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“Ava” Film Review: Shelby Goes to the Palm Springs International Film Festival

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By Shelby Armor

 

I recently volunteered at the Palm Springs International Film Festival. As a reward, I got a film voucher to go see one movie. A bunch of friends and I went to see a French film called Ava. It had previously won an award at the “Festival de Cannes.” The Palm Springs International Film Festival also gave it the “Best Director” award this year. Needless to say, I was pretty excited. We went into the movie knowing absolutely nothing about it. The only thing we knew about the movie was that it was of a girl who was slowly going blind and was desperate to explore life before she lost her vision.

The reality was slightly more complicated. This girl of 13 is indeed slowly going blind, but she’s dealing with nightmares and suicidal thoughts as a result. The movie starts by following a black dog belonging to a Spanish gypsy named Juan (Juan Cano). The girl, Ava (Noée Abita), sees how the boy is mistreating the dog and proceeds to steal the dog, whom she names Lupo. Along with all of this, she has a strained, love-hate relationship with her mother (Laure Calamy). The relationship grows even more strained when her mother gets a new boyfriend.

The movie is beautifully symbolic, making use of different objects and people throughout the film to represent the coming-of-age of Ava. At the beginning of the film, she is infatuated with the dog, Lupo, wanting to get him away from this bad man. But, as she begins maturing as a person, she becomes less and less interested in the dog, and more infatuated with Juan, his owner. Lupo also serves as a coping mechanism for her incoming blindness. She repeatedly uses him as a guide dog so she can rely on her other senses.

The movie itself is chock-full of symbols. And, if you’re not really paying attention, they can often fly by. There are times where I had to sit back and comprehend the literal and symbolic meaning of various scenes, as other scenes seemed somewhat random if you weren’t paying attention to what was going on inside Ava’s head. To get a better look of what was going on inside her head, there is a nightmare sequence, going through her deepest fears of the future. There are images of her baby sister without eyes, a giant eye moving around in her mouth, her mother and boyfriend (whom she dislikes), and the police shooting her baby sister. Each and every one of these flashing scenes makes her wake up in a cold sweat. However, only one thing has started to take the nightmares away.

As she becomes closer and closer with Juan, she forgets all about her fading vision. She starts focusing more on their relationship and less on what might happen when her vision fails her. The end of the movie is a freeze frame of her smiling at Juan, utterly content with life. This seems to indicate that the nightmares and suicidal thoughts are coming to an end now that she is with Juan.

But, there are problems with the movie as well. The first half of the movie is beautifully written and filled out. The cinematography is absolutely stunning, and the score is really captivating and quite elegant. By the second half, the tempo is starting to fade. The pace can seem somewhat rushed in comparison to the rest of the movie. To others who had watched the movie with me, this really bothered them. I didn’t really mind the sudden change of pace. It made sense to me that the change of pace was accompanied with the presence of Juan. But that might be part of the appeal of the movie to me; the entire film is subjective.

The film itself is made almost entirely of symbols and can be quite hard to follow if you aren’t really the type for these kinds of films. I would recommend this film to anyone who likes a provoking piece of cinema. If a film that really makes you think about the impact of each scene is thrilling to you, then this might be the film for you to see.

 

(Warning — there is mature content in the movie)

 

Editor: Claire Jenkins

Sing Street Hits the High Notes

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Review by Movie Enthusiast Leo Milmet

Grade: A+

Sing Street helped me discover even more about what exactly I love about film as an art form and why I have such an incredible passion for film. Sing Street is one of the truly great films of the 2000s. Why? For me, it’s the potent feeling it gives me every time I watch it.

Now, trust me, no one is more cynical about the modern American film industry than I am. In my humble opinion, most films nowadays are a joke. Most big-budget films are often well-crafted, yes, but to what purpose? Money? An Oscar? Most films, in general, are well-intentioned and perhaps even well-created but forgettable. They are created for selfish commercial reasons, not truly as art. Sing Street is a completely different story. Sing Street is so quietly bold as to take countless risks without even letting you know it’s taking them. Yes, Sing Street includes some cliches for this type of film in general, but the entire idea of a film about a very musical young man in high school being bullied by boys (and men) who don’t understand the meaning of art or creativity–who “have the power to destroy, but not to create” as the protagonist Conor puts it in one scene–is so boldly original that (and I rarely say this about clichés) I simply don’t care.

