It’s time for the Leeds International Film Festival again and this Finnish film is a solid if low-key drama that doesn’t fall too far into simple feelgood territory. There was something about the production package which seemed vaguely familiar but as I hadn’t researched the film before the screening I didn’t realise that this comes from the same team that made the Finnish-Estonian film The Fencer in 2015 with director Klaus Härö, writer Anna Heinämaa and cinematographer Tuomo Hutri.
One Last Deal is based on a familar dramatic scenario with a central character study. Olavi (Heikki Nousiainen) is an art dealer hanging on, beyond retirement age, to his rented shop premises in central Helsinki. Like many people in their 70s reflecting on what they have achieved over a long life, he hankers after ‘one last deal’ that might justify his long struggle in the art world. He’s a widower and he hasn’t kept up with technological change, allowing himself to become a curmudgeonly old man with only one real friend, a younger dealer facing similar problems but doing slightly better in his shop in the face of online competition.
Around the same time that Olavi comes across an item in an auction sale that seems to be undervalued, he gets a call from his daughter Lea (Pirjo Lonka), now divorced and with a teenage son Otto (Amos Brotherus). She wants her father to take her son on work experience. Can the curmudgeon cope with the idea of a bright teenager careering about his gallery? It’s clear that there will be two narrative lines which will come together – the deal and the family tensions.
I enjoyed the film and especially the central performance. Helsinki, from the street of galleries and the auction house to the high rise modern luxury hotel and the outskirts where Otto and Lea live, is attractively presented and the search for provenance of the painting that Olavi identifies as a potential ‘last deal’ is intriguing, especially in emphasising the Finnish experience of the influence of Russian culture. It occurs to me now that the narrative is similar to Formentera Lady (Spain 2018) with the grandfather-daughter-grandson triangle and to others I can’t remember the titles of. There is also something similar in terms of family and a work/personal interest tension in The Puzzle (US 2018). All of these family narratives are potential melodramas that are either muted by or enhanced by the other narrative about work/personal interest according to taste. As the various festival reviews suggest this modest but nicely judged 95 minute film could well appeal to audiences. Personally, I think the film might have taken either the family melodrama or the chase for a ‘final deal’ a bit further but Klaus Härö clearly knows how to pitch a film for local and international markets and One Last Deal should satisfy many audiences.
I’m not sure why I booked this screening. Possibly it was the prospect of Catherine Deneuve as a matriarch and the reputation of writer-director Cédric Kahn. I also like the venue, the Ciné Lumière in South Kensington. However, I later realised that I’d got my Cédrics mixed up. I was thinking of Cédric Klapisch who made Un air de famille in 1996 and this new film has a very similar plot, except it shifts the location to a country house rather than a restaurant. Cédric Kahn is connected in my memory with films that are more dramatic than comic.
The birthday party in question is for Andréa (Deneuve) the matriarch of a family of two sons and a daughter plus three grand-children and a husband Jean (Alain Artur), who I don’t think is the father of any of the three grown-up children. Andréa is the owner of the large house in the country. The director himself plays the elder son Vincent with Laetitia Colombani as Marie, his wife and the mother of the two grandsons. Emmanuelle Bercot plays Claire the daughter and Vincent Macaigne plays the second son Romain. Claire’s estranged daughter Emma (Luàna Bajrami) is a student who lives with her grandparents and Romain has his latest possible fiancée in tow, Rosita (Isabel Aimé González-Sola). The party also includes Emma’s boyfriend Julien (Joshua Rosinet). He is a talented pianist who I don’t remember having much dialogue at all. He is disturbingly the only person of colour on screen. I did tend to see his presence as either a cliché or a form of tokenism (intended to strengthen the sense of Emma as a rebel within the family group?).
It’s worth noting that four of the actors are also directors themselves. I’m not sure if that makes any difference. The setting and the script suggest a very ‘theatrical’ production with most locations in the house or garden and just a few brief but eventful car trips outside. Cédric Kahn himself suggests that there is a conventional three-act structure and one episode includes a play devised and performed by Emma and Julien and the two young grandsons. As well as the starry cast, the film has an equally experienced and celebrated crew and the whole thing looks very good. Music is important and I very much enjoyed a song by Françoise Hardy, ‘Mon amie la rose’. Why then did I feel disappointed and a little let down by the film overall?
I think perhaps that I was surprised that such a conventional film would be included in a festival programme. This is indeed like a well-produced play with twists and turns in the plot and each of the core star actors given a story to present. But in the end these stories don’t add up to much that’s new or particularly interesting. Added to that, the comic elements didn’t really work for me. Sometimes the comedy seemed cruel or perhaps seeking to be satirical but without clear targets. It’s a prestigious production however and if you like that kind of thing you might like this.
This charming and enjoyable film is difficult to categorise. It is a potential family melodrama that evolves into a story about its central character Hana, a girl of 11 or 12. Hana’s story has elements of comedy and drama and also perhaps a gentle critique of our expectations of family life. With its bright colours and music it also made me think of anime and manga and I think that it offers something distinctively Korean or Japanese.
