiple Sclerosis shortly before her birth. She has been in a wheelchair ever since and the director’s experiences growing up as her mother’s caretaker was the inspiration for this film.

CRITICAL MASS: As of 5/29/14: Rotten Tomatoes: no score yet. Metacritic: no score yet.

COMPARISON SHOPPING: Thirteen

FINAL RATING: 6.5/10

NEXT: Yellow