Bernard is joined by Zach this week, who brings with him an interview with Chilean filmmaker Sebastian Silva about his new film Nasty Baby, starring Tunde Adebimpe and Kristen Wiig and the director himself. Also, with the release of Netflix’s Beasts of No Nation, the boys try to predict what the future of digital distribution will look like and how streaming sites like Netflix, Amazon, Hulu and the like will impact the movie theater industry. PLUS, (you guessed it) our Indie Picks of the Week!

Topics

• Indie Picks (1:21)
• Digital Distribution (11:24)
• Sebastian Silva (24:21)

Articles Referenced

Beasts of No Nation Review
Cary Joji Fukunaga Interview
Junun Review
Nasty Baby Review
Sebastian Silva Interview

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Paul Thomas Anderson’s spellbinding music documentary Junun takes viewers on a musical expedition through Jodhpur, India. Following the month-long musical partnership between Radiohead guitarist Jonny Greenwood (composer of film scores for Anderson’s films since There Will Be Blood) and Israeli composer Shye Ben Tzur, who lives in India and records with the group Rajasthan Express, Junun is a fly on the wall look at the recording of their forthcoming album of the same name (set for release on November 13th). Forgoing explanatory talking heads, the documentary encapsulates the experience of witnessing these songs as they are developed. Running at a slight 54 minutes, about the length of the album itself, Anderson’s debut documentary is also the filmmaker’s first time shooting a film digitally.

The director toys with the camera during takes, adjusting focus or repositioning himself. He even implements a drone camera for some stunning shots of the Indian landscape that surrounds Mehrangarh Fort, the intricately designed building in which the group records their album. The moments where the camera veers across the room too quickly, or a pigeon’s coo is picked up by the microphone before the bird gets shooed away, help establish the documentary’s immersive quality. Much of the movie is beautifully photographed, Anderson panning from one emotive performance to the next. Junun‘s opening shot is a cleverly designed, slow 360-spin around the room that lands on specific musicians as they join in on the song. Implementing the touch of a veteran music video director, Anderson creates some magnificent sequences that swell in time with the building tunes.

The real reason to see the documentary is the distinctive, eclectic sound produced by Greenwood, Tzur and The Rajasthan Express. Junun relegates both Greenwood and Tzur to the background in most scenes, though their presence in helping to shape the project is clear—Anderson himself appears just as briefly for a group photo and during the end credits. Instead, the documentary highlights the extremely talented musicians of Rajasthan Express. In particular Aamir Bhiyani’s spastic trumpet lines—the stirring burst of notes from his instrument. Junun captures the collaborative spirit of skilled musicians, chronicling the recording of this team’s fascinating sound in an enjoyable, concise documentary.

You will be hard pressed to find a film this year that is better acted or better crafted than Paul Thomas Anderson’s The Master. In Anderson’s sixth directorial film comes an epic tale of made up religion that has earmarks of a cult and it’s radical followers. Even though the film never comes out and says it directly, the film at the very least resembles that of Scientology. You end up walking away with more questions than answers as The Master was perplexing as well as absorbing, but above all, it was hypnotic.

From the very beginning we see that Freddie Quell (Joaquin Phoenix) has a drinking problem as well as a troubled sexual past that may explain his erratic behavior. To say that Freddie has a problem with drinking is putting it lightly. He is literally poisoning himself with what he drinks as often times he makes his concoctions with whatever is within reach; sometimes that means paint thinner. As his service in the Navy ends with the end of World War II, he stumbles from job to job until one night he walks aboard a large yacht.

Unbeknownst to him, the yacht belongs to a man named Lancaster Dodd (Philip Seymour Hoffman). Soon enough Freddie meets Dodd, who people call the master, and finds out that he is a self-proclaimed jack of all trades; “a writer, a doctor, a nuclear physicist and a theoretical philosopher, but above all, I am a man.” Dodd is eager to take Freddie under his wing. Freddie, a troubled soul looking for anything to cling on to, has no problems with that.

I found it especially interesting when Dodd introduces his family someone new that he first introduces Freddie before the rest of his family. In fact, the last person he acknowledges is his son, who does not believe what his father his preaching and at one point says, “Can’t you see what he is doing? He is making things up as he goes along.” The connection between the two only grows the more Freddie gets involved.

