The award winning Spanish actress and director of Take My Eyes, Icíar Bollaín, has made an emotional and insightful film with Even the Rain, which touches on modern day environmental concerns of Bolivian Indians as well as looking at the poignant historical scars left by the Spanish Conquistadors as they swept across Latin America centuries earlier.

It’s essentially a film within a film. An enthusiastic young director Sebastian (Gael Garcia Bernal) has big plans to make a powerful movie covering the cruelty of the Conquistadors towards the native Indians and how this led to rebellions and a deep rooted distrust.

This production takes place against a backdrop of the Bolivian Indians’ struggle with authorities over control of their wells and water supplies as multi-national companies pressurise the government to grant them total control. This is based on real life events which saw large scale protests from Bolivian Indians in what became known as the Cochabamba Water Wars.

Just as the Spanish exploited the Indians and treated them so terribly many years prior, their plight is mirrored in the modern age. Not only is the government seeking to extort money from them but soon we realise that the film is also taking advantage of their cheap labour.

There is a telling moment where Sebastian is pleading with Indian leader Daniel to force his fellow Indians to undertake a controversial scene. The director insists “it’s important for the film”, to which Daniel replies “some things are more important than your film.” A point which Sebastian and producer Costa struggle to see at first, though as they spend more time with the Indians they begin to feel a greater connection to their plight.

It’s an inspiring story of defiance and one which gives a valuable insight into the Indians and their lives. The juxtaposition between the Conquistadors’ dealings with the native Indians and the modern day struggles is handled brilliantly and results in a powerful film which will doubtlessly encourage you to read up on the subject yourself.

Rob has awarded Even the Rain three torches of truth.

As a means to explain the background to 2 Days in New York, Julie Delphy’s co-written and directed follow on from her 2007 film 2 Days in Paris, Delphy’s character Marion puts on a hand puppet show for her son Lulu. Marion is no longer with her son’s father: Jack. Whether or not we have saw their relationship begin to implode during 2 days in Paris, the hand puppet show reminds or fills in the gaps for the audience. 

Marion is now living happily in New York with Mingus (Chris Rock) and his daughter Willow from one of his two previous marriages. With Marion’s new photography exhibit coming up, Marion’s father – Delphy’s real-life father Albert Delphy reprising the role of Jeannot and sister Rose (Alexia Landeau who co-writes) arrive for a visit for the aforementioned two days. However, Rose has unexpectedly brought along her current boyfriend Manu (Alexandre Nahon) who also happens to be an ex of Marion’s. Add into the mixture bi-lingual misunderstandings and mistranslations, sibling bickering and a father full of the joys of food and life and Delphy serves up one very entertaining film.

New York is portrayed as bright, colourful and welcoming. Delphy makes use of wonderful photo montages that are edited to perfection in a rapid fire manner to capture the bright lights and vibrancy of the city. With Editor Isabelle Devinck, Delphy inserts a 30 second photography love letter to every conceivable tourist spot in New York which is just one of the many highlights within this film. The cinematography used for the film reflects a love of the city and its possibilities making the viewer want to move there immediately or at the very least go for a visit as soon as possible.

The casting of Chris Rock is nothing short of ingenious and Delphy never over plays any of the elements she has injected into her film. Each scene feels organic and moves at a pace that allows room for this great comedic script. None of the scenes or scenarios feel forced or clichéd though Delphy is clearly exploiting a ‘French fish out of water’ tack. Real issues regarding aging, life, relationships, family, love and bereavement are all woven into the fabric of the film without the need for obvious sign postings or a lull in the flow of the script.

Albert Delphy is outstanding as Jeannot and his scenes with Chris Rock in particular are so absurdist as to be touching on the magical. The film culminates in Marion’s exhibition night and includes the showpiece of Marion signing a contract selling off her soul to an anonymous buyer. Who this buyer turns out to be ratchets up the quality of the script to even more lofty heights and makes this scene an unexpected diamond in this film’s already sparkling crown.

