The Twentieth Century and There is No Evil are among my favourite films from the last 2-3 years. I have also seen Days, which was a slight disappointment to me - but I know many critics have placed it among their favourite films of 2020.
Bad Luck Banging or Loony Porn 2021, Radu Jude) is the one I'm most excited by, as it is not only from one of my very favourite active directors, but just won the Golden Bear 6 days ago.
What I wrote on the first two:
The Twentieth Century (2019, Matthew Rankin)
The Twentienth Century is a visually breathtaking, thoroughly bizarre and certifiably campy reimaging of the rise to power of one William Lyon Mackenzie King - one of Canada's longest-serving prime ministers and a symbol of pre and post WW2 Canada.
In this reality Canada is a poor, gaslighted and willing prisoner of a Fascistic Britain - represented by Lord Protector Moto - and flying the flag of the "Old Disappointment". Canadian citizens are to "do more than expected, and accept less than deserved". Freedom is terrorism, loyalty is all - and democracy is nowhere to be seen: replaced by baby seal clubbing, the art of passive aggressiveness - and a long line of other great trials of "Canadian manhood".
The stylization here is simply exquisite. We see old, outdated acting styles, and a purposeful tints, degradation to time footage - though it is not the cinema of the 1900s, but the early 30s and 40s we are reminded of. Just as Rankin's countryman Guy Maddin, this is not done in a mocking way, but rather to create the feeling of a neverworld, a surreal, eerie pastiche reality where extreme patriotism, ridiculous trials, men playing women, women playing men and fake talking birds are instantly accepted.
It is near impossible not to write about The Twentieth Century without writing about Guy Maddin. The amount of work I needed to put in to not place referenced to him and his work in the first sentence can hardly be described. The Twentieth Century simply invites too many comparisons, and can, if taken badly, be accused of plagiarising one of the last centuries most unique styles. The acting style, and the way the bizarre neverworld is created, where the ridiculous is simultaneously fitting and amusing - is unmistakable.
However, there are clear differences. Where Maddin uses his style solely to create unique worlds, dissect his own memory and present a personal, introspective form of cinematic poetry coupled with the amazing and the ridiculous - The Twentieth Century do it in the aim of cultural and political examination - in a light-hearted but still extremely slick way. Rankin is also not incorporating Maddin's silent aesthetics - and does something far different - and spectacular in crafting bring, minimalist outside sets - perhaps best described as sets from German expressionist plays shot almost as if in neon colours - though the minimalist here goes even further.
I also have to say that this is a degree of ingenuity, passion and drive that Maddin has been sorely lacking of late. While it may be dismissed as a copy, I'd praise it as a continuation of a style that should be used more often - and an exercise within it that rivals Maddin's very best.
The Twentieth Century is absolutely hilarious in its spin on Canada's place 120 years ago - as well as the 20th century as a whole. It is always playful - the tone is spot on - the actors all deliver incredible and pitch-perfect performances within this campy neverworld - and the balance between comedy, visual art and play is incredible to observe. It does not just get bogged into a fun exercise, it contains emotion and depth - and is one of the few magnificent films you can truly get lost within. There are so many details, so much play, so much clear passion that it is - if this style is alluring to you - hard not to love every single second.
9.5/10
Sheytan vojud nadarad / There is No Evil (2020, Mohammad Rasoulof)
This may be one of the bravest denunciations of the oppressive Iranian regime - and what is accepted as the rule of law. There is No Evil leaves the vile just on the edges - and focuses on the mundanity, familiarity and intimacy of life - all amidst actions and choices of deadly and ever-lasting consequences.
In exploring close relationships - and the choices people make, or do not make - There is No Evil places an emphasis on submission or resistance in what soon becomes clear to be a no-win situation. This connected theme is carried through 4 separate stories capturing entirely different emotional motifs - for the slow lull of every day - to gripping tension - to sneaking realization to a sombre life on the outside of society.
I really can't say more without spoiling the film. It packs several punches - and the first encounter with the "evil" in question comes out of nowhere - and acts as a gateway into just what is in a "choice". 9/10.