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MICHAEL Almereyda’s Marjorie Prime (2017) adapts Jordan Harrison’s Pulitzer-nominated play to the big screen in a small way, and it’s marvelous. Eighty-five year old Marjorie (Lois Smith, who played the role in two previous stage productions) suffers the initial symptoms of Alzheimer’s; to help her deal with the memory loss, her daughter Tess (Geena Davis) and son-in-law Jon (Tim Robbins) have installed a “Prime” — a hologram-projected Artificial Intelligence (AI) — representing Marjorie’s husband Walter (Jon Hamm) when he was a relatively young 40.
PAUL SCHRADER’s latest feature First Reformed — his 23rd directing job — is a tiny feature shot around Brooklyn and Queens in only 20 days, on a budget of roughly three and a half million dollars. It’s also arguably his best work to date, or if not his best then somewhere up there.
TO THE Cinema Evaluation Board (CEB);
MARIO O’HARA passed on in 2012. His niece Janice O’Hara chose one of his scripts (rewritten extensively by her father Jerry O’Hara) to be her debut feature (Sundalong Kanin [Rice Soldiers, 2014]), arguably one of the best of 2014. Janice died two years later, leaving us that one film, compelling us to ask: is there some kind of curse on this family that blesses them with filmmaking and storytelling talent, but relatively fragile lives?
MIKE DE LEON’s first film in — has it been 18 years? — has to be an event; the latest from one of our finest filmmakers, in the same league as Lino Brocka, Mario O’Hara, Ishmael Bernal, Celso Ad. Castillo. If it’s arguably the weakest feature he’s done to date (hopefully not his last) it still stands head and shoulders above most anything out there today, Filipino or Hollywood.
NOT LONG AFTER Brillante Mendoza’s Amo (which takes its cue from Respeto’s rap-driven score) we have Lav Diaz’s take on the Duterte regime. Panahon ng Halimaw (Season of the Devil, 2018) is no small-scale response: 234 minutes long, some six minutes short of four hours. And it’s a musical.