Freddie is not afraid to beat people up who question what Dodd is preaching. I think that speaks to how much he wanted to attach and be part of something. However, by the end you start to wonder if Freddie is being people up because he is afraid that the questioners are correct. Slowly, it is slightly implied that he may be casting his own doubts on Dodd, like when he is listening to him speak about how laughter is the secret on two separate occasions.

There is a scene early on when Lancaster Dodd interviews Freddie with intrusive questions about his past that is quite possibly the best scene in any film of this year. Emotions fill the screen as you see tears roll down Freddie’s eyes and the vein in his forehead as he screams in anger. It is the kind of scene that takes the air out of the room and makes your knuckles hurt from tension.

The Master had a couple of standout scenes where you get a glimpse of how Freddie sees the world. The obvious scene is when a roomful of people are cheering on Dodd dancing, Freddie sees every woman in the room naked. Another eerie but more subtle moment is when Dodd’s wife asks Freddie to look into her eyes and then change the color of them. You can notice that her eyes do in fact change.

Joaquin Phoenix puts on a performance that I do not think will be matched in his career again. From the very first teaser trailer it was pretty evident that his character is insane. My instant reaction from the little bit that I saw then was this could easily be an Oscar worthy performance by him. Now after seeing the film and his full performance, it only reaffirms my initial reaction.

Nearly matching the phenomenal performance of Phoenix was Philip Seymour Hoffman as the charismatic religious leader. He comes off as a confident speaker that can win over most doubters with his charm but you can tell that he is masking his own problems. In private there are some moments when he relies on his wife Peggy (Amy Adams) to guide him and tell him everything is going to be okay.

The Master felt almost like it was a companion piece to There Will Be Blood (which is currently one of only two perfectly rated films on Way Too Indie). The overall tone felt very much the same courtesy of Jonny Greenwood’s score in both films. But also the subject matter is similar; two powerful leaders who look to take advantage of the weak and powerless. Even though Paul Thomas Anderson replaced his go-to cinematographer Robert Elswit with Mihai Malaimare Jr. for this film, there were many epic shots including some outside tracking shots similar to ones that worked so well in There Will Be Blood.

While The Master did not quite have the instant masterpiece feeling after watching it as There Will Be Blood did, it certainly adds to the already impressive arsenal of films done by Paul Thomas Anderson. He is a modern day master (no pun intended) filmmaker that will years for now be studied and compared to. What makes this film work is that it is as ambiguous to itself just as the characters are portrayed in the film. The Master demands the viewer to read between the lines the whole time with implications but never answers questions for you. The last scene is a perfect example of this as it opens up a different theory that was mentioned earlier in the film depending how you interpret it. It is a challenging but rewarding film if you are willing to connect the dots yourself.

To be honest, there is no other director out there today that gets me more excited to see their films than P.T. Anderson. It has been 5 very long years since his last film There Will Be Blood, which many including ourselves considered an instant masterpiece. Today the first teaser clip of his latest work entitled The Master has been released.

In this clip we see Joaquin Phoenix in the 1950’s who is a drunken sailor before he meets a charismatic religious leader played by the magnificent Philip Seymour Hoffman. It has long been rumored that Hoffman’s character would be a Scientology leader based on Scientology founder L. Ron Hubbard. Amy Adams will also star in the film and Jonny Greenwood returns again to do the original score.

The Master is one of this year’s most anticipated films but we will not have to wait much longer. The film will open on October 12th, 2012. Check out the teaser clip below.

We Need to Talk About Kevin is haunting and chilling thriller that was based on a book by Lionel Shriver that rehashes the classic debate of nature-versus-nurture in an uncompromising art-house style. It marks the third feature film Lynne Ramsay has directed. The film is an unsettling view of a mother who must deal with her troubled son and the trouble he causes. Through the use of many flashbacks, the non-linear narrative reveals piece by piece how something is not right about Kevin.

Eva Khatchadourian (Tilda Swinton) waits patiently in the lobby awaiting her job interview while nearly the entire office of workers seems to be silent and starring at her. Not because she is just an outsider of the company but because of who she is. When her name is called the air out of the building has been sucked out. The interviewer says to Eva, “I don’t really care who you are or what you have done so long as you can type and you can file you can have this job.” Eva is relieved and thanks her.