2 Days in New York channels all the best elements of a Woody Allen New York film but puts a French comedic twist to each scene. Funny, intelligent, kind and well paced this is a welcome member to Delphy’s impressive body of work.

Mairead awarded 2 Days in New York five Torches of Truth.

There’s something almost anachronistic in this modern age about a watching a film examining what it means to be an Englishman.  Perhaps it is this, along with the stunning Technicolor cinematography, that makes this film feel so otherworldly. The Life and Death of Colonel Blimp, set for re-release on the 18^th May, is yet another Powell/Pressburger movie that has been lovingly restored in a BFI project headed by Martin Scorsese and Thelma Schoonmaker.  However, whereas their previous restoration, the Red Shoes, has an almost mythic and timeless quality, Colonel Blimp feels oddly out of time.

Set against the backdrop of the Second World War, our film starts with an altercation during a Home Guard exercise.  A young upstart of a lieutenant wants to get an unfair advantage by starting six hours early.  This riles Major General Clive Wynne-Candy (Roger Livesey), but the lieutenant argues that when fighting enemies as dirty as the Nazis, underhanded tricks are necessary.  Given that the film’s original release date was right in the middle of WW2, this is all you need know of the film’s subtlety.

The majority of the film from here on out is the story of Clive Wynne-Candy (and how he got his moustache) in three episodes; the Boer War, the First World War and the Second World War.  We travel with him through a series of adventures and romances during a close to three hour running time.  We meet the German duelist Theo Kretschmar-Schuldorff (Anton Walbrook) and the three important women in Candy’s life; the great unrequited love Edith Hunter, his wife Barbara Wynne and his driver Angela Cannon (all played fantastically by Deborah Kerr).

Three hours is a lot to sit through but, on the whole, it rushes past, aided by one of the great comedic performances from Livesey.  The emotional tightrope he walks throughout the film is just as dazzling and inventive as the stunning camera work and the both hilarious and melancholic devices showing the passage of time.   Deborah Kerr’s turn is less showy, but every part Livesey’s equal as it is through her acting and repeated casting that the film gets its heart and its wry sentimentality.

A film romanticising one man’s struggle to accept the notion of dirty warfare is a very tough sell in the 21^st century.  That this film nearly succeeds is a testament to the craftsmanship involved.  However, the world has moved on and, much like Clive Candy himself, the Life and Death of Colonel Blimp finds itself sadly redundant and antiquated despite its great achievements.

Ben has awarded The Life and Death of Colonel Blimp four torches of truth

If you’re ever looking for the epitome of cringeworthy and controversial cinema, look no further than master of disguise Sacha Baron Cohen. His unique brand of edgy comedy firmly driven by politics has been channeled through the ridiculous on screen creations of Borat, Bruno and Ali G, leaving audiences in shock and hysterics. Collaborating once again with director Larry Charles, his latest comic assault comes through the warped and outdated views of a North African dictator called General Aladeen.

Ditching the mock-documentary feel of Cohen’s predecessors, The Dictator is easily his most ‘Hollywood style’ film as far as the conventional plotline goes. Aladeen is quite simply a classic tyrannical figure who has an unhealthy love for building weapons of mass destruction, shows no remorse over executions and is overwhelmingly offensive to every ethnic minority on planet Earth. Continuously aided by his associate [Sir Ben Kingsley], his antics ultimately lead him to the US of A with the likes of John C.Reilly desperately attempting to instill a sense of democracy to the state of Wadiya.

A sudden turn of events leaves him powerless, isolated and with no dangly beard. Whilst the plot to uproot him from his pedestal unravels, his secret weapon to bounce back lies in the form of an ‘easy being green’ feminist and grocery worker Zoey (Anna Faris).

