TORI AND LOKITA

NEW DARDENNES FILM OUT DECEMBER 2ND

The Dardenne Brothers return with another moral drama that rages against social injustice this time looking upon the hardships endured by two African immigrants as they navigate safe passage while in exile on the streets of modern Europe.

Shot with a hand-held medium to close-up style reminiscient of other works, it destabilises the viewer by putting them very much in the point of view of the adolescents with the peril they find themselves, the watch is not pleasant but when commenting on something as uncomfortable as human trafficking it should not be.

For long periods, the pair are apart from each other as the struggle becomes very real for them both as they have to pay smugglers, work for cannabis growers all off the grid seemingly without their papers. We bare witness to this due to the filming nature and the isolation felt by them is real throughout - the influence of De Sica's Bicycle Thieves remains.

The toil the two young unprofessional actors have to endure is there for all to see, yet the pair Pablo Schils (Tori) and Joely Mbundu (Lokita) conduct themselves admirably throughout, the decision to cast unknowns (a regular occurence in the Dardennes oeuvre) is again a masterstroke as the lack of baggage for the audience with the youthful pair leads to empathy coming to the forefront.

The message of friendship and solidarity between the two is paramount and told so evocatively that the notion of self-sacrifice by one to the other is not a surprise, considering how exploited as individuals they become. The suspense felt is palpable at times. The climatic chase expertly done yet that flourish of action amidst the cruelty beforehand smacks less than those felt by the characters at times. 

This is an angry film about the plight so many people have to endure moving from conflict to conflict as in life though, it is not so much the destination but the journey itself that is the story. Deeply powerful and yet understated in its execution, Tori and Lokita is a watch to endure yet remember.

Tori and Lokita is out from Picturehouse Entertainment on Friday 2nd December

Canada at the 1986 World Cup

Canada, the polite neighbours to the north of the United States of America, are appearing at the 2022 Qatar World Cup for only the second time in their long history of association football.

Their first and only appearance to date was in 1986 when the tournament took place down Mexico way. A tournament feted for Diego Maradona. Gordon Strachan trying to jump pitchside advertising. Gary Lineker's hat-trick. Ray Wilkins red card. Josimar ruining Pat Jennings' birthday.

Yet Canada added some CONCACAF syrup to proceedings, being drawn as bottom seed with then European Champions France led by Michel Platini, the always dangerous Soviet Union and another Eastern bloc power of Hungary.

As history shows, Canada did not muster any points or goals in there three group stage matches, yet they were not humiliated. In their opening game, they held France to a one-nil scoreline, only conceding in the 78th minute to a Jean-Pierre Papin goal.

Following a period of intense training in Colorado for the squad at altitude to prepare the squad for the intensity of daytime heat of Mexico, the squad full of MLS personnel in the majority. The unity of a minnow squad can never be underestimated, while devoid of any marquee name such as say a South American squad which may feature a major European league star - the squad held their head up high after that opening encounter.

Four days later, they faced off against Hungary and in retrospect this was the tie that go away. Hungary had lost their opening game to the Soviets 6-0, so Canada following their resilient 1-0 defeat to the French were made favourites. Unfortunately, the Magyars scored after two minutes and the determination was lacking throughout before a second Hungarian goal ended the tie.

The final match versus the Soviet Union followed a familiar storyline for the Canadians, stout in defence but lacking penetration up front meant the eventual Soviet goals came in the second half from Oleg Blohkin and Olexsandr Zakarov.

Canada's campaign ended on 9th June, eight days after it began. Played three. Lost three. No goals scored. Five conceded. No points.

They have not got close to a World Cup in the intervening 36 years until the past year when a qualifying record containing only two defeats meant they joined confederation counterparts and familiar foes - United States and Mexico in qualifying for the winter World Cup.

Qualification was cemented on March 27th with a 4-0 home victory over Jamaica with goals from Cyle Larin (Canada's all time top scorer with 25 goals), Tajon Buchanan, Junior Hoillet (a name familiar to English fans and playing with Reading currently) and an own goal.

Unlike 1986's twenty two men - this time there are names familiar to World Soccer fans. None more so than Alphonso Davies who is a regular for Bayern Munich at the age of 22, married with the wealth of experience by captain Atiba Hutchinson (aged 39) and will hit a century of caps for his country if he starts all three group games (currently on 97).

Fifteen of the 26 named for Qatar ply their trade in the European domestic leagues. Larin and Buchanan both play for Club Brugge who made the knockout stage of the Champions League post-World Cup in 2023, after previous successful spells with Beskitas and New England Revolution respectively.