The film is set in Dublin, Ireland, in the 80s. In the opening scene, Conor is strumming his guitar in his room, with the audio of his arguing parents in the background. They call him out and say they’re transferring him from his posh school to a Jesuit school. Cut to an all boys’ high school–it’s pretty much totally uncivilized. Boys are screaming, fighting, laughing. All play, nothing is sacred, nothing is serious. They behave like toddlers. The rest of the film, despite mostly being an amazing romance story with great music, is truly about the introduction of a limited amount of art into a community full of teenage (and adult) ignorance. Ultimately, this changes so much without really changing much at all. It’s perfectly realistic. That’s why I love this film. It dares to be both optimistic and cynical, staying realistic throughout. All of this is partly due to the beautiful music and the brilliant cinematography. The music acts as the emotional heartbeat of the film, while the gray look of the film (contrasting with a few brilliant, deliberately oversaturated dream scenes) seems to ground the film in reality. However, this is not to take away from the incredibly smart writing in this film. After just a handful of scenes, we have already fallen in love with maybe four-five different characters, and while not every member of Sing Street (the band, not the movie) gets enough to do, every major character in this film is on par with those characters we love from the true classics of the coming-of-age genre. Sing Street is not a musical that uses its music as a crutch. The great music is another necessary element of the brilliant story, which is, at its heart, definitely the finest coming-of-age story this side of Boyhood. The film is perfectly paced and incredibly well-structured. There’s never a scene that feels rushed, nor is there a scene that drags. Some subplots could be cut without changing much, but they are more than engaging enough to not only keep our attention but to enrich the film itself. This is quite an achievement. In my humble opinion, John Carney, the film’s director, shows as much expertise in this one film as anyone has in one film in the past three years.

However, there are a few small negatives: some characters seem totally underdeveloped and are only there to flesh out the band; some scenes in the film are a tiny bit repetitive and/or very slightly contradictory; and, if this bothers you, an ending scene leaves loose ends and involves lapses in logic. However, the ending is open to interpretation in many ways, so it doesn’t bother me. I was swept up in the emotion of the moment and didn’t realize any of this until I had seen the film five times. However, none of these total nitpicks takes away from what a masterfully-created, beautiful film this is. Sure, it’s not for everyone (looking at you, lovers of only spectacle and/or mindless entertainment), but for those of you who like to experience art that is unique and interesting, this beautiful work of art deserves, at least, the meager attention of one viewing.

Editor: Charles Schnell (who agrees with just about everything Leo says of this film)

Does Pitch Perfect 3 Hit the High Note?

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By Claire Jenkins

 

Pitch Perfect 3, otherwise known as the “Last Call, Pitches,” was quite a sinking ship. Whether it be about the over-the-top storyline with strange side stories, or about the song choices in the movie itself, there were many complaints.

The Pitch Perfect franchise is known as a female-driven feel-good comedy movie that puts emphasis on the strength of women and friendship. The first two movies had fulfilling and heartwarming storylines about how Anna Kendrick, as Beca the lead character, helped to push forward and create everlasting friendships. They were feel-good movies that showed the power of friendship, determination, and love. The movies were not focused so much on romantic relationships, although Beca did have a boyfriend for a small amount of time.

In the third movie, everyone went in with high hopes of experiencing yet again the female powerhouse comedy that had such great reviews before. Instead, this time the movie had an outrageous storyline for Rebel Wilson’s character, affectionately deemed Fat Amy, that came out of nowhere. The movie had outrageous actions, explosions, and awkward will-they/won’t-they romance. They threw in a love interest for Brittany Snow’s character, Chloe, that simply did not fit the theme that friendship and sticking together was the most important thing.

Many fans were upset due to the constant teasing of a possible romance between the beloved Beca and her best friend Chloe. The trailers and social media accounts for Pitch Perfect 3 constantly flashed pictures or videos of Brittany Snow and Anna Kendrick in possible romantic situations that never came true in the movie. This is known as “queerbaiting,” and it is a common problem in many movies or TV shows where they throw around the idea of putting two characters of the same sex together simply for more views. They use characters’ sexualities as a way to gain attention, and often don’t properly portray the LGBTQ+ community.

Despite all of the obvious problems in the movies, the actresses make up for it with their talent and charm that so many love. Pitch Perfect 3 was not as well written as the two previous movies, but it was still a heartwarming comedy underneath.