‘The Dictator’ completely revels in its immature nature and is all the better for it. There’s a few neat throwbacks to the old days of screwball comedy, with a running joke involving surnames made up of bizarre signs being a particular highlight. With Cohen involved though, you know you’re gonna be treated to a outrageous barrage of grossout gags and close to the knuckle one liners. Yet again, they consistently hit the mark and there is no over-reliance on the ‘novelty shock tactics’ that plagued ‘Bruno’.

The key flaw only lies in Cohen’s satiricial sharpness this time around. The only real sense of social commentary on display lies in the latter stages, where Aladeen starts preaching that America should shed it’s badge of ‘democracy’ and follow his glowing example.

In addition, the majority of the cast play second fiddle to Cohen, with only Faris making a noticeable stamp. Although.. there is an inspired cameo to look out for involving a sexually confused Chinese democrat!

The odd misfire aside, The Dictator nonetheless is a thoroughly entertaining offering from the Cohen cannon.

Darryl has awarded The Dictator four torches of truth

The Avengers may be breaking box office records everywhere you look but, in these super-fuelled times, how about sparing a thought for the heroes who didn’t get so much as a plastic lunchbox with their face on it, let alone a parade?

A new wave of caped crusaders have burst onto our screens in the wake of Spider Man, Batman and Iron Man, featuring the lives of Average Joe heroes such as Kick Ass and The Crimson Bolt of Super fame, but Peter Stebbings’ Defendor [2009] has something new to offer. For a start, it centres on a world of drugs and prostitution. The leading man is mentally-challenged. His costume consists primarily of boot polish and duct tape, oh and Woody Harrelson is our crime-fighting hero.

The film begins with Arthur Poppington (aka Defendor – at least in his own mind) in a therapy session where a doctor is assessing his mental status following a violent attack. As the film progresses, we discover what led him to resort to acts of violence, how he became a ‘superhero’ and why.

No superhero movie is complete without a wise-cracking sidekick, but then again Angel [Kat Dennings] isn’t your typical sidekick; she’s a hooker with a coke habit. The friendship between Arthur and Angel and the chemistry between Harrelson and Dennings is undoubtedly what makes this film so endearingly entertaining. If you haven’t already heard of Dennings then, where have you been? Granted you may not have a massive girl crush on her in the same way that I do but she has popped up in many a promising part in films such as The 40 Year Old Virgin, Nick and Norah’s Infinite Playlist and Thor (she played Natalie Portman’s assistant). Certainly an actress to look out for.

In many ways Defendor is the perfect antidote to the Hollywood comic book flicks – a black comedy starring a truly quirky antihero. Between Harrelson’s deliciously understated performance and the bold tone it’s difficult to understand why this film isn’t better remembered. It’s a daring turn for everyone involved and the film itself cost only $4million to make. Certainly worth a look when you tire of the glossier, more expensive superheroes who always predictably do the right thing and conquer all.

She Monkeys, director Lisa Aschan’s first feature film, may, on first glance, represent itself as a coming of age drama. Look a little closer at this Swedish film, however, and you may find something much more complicated and, at times, sinister.

Emma (Mathilda Paradeiser), one of the aforementioned She Monkeys, joins a local Voltige (Equestrian Vaulting) team and immediately catches the attention of Cassandra (Linda Molin), one of the most confident and accomplished vaulters on the team. They size each other up thoroughly and soon enough become inseparable; messing about dangerously on the swimming pool diving board and practising their vaulting moves together. They meet a couple of likely looking lads while stretching in the children’s swimming pool, as you do, and one of them takes a fancy to Emma.

All four of them meet for a picnic on the beach but Cassandra acts up, seemingly punishing the unsuspecting two for taking the attention away from her. Later on, things between Emma and Cassandra take a turn for the sinister.

A further narrative strand in this story is that of Emma’s little sister Sara (Isabella Lindquist). She is young but just beginning to realise her girlhood, insisting that her supportive dad buys her a brand new bikini (leopard print, natch) and wondering why her cousin Sebastian isn’t in love with her.