As she walks out of the building she interviewed in with a half-smile of relief an older lady walks up to her verbal assaults her and then punches her in the face. A man who witnesses the incident asks if he should call the police on the lady, Eva responses no and takes the blame herself. At this point in the film we are not sure what has happened exactly. But we know whatever it is it is obviously not good.

Kevin was ornery his entire life. As a baby he was almost always screaming, except when held by Franklin (John C. Reilly). He would not participate in rolling back a ball to his mother. Eva was concerned that perhaps something was wrong with her son so she brings him to a doctor. First she thought he may have damaged hearing but a doctor said he could hear just fine. Because he was not talking as other children his age have by now, she thought maybe he had autism. But the doctor insisted that there is nothing wrong with Kevin.

As Kevin grows older so does Eva’s frustration with Kevin. She cannot get him to do anything she wants him to do. She had to change his diapers well past the point that a child should wear them because he refused to cooperate. But Kevin has always been receptive of Franklin, even before he could remember as a baby, which has always bothered Eva. Franklin does not see what all the fuss is about with Kevin.

It appears that only Eva notices the dangers of the problem child while everyone else around her thinks he is just a typical teenage boy. Something about the satisfaction he gets when doing something wrong is disturbing to her. I will not reveal what ends up happening, not that it would completely ruin the film but because the film does such a good job showing you bits and pieces of what happens.

Eva believes she deserves the blame for what Kevin has done. Her punishment is not moving away and dealing with people that treat her like dirt. At one point in the film she buys broken eggs and does not ask for a refund in order to not being seen in the grocery store, then eats an omelet filled with broken shells. She even believes that she will go to hell for all eternity.

The use of the color red is liberally used throughout the entire film to symbolize blood and danger. Everything from vibrant close-ups of an alarm clock, curtains in their home, ketchup on a plate of eggs, Kevin’s toys, aisle of tomato soup cans, red is found in almost every scene. You do not even have to be paying close attention, it is so wonderfully overwhelming that you cannot miss it.

You know an actor has done their job when you cannot imagine anyone else playing their role. Tilda Swinton went beyond that, it was if the role was written for her. She says so much with her body language and expressions alone, her best scenes require no speaking on her part.

We Need to Talk About Kevin is like a train wreck, you do not necessarily enjoy what you are watching but yet it is so compelling that you cannot turn away. It is wonderfully shot with symbolism in abundance, a score by Jonny Greenwood that is as eerie as the film itself and stellar acting performances. As the title suggests, once the film is over you will need to talk about Kevin.

It is impossible to describe There Will Be Blood in one word but if forced to, I would say powerful. If I had to further describe in using just single words they would be; politics, greed, religion and morality. It’s a true instant American classic film whose technical aspects far exceed that of most other films out there.

Nearly the first 15 minutes of the film, aside from a few cries and moans, is without dialog. All you hear is the eerie soundtrack which was done by Radiohead’s Johnny Greenwood. A soundtrack that would earn him a Grammy nomination. Greenwood creates a soundtrack that works so well with the film, it would not have been the same without it. Mixing up classical sounds and making them haunting. Something that would rival what Stanley Kubrick would have chosen.

Essentially, There Will Be Blood is about a ruthless oil man named Daniel Plainview (Daniel Day-Lewis). He learns that there is a small town which has plenty of oil resources. He convinces the town to let him set up operation there and begin drilling. He promises the town to build schools and cultivate their land to make the town boom. However, one person in particular is reluctant, the local preacher named Eli Sunday (Paul Dano).

Daniel Plainview and Eli Sunday’s relationship begins early in the film. Having being tipped off from Eli’s twin brother, Plainview arrives at the family’s ranch in search of oil. However, Plainview being the kind of man he is he tries to get a bargain for the land by claiming he wants the land for quail hunting. Thus giving the family prices for quail land and not land with oil. Eli knows that there is oil on the land, something his father doesn’t seem to know. While Plainview is trying to pull a fast one on the family’s father, Eli steps in during negotiation.

After buying the Sunday ranch Plainview soon realizes that Eli is going to be a nuisance. Eli is constantly making sure that this oil venture that has quickly taking over the entire town is in the best interest of his church. Eli approaches Plainview asking if he can bless the first drilling, which Plainview abides to without hesitation. But as the time approaches for the blessing, Plainview does not call Eli up to speak. Instead he does his own blessing but doing so in a way that makes him and his business look like they there are doing a charitable thing for this town.