 

Editor: Brennan Nick

Why An iPhone (or any expensive smartphone) Is Worth The Price

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BY Luke Langlois — guy with opinion

 

Apple’s newest phones, the iPhone X and the iPhone 8, were unveiled to the public at their 2017 presentation in September. The new “flagship” device, the X, has sparked a plethora of design nitpicking, debating, or just plain old praise.

 

The one complaint that people tend to agree upon is that the four digit price tag of $1,000 is just too high. Pair this with any Apple Care programs, any other irresistible pieces of tech, and the day-to-day costs of life on Earth, and you’ve got a noticeable absence of money in your bank account.

 

This raises a question for everyone who loves their smartphone: just how much am I going to have to shell out for my new phone every couple of years? Will the prices continue to rise? These are all valid questions. But, my humble opinion is that people have just become spoiled.

 

I don’t mean to call people spoiled as in children who whine and cry; people maybe have just forgotten (or never have lived in) the time before the lightweight and portable phone. If you think your phone is in your pocket, you reach for it and it’s not there, it is worrying to say the least. Our phones are such an amazing luxury. We have all of the world’s information, games, entertainment, connections, productivity, and notes available in our purses or pockets. Not only the functionality of the devices are incredible. The technology in these devices are FANTASTIC.

 

No, I’m not saying you need to shell out for the latest Apple or Samsung product. It will still be difficult to spend so much money on these phones now and in the future. Nevertheless, remembering the ridiculous amount of function and power these devices give you might help make the decision easier.

 

 

Editor: Shelby Armor

It’s Coffee Time: A Review of Java with a Splash of Politics

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By Peter Kadel, Consumer of Caffeine

Recently, I found out about the Black Rifle Coffee Company, a veteran-run-and-owned coffee-roasting operation based out of Utah. Their beans come from South and Central America. The company is owned by Evan Hafer, a veteran who served in Iraq and Afghanistan and who has been working on his coffee-roasting skills for the past ten years. The company advertises itself as “the world’s premium conservative coffee company.” The BRCC roasts its coffee in small batches. The coffee is made to order. This means that the coffee isn’t made until you order it on their website. Thus, BRCC’s coffee takes a little longer to reach you due to the 2-3 day roasting period. Additionally, shipping takes about 7-10 days, but that is at the lowest cost for shipping. If you are willing to dole out the extra money, it can get there in two days.

BRCC carries a decent variety of coffee with 17 different blends that come in 1 of 4 roast types: light, medium, dark, and extra dark. The available textures are ground or whole bean.

I have tried two of the available blends. The first one was a medium-roast blend called the Fit to Fight blend which has an excellent aroma and decent taste. The coffee was delivered quickly. The blend tasted good. Usually I need to sweeten coffee in addition to adding heavy cream, but with the Fit to Fight Blend and with the Black Buffalo Blend–the second blend I’ve tried–I enjoyed the flavor of the coffee by itself. All it needed was a little cream. Even after I accidentally left the grounds out in the open air for a week, the Black Buffalo Blend kept its rich and full flavor and has not let me down yet. The Fit to Fight Blend had one incident where it began to taste sour as I was drinking it, but I’ve only had that issue once (but that might have been the cream).

Overall, the Black Rifle Coffee Company produces quality coffee that has the same effects on me as every other coffee I’ve had–virtually none. However, that doesn’t mean the coffee won’t offer the caffeinated kick most coffee lovers need to get through their day. While some people may be hesitant to support a company with strong political views, BRCC is not the only coffee company to have a political bias; Starbucks is a nationally recognized coffee chain that has often taken a political stance on various issues, rather than remaining neutral. For years, Starbucks has supported same-sex marriage legislation. And, in February 2017, Starbucks offered to hire 10,000 refugees in reaction to recent immigration legislation. The BRCC, in response to Starbucks, stated it wants to hire “veterans instead of refugees.” It should be noted that Starbucks also has a 10,000-veteran hiring initiative. The fact of the matter is, you’re voting with your wallet when businesses get political. You don’t have to buy their product. But, do note, BRCC makes some great coffee!

 

 

Referenced:

 

http://www.businessinsider.com/why-trump-supporters-boycott-starbucks-2017-2

https://www.snopes.com/politics/sexuality/starbucks.asp

Editor: Charles Schnell

Sellout

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By Guest Writer and Music Enthusiast Holden Hartle*

 

What is a sellout? This is a word thrown around quite often in the music world. If an artist or band changes their style of music, they are immediately labelled a sellout. Bands like Fall Out Boy, Maroon 5, and Weezer have often received the insult. Rivers Cuomo, the lead singer of Weezer, even wrote a song about being a sellout entitled “Back to the Shack” (great song, highly recommended). But that can’t be right. What if an artist wants to change their style simply because their interests have changed? According to most people in the Youtube comments, fans don’t care whatsoever.