As the narrative begins, Hana is being elected as the ‘Best Classmate’ at the end of Summer Term. She rushes home full of energy and enthusiasm but is soon deflated by her parents’ squabbles and her older brother’s indifference. Strangely, the ‘Best Classmate’ seems to have no friends in her home district – or perhaps they are away for the summer? But one day she finds a younger girl, 7 year-old Yoo-jin, who appears to be lost in a supermarket. Searching for the girl’s parents, Hana finds instead Yoo-mi, the girl’s 9 year-old sister. Gradually Hana will be drawn into the sister’s world as they are mostly alone in a flat while their parents are working on a summer job several miles away. It’s the perfect opportunity for Hana to practice all the nurturing skills she isn’t allowed to carry out at home. The ‘House of Us’ turns out to be a house made by the three girls out of cardboard waste as just one of several craft-based activities. Hana becomes more like a mother than an older sister, revelling in the chance to cook.
Hana’s solution for her own disjointed family is for the four of them to go on a ‘family trip’. But is this likely to happen? An adventure with the two younger girls sounds more like a possibility. The film is in effect narrated by Hana. It’s a child’s perspective on a world she doesn’t totally understand and isn’t yet able to come to terms with. This means that writer-director Yoon Ga-eun’s film shifts between a child’s adventure and an adult family drama, as we learn more about both Hana and her ‘two families’. The film is the second feature by the director to look at the emotional lives of young girls, the first being The World of Us in 2016. The database of the Korean Film Council reveals that the film was released on 147 screens in South Korea, drawing 52,000 admissions and $353,000 to date at the box office.
There are five Korean films in the festival and I think it’s good that we get to see films like this. South Korea is a developed film culture which enables intelligent and enjoyable films like this to get a wide-ish release. I think a similar film would struggle to get such a release in the UK. But I think quite a few parents would like to share a film like this with their children. The film ultimately stands or falls on the performance of Kim Na-yeon as Hana and I think she does an excellent job. My only concern was the Korean diet on display. Hana has to produce a cookbook as a school holiday project and her only recipes seem to include meat, kimchi and far too many eggs and ketchup!
There is no way I couldn’t enjoy Wild Rose. I love traditional country music and I’m particularly fond of a group of female country singers, many of whom are referenced in this film. I’m also a big fan of the classic country biopics, Coalminer’s Daughter (1980, the Loretta Lynn story) and Sweet Dreams (US 1985, the Patsy Cline story). Add to that, Jessie Buckley has a great voice and a real screen presence and I’m sold. But that doesn’t mean that there aren’t several questions to ponder and to wonder whether an even better (but less commercial) film is buried in there somewhere.
The Irish actor-singer Jessie Buckley plays Rose-Lynn Harlan, a woman in her late 20s but with the dreams (and selfishness) of a younger woman. As the narrative begins she is being released from prison with an electronic tag. She returns to her mother Marion (Julie Walters) and her two young children, a boy of five and a girl of eight. Soon, Marion will force Rose out into her own council flat with the two kids, pushing her to take responsibility. Trapped by the tag and a night-time curfew, she has to rebuild her life and grapple with her dream of going to Nashville. Her possible ‘way out’ is a meeting with an unlikely mentor and supporter, Susannah (Sophie Okonedo), who can open doors usually closed to the likes of Rose. She will eventually make use of one of those doors opening, but this isn’t a conventional ‘star is born’ story.
Wild Rose was a big hit at the Glasgow Film Festival earlier this year and the film celebrates aspects of Glasgow culture. But also in some ways perpetuates a trend in Scottish film culture, following on from Sunshine on Leith, in having an English director (Tom Harper who handles the material well) and two English lead players with the central character played by an Irish woman. The script is by Nicole Taylor, who is a Scottish writer, best known for a range of well-received TV scripts. This gives it enough authenticity and credibility but does it need the starpower of Julie Walters and Sophie Okonedo to get made? Like most UK projects of this kind the production was dependent on public funding – Creative Scotland, BFI and Film 4. I’m imagining the casting decisions aimed at overseas distribution, especially in North America. Julie Walters is very good, dialling down some of her familiar excessive moves. I’m not qualified to judge her accent but it seemed OK to me and Sophie Okonedo is great as usual but I wonder if their presence creates expectations about the narrative?
In much the same way, the songs for Rose to sing are carefully chosen. In the promotional material certain songs are picked out. ‘Country Girl’ originally by Scottish band Primal Scream and ‘Angel from Montgomery’ by John Prine (made famous by Bonnie Raitt) are two titles not usually associated with country music. Perhaps the distributors worried about the disdain for country shown by many in the UK? I wonder if the promotion in the US will pick out other songs? Rose actually sings songs by Wynonna Judd, Patty Griffin and Trisha Yearwood which might be more germane.
I’m being picky because I’m so invested in the music. The house band recruited for the film are excellent and they play mainly with traditional instruments. Glasgow is the focus point for the meeting of Irish and Scottish traditional music with North American associated music culture every year in the Transatlantic Sessions and Celtic Connections so there is an authenticity in both the playing and the Glasgow cultural roots. Because I don’t watch ‘reality TV’, I was unaware that Jessie Buckley had made a big impact on the show that sought to find a new singer for Andrew Lloyd Webber’s musicals. She can certainly sing and I was convinced that she could make it singing most forms of popular music. She also has the acting ability to make Rose-Lynn believable. This all means that Wild Rose is very enjoyable and entertaining. But it could be something else as well. I was reminded of the Irish film Once (2007) which told a simple story but explored a real interest in music (and won an Oscar).