Which one could argue either side for. On one hand he is providing the town new opportunities for irrigation which in return would provide food easier. He is also building a road for the town and a new school. Part of the agreement was that he would also contribute money to the church that Eli wants so desperately. On the other hand, Plainview’s drilling does bring death to one of the man, via an accident on the dangerous job. It even leads his child to lose his hearing and be permanently deaf.

Shortly after the incident is really the first time you get an intimate look into Plainview’s personality when he says, “I want no one else to succeed. I hate most people.” Also in the same conversation, “There are times when I look at people and I see nothing worth liking. I want to earn enough money that I can get away from everyone.” It is a very important scene because for the first time you see that he is self-aware that he has evil tendencies. He verbally admits of his hatred of people and that he has no room for compassion.

Plainview and his son are on a train when Plainview tells his son to stay put. He leaves the train with his son still on it. It was pre-arranged that another man takes the child. Plainview does this without any emotional tie with his boy. This becomes even more apparent in the next scene when he is in a meeting with a company looking to buy out his land. They tell him they will make him a millionaire if he chooses to sell. Plainview asks them, “What would I do then.” As if he does not know that there is anything else in life then work. They reply he could spend time when his boy, a reply that does not sit well with Plainview.

It is brought to his attention that there is one piece of land that has held out from the initial buying. This land is crucial to Plainview because it stands in the way of the pipeline he wants so that he can transport the oil. If he does not get this land, it’s a 50 mile detour that his pipeline would have to endure. That is just not feasible.

The land owner says he must wash in the blood of Jesus Christ and that’s the only way to salvation and the only way for him to get the land. Plainview tries to buy his way out offering him more and more money but the land owner wants him to be baptized. It is obvious Plainview does not care much for religion and even less for Eli Sunday, so this is no easy task for him.

The scene where Plainview attends Eli’s church is simply amazing. Eli knows exactly what Plainview is doing there and you can tell by the little smirk on his face that he is awaiting his chance for revenge and humiliation. Eli demands him to get down on his knees and scream out “I am a sinner” over and over. If that was not enough, he makes Plainview admit that he has abandoned his own child.

There Will Be Blood makes you question your own morality in the most chilling scene in the entire film towards the end when Plainview asks Eli Sunday to admit that he is a false prophet and that God is a superstition. Eli must choose between falsifying what he firmly believes in order to receive money for the church from Plainview. The film then comes full circle as Eli Sunday made a fool of Plainview earlier in the film when he makes Plainview scream “I am a sinner” many times in front of his congregation.

The irony in this is quite interesting, because Eli is in a catch-22, either way he loses, whether that will be money or faith. If he chooses not to falsify his belief then he won’t receive the money he wants to build a new church. On the contrary, saying so even though you may not mean what you say, brings self-guilt and shame. It begs the question, how much are you willing to sell your soul for? Or so to speak.

If you have seen the film, you know that ultimately it doesn’t matter what his choice is. This further perhaps expands the irony that there is no right answer. Plainview really has nothing to gain from this situation other than to get back at Eli and to humiliate him. Which for him is the only thing he cares about and nothing would bring him more satisfaction.

Paul Thomas Anderson typically uses two or more of the same actors in his films, however, There Will Be Blood is his first film that doesn’t include a member of the cast from a previous film. However, an element that is signature to PT Anderson that is present is his long takes of scenes. The film was shot beautifully which eventually earned an Oscar for Best Cinematography.

Daniel Day Lewis is fierce and relentless. Determined to be wealthy he will let nothing stop him. The first evidence of this is at the very beginning of the film where he falls down a mine shaft and breaks his leg. With determination on his side, he hauls himself back up from the mine. Once you see There Will Be Blood it should come to no surprise that Daniel Day Lewis won an Oscar for Best Leading Actor for his performance.

Paul Dano’s character Eli is marvelously haunting and extremely passionate. I got goose bumps when he preached to his congregation. He is just as determined and fierce as Plainview is but in his own way. He is not fueled by greed but instead it’s his religion which drives him.

There Will Be Blood combines superior acting, directing and storyline into a masterpiece. In my opinion a film that was robbed of it’s much deserved Academy Award for Best Picture. It should be considered an important American film that everyone should see, you would only be doing yourself a favor in doing so.