Saturn in Opposition
Directed by Ferzan Ozpetek
7/10
One of the main plights of being human is the constant awareness that everything, in one way or another, comes to an end. Desperately clinging to fond memories and moments that can never be recreated, we struggle with impending doom, unable to fully appreciate the now. This, mixed with a tendency to repress feelings and focus on regrets, creates some truly stunning neuroses and emotional insecurities. Saturn revolves around a diverse group of friends, all uniquely damaged and flawed, who lack personal focus until a tragedy strikes. Despite taking awhile to find its dramatic footing, it serves as an emotionally affecting film about people coming to terms with loss and change. Minor issues with characterizations don’t detract from the overall message of the film, which is one of sadness and solace. Successful author Davide (Pierfrancesco Favino) and his live-in partner Lorenzo (Luca Argentero) act as the fulcrum to a group of various diasporic rejects. These include Davide’s acerbic and quick-witted ex Sergio (Ennio Fantastichini), his equally sassy friend Neval (Serra Yilmaz) and her policeman husband (Filippo Timi), as well as the struggling married couple Antonio (Stefano Accorsi) and Angelica (Margherita Buy), the enthusiastic, drug-addicted Roberta (Ambra Angiolini) and upcoming writer Paolo (Michelangelo Tommaso). When Lorenzo suffers a brain hemorrhage, the group come together and mourn his illness and eventual death. While doing so they cope with their own demons, whether it be infidelity, control issues, or drug addiction. While Saturn is slow to start, it winds up being a worthwhile emotional investment, featuring some wonderful performances, intense arguments and a beautiful final frame. The thesps are uniformly strong, despite the occasional thinly-sketched character that comes from having a large cast. It’s beautifully shot and consistently engaging thanks to Ozpetek’s sure-handed direction. He struggles only with pacing, as certain sequences drag more than others. Overall, this is a decent film that should please fans of depressing ensemble dramas.
She’s a Boy I Knew
Directed by Gwen Haworth
9/10
Simultaneously depressing and uplifting, She’s a Boy I Knew is one of the most affecting and emotionally true documentaries to come out in quite some time. It is a portrait of how Gwen/Steven Haworth's physical transformation from man to woman impacted the lives of those around her. Unexpected humour and an impressive understanding of pacing and editing make this stand-out from other docu-dramas. Interviews with mother and father (Colleen and Thomas), sisters (Kim and Nicole), ex-wife (Malgosia) and a close friend (Roari) touch on the true feelings and thoughts of those around Gwen. What elevates the documentary beyond a simple self indulgence is the humanity demonstrated; good and bad. These people admit that they fear for Gwen’s future and her happiness; there is an awareness of the abundant difficulties that exist in a single sex society. While not a politically correct reaction to the situation, it’s a very realistic one. As much as it would be nice to have everyone in the world hold hands and accept each other for who they are, it will never happen. Also, the exploration of human obligation to self vs. loved ones is really quite profound. Family members say they would never have told Gwen to suppress who she was, even though it’s what they really wanted to do. The interviews themselves reveal some very sincere and very beautiful people that Gwen is lucky to have in her life. Her father, Thomas, discusses his feelings of disappointment in losing the only son he’ll ever have and his struggle to accept a new daughter. The look of pain in his eyes is something that could never be captured in a narrative film. They are filled with love and defeat. Most interesting however, is Gwen’s ex-wife Malgosia. This is a woman who learned of her husband’s decision to become a woman and chose to stay with him as he became a her. It’s a complex love and is well articulated by Malgosia, whose interviews are very candid, tender and angry. Watching her move on with her life is both upsetting (through identification with Gwen) and cathartic (through identification with Malgosia). The only flaw that can be said about this doc is that some of the voiceover from Gwen feels over-written and oddly distancing; especially when compared to the heartfelt interviews that fill the rest of the running time. However, this is a minor complaint about a film that is otherwise wonderful and deserves to be seen by many.
Read other Inside Out '08 film reviews of Mulligans & You Belong to Me, as well as Savage Grace & Out at the Wedding.
