'Quarantine Pic(k)s': The One-Inch Tall Barrier

A Welcome Back

How are you holding up?

These are confusing times. People are staying indoors; Medical workers are doing their utter best, with soldiers accompanying them on the frontlines; Government heads are doing an admirable job in containing the disease and providing affordable healthcare; and for once, social networks are promoting wholesome values and raising awareness amongst the younger demographics.

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Alright, maybe more so the first three than the last one. BUT MY POINT STANDS!

And with the “Work from home, save lives” motto constantly promoted, heralded, and might I say, imposed in the fight against Covid-19, I feel the best thing I can do, aside from donating to the frontlines and spreading positive messages, is to recommend some films to successfully conquer the 24-hour #StayAtHome challenge.

Because this is a film reviewing blog. The more I concern myself with the ins-and-outs of the situation, the less valuable my writing becomes.

So without further ado, I present to you “Quarantine Pic(k)s”.

“Hey Chi, what are ‘Quarantine Pic(k)s’”

Thank you random dude/dudette that is definitely not my piano.

‘Quarantine Pic(k)s’ is a new category for Hollywood Moviegoers/The Take, where I will be recommending interesting films (preferably ones you haven't seen) that I feel you could spend these self-isolation times watching and enjoying, preferably with family and isolation buddies.

Each ‘Quarantine Pic(k)s’ post will have compact reviews of cross-genre choices, granted they satisfy the descriptions (“mindbenders”, “spooky hollows”, “the 1-inch barrier”), instead of the usual rigid classification (“sci-fi”, “horror”, “foreign language films”).

With the introduction out of the way, let’s get to our first ‘Quarantine Pic(k)s’: The One-Inch Tall Barrier.

TallWhat is “The One-Inch Tall Barrier”?

In a now famous speech, Academy Award Winner Bong Joon Ho (it feels so satisfying writing that) remarked an important message regarding the nature of inclusivity and diversity:

I don’t know about you, but that was special to me: To be someone striving for his greatness and receiving that message of encouragement towards foreign and minority filmmakers, it urged me to dedicate to my passion and widen my eyes beyond the Hollywood banner.

And boy, did I find some gems.

‘Forgotten (2017)’ - South Korea

Sypnosis: Jin-Seok’s seemingly perfect life suddenly turns upside down when his loving brother, Yoo-Seok, is kidnapped. 19 days later, Yoo-Seok returns, but his suspicious behaviors make Jin-Seok think all is not what it seems: is that really his brother?

Standout Aspect: This was a movie of subversion. ‘Forgotten’ was, on first glance, a predictable film: the twist was curtailed in the opening minutes. But by doubling down on its predictable roots, ‘Forgotten’ caught me off-guard and rose above its genre trappings, packing twist upon twist upon twist, opening up sympathy and understanding behind both Jin-Seok and Yoo-Seok’s actions, while remaining as tightly written and as compelling as ever. As the film wrapped up in neat, heartbreaking fashion, I couldn’t remove my eyes from the screen, marveling at what I had seen.

Verdict: A - A taut, tense thriller-horror, leaps and bounds smarter than your average “Is-he-is-he-not”, ‘Forgotten’ packs gut-wrenching punches to go alongside its many twists-and-turns, and is one you’ll be unlikely to forget or think about long after the closing credits.

Recommendation: For those looking for old-fashioned, well-done twist-and-turn thrillers, with snippets of horror and psychological tendencies.

‘Happy Old Year (2019)’ - Thailand

Sypnosis: When Jean starts her house renovation, she starts coming across memorabilias of a bygone relationship. As we go with Jean into the memories of her youth, we unearth her love, laughter and heartbreak when she was young, as well as the dilemma she’s facing now.

Standout Aspect: How often have you cleaned your room, just to find something, reel into your nostalgia of that belonging, and stop cleaning altogether?

It’s Jean’s relatability that got me. I could see myself in her, and if not the memories, than surely that nostalgic feeling should grasp the audience’s heart as well. We have all loved, be it love for family, friends, or a special someone, and we have all lost, and losing someone hurts. But even in heartbreak and grief, we can always grow, knowing that everything happens for a reason, as did Jean.

Verdict: B+ - An earnest, quiet film about young love, jubilation and retrospection, ‘Happy Old Year’ is no slouch when it comes to emotional empathy, and is sure to wring heartaches and tears upon its closing moments.

The only qualms I had were with some technical choices regarding bombastic cinematography that took the film off its quiet core, as well as the deliberate washed-out color palette being too heavy-handed upon rewatches. But other than that, a flawless offering from The Land of Smiles.

Recommendation: For those longing for school days, your loved one(s), or in need of a good, compact cry.

‘The Secret In Their Eyes (2009)’ - Argentina

Sypnosis: A rape and murder case is revisited 25 years later, as our two central characters seek the buried truth, as well as rekindle their passionate romance.

Standout Aspect: When I watched the Hollywood remake of this film (which stranded a game Julia Roberts in a watered down “find the killer” plot), it made the shining aspect of this film shine all the brighter: the central relationship.

Ricardo Darin’s Benjamin Esposito and Soledad Villamil’s Irene Hastings made the movie, with their chemistry remaining absolutely crucial in progressing the plot forward. The film’s rich cinematography and deft interwovening of the overarching historical context (a civil-military dictatorship) became its supporting characters, something the American remake just couldn’t pull off with its hasty 9/11 backdrop.