Canada are ranked 41st in the world, which is not the worst ranking of those competing and they have not been handed as tough a group as their compatriots were dealt in 1986. They have been drawn in Group F against Belgium, Croatia and Morocco. Now while two of those teams may prompt fear due to their heritage and consistency of recent years - both Belgium and Croatia are reaching the end of the cycle for this particular group of golden players; this promises to be the last World Cup for such luminaries as Kevin De Bruyne, Eden Hazard and Luka Modric. Morocco as with all African nations, provide a bit of the unknown and unexpected yet that is the last of the three group games for both sides. 

Canada open versus the Belgians on 23rd November before facing World Cup runners-up from 2018, Croatia four days later. The quick turnaround of games due to the truncated nature of this World Cup may provide the opportunity for a surprise across the eight groups. Group F matches with Group E which contains powerhouses Spain, Germany, Costa Rica and Japan. That is difficult for all of Group F sides but who knows when it comes to the World Cup.

Canada are on a rich vein of form, the greatest in their history. Will they score a goal for the first time? Or obtain that historic first point? The co-hosts of the next World Cup in 2026 (along with the USA and Mexico) are guaranteed another appearance, but lets hope the old adage of third time's a charm does not ring true for the Maple Leafs.

Clean Cut Kid - HISS

 

Fourth album from Liverpool quartet CLEAN CUT KID out 11th November via Alcopop! Records

Lo-fi and electronic collide in the self-produced new album by the quietly making noise foursome from Liverpoool. Produced in their custom-built analogue home studio, HISS has been crafted lovingly by this group of musos and songwriters. 

Production started in late 2020 when the world ground to a halt, frontman Mike Halls notes how 'the pain of being separated from pretty much everything I love had begun to turn into music in my head'.

Halls took the opportunity to recontextualise the situation as a gift to prepare yourself for permanent separation from parents and this led to creating demos which was essentially unedited of how he was feeling. 

This vitality has melted into the long-playing album and there are twists and turns as different genres weave into the album from folk and first-person storytelling to stories about grief and a love story masquerading as a tale of depression in the same vein as Springsteen's 'Dancing in the Dark'.

'Little Black Space' one of the singles off the album is that love song, a piece of sonic meditation that is both euphoric but embracing of the person within this relationship. 

There is a steady stream of confidence rolling throughout this album, from the calm beginning of opener 'Our Wasted Hours' walk-on music for a band arriving to follow up 'She Take A Pill' a jammy bouncy single to the aforementioned 'Little Black Space' - that is a great opening trifecta. 

   

After that is my only gripe on the album, which is the sequencing. 'Cathy' feels like a slowdown and then the perky 'Louis, Be Brave' does not arrive until track 8. Then the album does end on a high with 'Into The Tall Grass' a metaphor for spirituality and vulnerability and then the finale which is 'Golden Ribbon' an eulogy of sorts for the passing of staying in.

The influences within the album range from Alt-J to Gomez and The Coral to The Zutons. I have mentioned a few Liverpudlian acts there, and that is deliberate due to the rich heritage that city has had in the music culture of the late twentieth century, not least from a certain other foursome who conquered the world.

The album is a journey from calm beginnings to the funereal finality of the album closer. This is an album of majesty, swagger and universality - where there is something for everyone. A gateway of openness and sentiment, HISS is a triumph for song writing and production, sticking to your beliefs and knowing that success will come your way

HISS is out from Alcopop! Records on 11th November.

Clean Cut Kid are Mike Halls (vocals/guitar), Evelyn Halls (vocals/keys), Ross Higginson (drums) and Gareth Bullock (bass).

Honey Harper & The Infinite Sky - Honey Harper

 

New album from alt-country act Honey Harper out now via ATO Records

Honey Harper return with a follow-up to their 2020 breakthrough Starmaker, with a deliberate change in direction with keyboardist Alana Pagnutti taking on a greater songwriting role alongside frontman William Fussell, adding a new dimension to their lyrical output.

The 12-track album feels like a cross-country travelogue through the history of country music, influences of blues, folks and pop with references ranging from Frank Ocean to the Bee Gees and with Pagnutti's input the legendary Loretta Lynn is not faraway.

This is country music but with a kaleidoscopic and spectral in its splendour, from album opener steel guitar dripping 'Reflections' to 'One Thing' with its harmonic melodies resounding out across the John Ford vistas. Top track is 'Boots Mine Gold' a disco tinged line-dancing stomper which comes with a Terminator style video.

Strong hints of Drive-By Truckers ring out in my ears, the vocal delivery of Fussell is a winner throughout. He is ably supported by a stellar band that comprises The Infinite Sky - bassist Mick Mayer, pianist John Carroll Kirby, Alex Fischel (keyboards), Jackson MacIntosh (guitar) and steel player Connor Gallaher.

From highs such as 'Hard to Make A Living' to the mysterious 'Crystal Heart' there is something for everyone on this album from those who cannot tell their opera from their opry.

Honey Harper is out now on ATO Records.