What we have here is a well-considered slice of cinematic rivalry; portraying young ladies as driven and cutthroat instead of giggly and boy-obsessed. The seemingly serene Emma is revealed to be a bit of a control freak and the assured Cassandra is softened by her feelings for her teammate, providing a surprising ending.

This is an accomplished first feature film from Lisa Aschan, showcasing good performances from all but especially Mathilda Paradeiser and Isabella Lindquist. The usual stereotypes are considered yet discarded, even in the case of the background male characters. Nothing is usual. All in all, She Monkeys is an attention-grabbing and thought provoking not coming-of-age film.

Maryann has awarded She Monkeys three torches of truth.

Date: 27th May 2012     Location: Shortwave Cinema Bermondsey      Time: 7pm

The next New Empress Magazine quiz night will be held on the 27th May 2012. Form the ultimate geek team and put your collective knowledge to the ultimate test. This month, alongside our usual picture round and scene re-enactment round, participants can enjoy a whole round dedicated to Ridley Scott’s classic sci-fi flick Blade Runner and a soundtrack round comprised completely of films that begin with the letter M.

Tickets are usually available on the door but you can buy in advance by clicking here.

One of the reasons that the London Archive Film Festival is able to exist is the recent crossover success of documentaries such as Man on Wire, the King of Kong and Senna.  Although these three fantastic films seem completely unrelated aside from being documentaries, one striking similarity that they share is their narrative.  For all their quirks, they present the archetypal hero’s journey.  Our hero faces adversity and tries to overcome it, whether that adversity is an evil Donkey Kong fanatic, the driver with the blue helmet or the WTC security department.  Mila Turajlic’s debut: Cinema Komunisto, successfully eskews this formula to create the documentary equivalent of Jurassic Park; there are no heroes, just many characters navigating their way around a land long-forgotten.

In 1947, Avala Films Studios was constructed in Yugoslavia under the watchful eye of President Josip Broz Tito.  Like many revolutionary leaders at the time, Tito wanted to harness the untapped political power that film offered.  Avala never reached its projected position as the Hollywood of the East, but over 130 films were produced there under Tito’s reign featuring high-profile Hollywood veterans like Orson Welles, Jack Cardiff, Sophie Loren, Yul Brynner and Richard Burton.  Turajlic reunites five survivors in an attempt, as she put it in the accompanying Q & A session, to tell the history of a country that only exists in cinema through the films they made.

This is an extraordinary film. Perhaps its impact was aided by my astounding historical ignorance of the Balkan states, but every moment of its 2 hour running time was mesmerising.  Furthermore, there is a great humour that runs throughout and several incredibly moving moments also.  I couldn’t stifle the smile from growing across my face as a producer of many Avala films proudly showed off the costumes, still in workable condition, made for films over 30 years ago.  The true star of the show, however, is Leka Konstatinovic.  For 32 years, he served as Tito’s personal projectionist and it is his involvement that really allows the heart of this film to blossom.  Much like Wolfgang Becker’s ode to a forgotten country, Goodbye, Lenin!, Cinema Komunisto doesn’t try to apologise for the politics and wrongdoings of the former regime, but instead looks at the human beings who, after living through all the hardships in Yugoslavia, yearn for a send off to justify those struggles.

Director John Gulager attempts to follow up the fishy fun of Alexandre Aja’s Piranha 3D with the innovatively [?] titled: Piranha 3DD. One year on from the toothy terror that unfolded at Lake Victoria, Piranhas are sucked, through some dodgy plumbing, into a wet and wild park. In case you care the water park is co-owned by sleazy step-dad Clayton [Gary Busey] and long-suffering step-daughter Maddy [Danielle Panabaker] who are ever in confict: Clayton thinks it’s okay to replace Lifeguards with ‘Water Certified Strippers’, Maddy isn’t so keen but her mother is dead and thus not there to back her up [we're never told how or why and we're not really fussed about finding out].