In the music world, a sellout is attributed to someone who changes their style of music, for the purpose of making more money. Taylor Swift is a prime example of this. I realize I am making some very unpopular claims, but just stay with me. Taylor Swift started off as the sweet, innocent country girl, who wrote songs with her acoustic guitar and sang like an angel. Songs like “Our Song,” “Mean,” and “Sparks Fly” got into the heart of every twelve-year-old girl in America. But then she made a huge change. In October of 2012, Taylor Swift released the album Red. This album hinted at a change to pop music, with songs like “I Knew You Were Trouble,” “22,” and “We Are Never Getting Back Together.” Then in 2014, Taylor Swift finally announced that she made the switch to pop with her album 1989, featuring songs like “Blank Space,” “Bad Blood,” and “Shake It Off.” Now she has an album set to release on November 10, 2017, entitled Reputation, featuring “… Ready For It,” and “Look What You Made Me Do.”

So, down to the real question, why? Why would she make this sort of change? Well, in every interview I could find on her (which is way more than I wanted to watch), she doesn’t really answer the question. She always finds some way to swerve around the question. This leads us to assume that she did it solely for the money. She saw the money she could make doing pop, and the dollar bill signs started flashing in her eyes. If you compare the sales of 1989 and all of her other albums, 1989 crushes any other album by a staggering 3,000,000 total albums.

So, in essence, this is what the music community calls a “sellout.” It is an insult that means you dropped the sound of your roots in order to make more money. The problem with this insult is that it applies to too many bands who do not deserve it. Who do you think is a sellout?

 

Editor: A.J. Patencio

*The above is the sole opinion of Guest Writer Holden Hartle and does not represent the views of thebirdonfire.org editorial board (in other words, Claire disagrees).

Writing Down the Bones–A Review of an Essential Writing Guide

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Author, poet, and painter Natalie Goldberg

By Charles Schnell

Are you having trouble writing a novel? How about a poem? A play? Perhaps, one of the essays Ms. Zachik, Mr. Griffin, or Dr. Carr has ordered? Don’t worry; Natalie Goldberg’s Writing Down the Bones is just what you need.  This roughly 200-page book is essentially a guidance counselor for writers. Goldberg has written a practical, anti-textbook that tells you what you want to know and inspires you to write. She details various stages of a writer’s mind in development, ranging from philosophical advice (how to tackle doubt), to practical, simple words of wisdom (don’t think and don’t wait — write).

Goldberg applies her spiritual wisdom to the physical world. When reading the book, it’s almost as if she is there in person, teaching you. And, it’s not as if the book is very long. She says what she wants to say, tells the stories she wants to tell, and does it quickly. Each chapter is about two pages.

A few of my favorite chapters are “A Meal You Love,” “Doubt is Torture,” and “Don’t Tell, but Show.” The first is all about detail and making your words come alive on the page. The second, “Doubt is Torture,” is about what might be the biggest struggle of all artists–DOUBT. Doubt can stem from many things: fear, past failures, or lack of money. Goldberg understands this very well: “Every other month I am ready to quit writing….These thoughts are torture….Doubt is torture….It is a constant test of perseverance.” In this chapter, Goldberg shows how you’re not the only dreamer who doubts. You can overcome. Finally, in the chapter “Don’t Tell, but Show,” Goldberg explains why showing feelings through actions, rather than just stating, is deeper and more real than simply telling, and gives her advice on how to show. Her advice has proven to be really useful.

Of course, all of the chapters in this book are helpful and contain much advice that I cannot simply state in this review. To be honest, you’ll probably learn more from reading this book than taking some writing workshops (although, both are recommended). The book could even function as a refreshing daily meditation on writing, to be read over and over, chapter by chapter.

This and much more is why I appreciate this book, and I highly suggest it for anyone who needs help and is stuck in a seemingly permanent writer’s block (remember, it is not permanent), whether that block be in writing a short story, an English essay, or even a book review for your weekly post on thebirdonfire.org….

 

Editor: Claire Jenkins

 

Goldberg is also an accomplished professional painter.