Verdict: A- - I love a good mystery-romance, and despite some iffy supporting performances and the dramatic reveal not being as powerful as it would have wanted to be, ‘The Secret In Their Eyes’ is a damn good film that would take its viewers on a rollercoaster, and is a testament to Latin America’s film industry rise to prominence and later stability.

Recommendation: If you’re binging on legal dramas, or on a telenovela marathon and need a palette cleanser.

‘The Hunt (2013)’ - Denmark

Sypnosis: A five year-old says she is harassed by a divorced, loving pre-school teacher. The teacher is the main character. What’s your stance?

Standout Aspect: Mads. Mikkelsen.

A year before he became a household name with his electric performance as Hannibal Lecter, Mads Mikkelsen put up his career-best performance as Lucas, the teacher in question.

The truth of the situation was never in doubt, as we follow Mikkelsen’s sympathetic Lucas throughout. The lie destroys Lucas’ life, and Mikkelsen’s kind, considerate performance (one that rang him a Cannes Award) makes it even more heartbreaking: we urge for people to look for the truth, as does Lucas, but no one seem to bother themselves with the fact, caught up in a whirlwind “hunt” for the predator Lucas is made out to be.

Verdict: A+ - Any film that makes audiences gasp, ache, and demand justice for its main character is a good film, but through Mads Mikkelsen’s flawless performance, ‘The Hunt’ is a perfect one.

Recommendation: Everyone. It’s a really good film.

‘La Vie En Rose (2007)’ - France

Sypnosis: A biographical film on Edith Piaf, the renown singer of the titular song.

Standout Aspect: It’s a comfort film.

When you watch ‘La Vie En Rose’, there’s no requirement to be dramatic, or be emotionally torn. It’s a simple, but utterly mesmerizing film about one of the greatest French singers/personalities, brought to eerie life by Marion Cotillard in an Oscar winning performance.

You’ll feel good, you’ll feel educated, and will appreciate a talent when the film closes. If that’s not what film is about, then what is?

Verdict: B+ - There’s nothing special by way of plot, or deep insights into Piaf’s struggles with stardom, but it’s respectful, well-directed, and Cotillard’s performances throughout is worth the watch alone.

Recommendation: If you really want to know the origins of the titular song, or are finding a feel-good film to pop in and enjoy.

‘Grave Of The Fireflies (1988)’ - Japan

Sypnosis: Orphaned siblings Seita and Setsuko navigate their lives in the ruins of Kobe, Japan at the tail end of World War II.

Standout Aspect: You really think you’re gonna get through a Studio Ghibli film without aching?

I have not met anyone who saw this film that didn’t cry. You’re gonna cry not knowing the ending, and weep knowing it. You’re gonna cry regardless of spoilers. You’re gonna cry because Seita and Setsuko should have had a childhood. You’re gonna cry because they deserved a home.

Goddamit.

Verdict: A - Any of its slow burn first act or stilted animation is vindicated by its gut-wrenching, heartbreaking, tear-inducing, soul-shredding third act.

Best of luck getting through this film.

Recommendation: No one should have to go through my young, emotional trauma, but I’d still highly recommend it for my wibu friends, families gathering for an animation film, and those wanting to learn Japan through pain.

‘Snatch (2000)’ - United Kingdom

Sypnosis: Intertwining storylines ensue after an 86-carat diamond is stolen, making for a quintessential Guy Ritchie viewing.

Standout Aspect: I did not say foreign language films. I said “the 1-inch barrier” that is subtitles. And you can try watching this film without it, but I guarantee you, ye voodn’t jit a sengel thang.

‘Snatch’ lives up to its name, zipping by with a flawless script delivered at a breakneck pace, with name actors (Brad Pitt, Benicio Del Toro, Jason Statham) popping up and spitting rhymes every now and then to ensure your attention. It’s fun, it doesn’t require your full attention, it’s quotable, it’s memorable: it’s THE Netflix film.

Verdict: B - It’s not high art or anything, but ‘Snatch’ is the most entertaining film of the pic(k)s, and a very good way to get through a quarantine time.

Recommendation: For those in need of a Brad Pitt quench after seeing ‘Once Upon A Time...In Hollywood’, those who thought ‘The Gentlemen’ was easy to understand, and all ye who is getting through their British Netflix phase.

‘Mother (2009)’ - South Korea

Sypnosis: A widowed woman, tentatively called “Mother”, vows to protect her intellectually challenged son, Do-Joon, at all cost when a young girl is murdered, with Do-Joon accused as the final witness.

Standout Aspect: It’s fitting to round up this very fun list with a film from the quotesman himself.

‘Mother’ is Bong Joon Ho’s most underrated film, (aside from his debut ‘Barking Dogs Never Bite’), but it’s still miles better than 80-90% of the films out there, which is saying a lot. Going into this with a clear mind way before the hype around ‘Parasite’ started gaining traction, I wasn’t prepared for Bong’s powerful script and the film’s mesmerizing performance from Kim Hye Ja as the titular character. It was a spectacular surprise as ‘Mother’ might be Bong’s second best film, equalled to that of ‘Parasite’ and edging on ‘Memories of Murder’

Verdict: A+ - An outstanding achievement, ‘Mother’ was Bong’s fourth and most underseen effort, and even then, it was evident he’d become someone special to the Korean and international film industry.

Recommendation: For those on a thriller binge, Bong Joon Ho marathon, or simply looking for a great, well-acted film.

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That's all for 'Quarantine Pic(k)s': The One-Inch Tall Barrier. Stay inside, wash your hands, and get past the barrier.

See you soon.