There are a swarm of reasons why this film is vastly inferior to 2010′s perfectly-pitched Piranhathon, but perhaps the most obvious is that the film only lives up to half of its tagline: “Twice the Terror, Double the D’s.” Big boobs do get top billing but there are no real shocks or starts here.  Any punter who buys a ticket for a film with the word ‘Piranha’ in the title expects to see at least one person have their flesh gnawed off to the bone, preferably Jerry O’ Connell but if he’s not available any old chump will do. Not once is the glorious goriness of Aja’s film recreated; there are floating bodyparts aplenty but not nearly enough flesh-feasting.

Off the hook moments in this film are ten to the penny [ever seen a Piranha come out of a virgin's bajingo mid-first-time?] but the highlight is undoubtedly watching David Hasselhoff [playing himself] run in slow motion to the Baywatch theme tune. Does this give you a sense of how inane the rest of the film is? Ving Rhames making a return appearance as Deputy Fallon [with shotguns for legs a la Planet Terror's Cherry Darling] is also, admittedly, a treat but he and Christopher Lloyd are the only cast members to return, which leads me to the most important thing about Piranha 3DD: it reminds us all why the world needs Elisabeth Shue. Whether battling an invisible Kevin Bacon, singing the Babysitting Blues or fending off the remnants of Project Razortooth she brings a warm and charismatic edge to any project she works on and this film was made instantly inferior by her absence.

James Cameron’s Piranha 2: The Spawning remains the weakest of the Piranha pictures, but only just.

Helen has awarded Piranha 3DD two Torches of Truth.

Lisa Aschan left film school in 2005 and was soon working on award winning original TV series The Killing, among other projects. She has now directed her first feature film, She Monkeys, which is released this month. She kindly agreed to share a few of her thoughts and inspirations with New Empress..

What has been your focus since leaving film school, have you been writing or mostly directing?

Both. I write or co-write my films, so that’s how I work. That’s how i did it with She Monkeys and thats how i will do it with my next film as well.

When did you realise that you wanted to be a filmmaker?

I do TV and theatre as well so i see myself more as a director (in general), not just a film director. I have always been interested in role playing, creating my own universe and making up dramatic scenes, so I can’t really tell when it started. Growing up, i was more interested in creating my own drama than watching other people’s dramas. Now i tend to use genre to put a frame on my work, i try to pick a genre for each project i go into so for She-monkeys it was Westerns i was investigating.

She Monkeys is serious but also quite humorous at times. What would you most like people to take from it?

I wanted to make a modern western about power and sex…so i guess that’s just what i want them to take from it. I’ve gotten very diverse reactions so I’m very happy with that, everyone has an opinion about it. It’s about powerplay and how every scene is a duel between these two girls. I wanted it to be constant challenges and struggles about being controlled or in control.

What inspired you to write this story?

My plan usually starts with the piles on my desk in my studio, this one started with the child actress Shirley Temple, a book called the Story of the Eye by Georges Bataille, a French writer, and Sergio Leone’s western, Once upon a time in America.

Programmes like The Killing have shown that there isn’t much of a gap between high quality television and film. Would you like to focus on feature films from now on or continue to move between film and other mediums?

For each project i try to early in the process think of which medium that would be the best for that story or what i want to do. I’ve worked in theatre, tv and radio so every project is different and i feel very comfortable working in all these different fields. My next project is a feature film but after that we would have to see. I start to work and then realise what i want to do right now is the biggest pile on the desk because that’s apparently what I’m most interested in the moment. I just measure the height of the different piles!

What kind of film would you like to make next? Are there any similarities in the projects you have taken on in the past?

I very much like the characters that tend to be vulnerable a*holes. That’s the only thing that’s similar really. My next feature is a horror film so I don’t think that will be very similar.

Are you a horror fan in general?

I’m a very big Stephen King fan. Right now, I like the Shining.

She Monkeys is out on the 18th of May.