Descendant (2022)

DESCENDANT 

Streaming now on Netflix

Directed by Margaret Brown, whom directed The Great Silence about the Deepwater Horizon and the falllout of that disaster. Here Brown shows another tragic disaster this time focusing on the long known history of a sunken slave ship off the coast of Mobile, Alabama called the Clotilda.

The film is about the attempts to find the remains of a slave ship, supposedly set on fire by slave masters as the transportation of slaves from one country to another had been abolished in 1805 but slavery was still occurring within the United States up to the Civil War

Brown directs with such assuredness and command of the material and resources at her disposal helped by folklorist Kern Jackson, Professor at the University of South Alabama.

The film delicately weaves the narrative about how important it is for the direct descendants of the people who were brought to the Americas from Africa, eventually settling in Africatown, to know the truth about their story, which has been passed down from generation to generation as a story of resilience and survival, providing hope to the generations that follow. This is indicative of the African-American experience claiming their story and their freedom may have come at a price, but their history remains theirs alone.

Featuring readings from Zora Neale Hurston's Barracoon: The Story of the Last Black Cargo, a memoir from a survivor of the ship, read by people who ferment within the narrative. Brown makes sure that the message of legacy and folklore is passed down from person to person, this coupled with VHS recordings of survivors harkens back to a by-gone era. 

Yet there is hope amidst the systemic racism pervaded upon the survivors by the Timothy Meaher family and their surviving family from attempting to wrong foot historians and divers from the true location of the wreckage, to the allowing of huge industrial plants to be built in and around Africatown making the residents unfortunately victims of pollution and environmental danger by way of lead and mills being ever present since their creation, not to mention the destruction to the surrounding water of the gulf region.

From these troubles and the stigmatism of reparations by way a means of accountability to some souls, the message of rising up and reclaiming the narrative is indicative by the end; the ability to curate the story in a new found Heritage house bodes well for the future. 

A dark chapter in the slave history of America is finally rising up from the depths, providing hope to those legacies now and for those descendants now. This powerful tale of storytelling has made this film a frontrunner for the Best Documentary Feature at next years Academy Awards, and it is hard to argue.

DESCENDANT is available to stream now on Netflix.

Alice Boman - The Space Between

 

New album release by Swedish songstress Alice Boman The Space Between, out via Play It Again Sam on October 21st

Boman burst onto the scene in late 2019 with her debut album Dream On, which was greeted with ecstatic reviews and positive feedback the album was a sumptuous mix of hypnotic dream pop songs.

A lot has happened since that album was released, a global pandemic has led to introspection for many people especially creative artists.

This new work is indicative of those months many people who spent that time in solitude and the fear of loneliness that gripped many leading to a real appreciation of mental wellbeing for all people.

This introversion is not a change of style for Boman more an embracing of that which she is good at; her smooth lyrics envelope around the warm melodies she has created here with producer Patrik Berger (Robyn, Lana del Ray). There is a deliberate tone set within The Space Between with ruminations on intimacy and angst, as Boman states, 'Writing is still a way for me to understand myself. As an overthinker, there's this constant motion in my head, so it helps to sit down and write about it to actually understand what I feel or think. Or just to find stillness'

From the outset with opener, 'Honey' there is an earnestness and wistfulness throughout with haunting melody but there is a richness running throughout none more so than on single 'Feels Like A Dream' which features Perfume Genius a song where the marriage of two vocals is reminiscent of Kate Bush at the height of her powers. Unsurprisingly, this was a collaboration brought about by an instagram DM and recorded over the distance, to put how the world has changed into context.

There is a steeliness to Boman's vocals, displaying a softness but a determined nature to be heard by her lyrics, the words which are deeply personal as she comes to grips with settling into a relationship.

This mixture of fear but tenderness is a constant theme that runs throughout an album that is both comforting and spiritual, a treat for those returning to Boman and those who are finding her for the first time. 

The Space Between is out now from Play it Again Sam on all platforms

Cassian Andor - Transcendentalism

Watching Andor the brand new Star Wars series streaming exclusively on Disney+ one is struck by the balance between two worlds inhabited by Andor, that of nature and outer space.

The brilliant new series created by Tony Gilroy that tells the origin story of the hero, Cassian Andor (Diego Luna) of Rogue One and how he became the spark to light the fire amidst the rebellion versus the Galactic Empire.

The first series is following a story arc structure of twelve episodes split into three part arcs. The first three part arc ended with Cassian being taken from his homeland, Kenari, by Maarva Andor (Shaw) where he eventually learns languages, interaction and beliefs of his own away from the indigineous life he was living previously.

The second arc ends with Cassian succeeding in his first rebel mission on behalf of Luthen (Stellen Skarsgaard) as they kidnap a galactic payroll to bankroll the rebels. This again involved Cassian flying in a ship at the conclusion heading to the sky which is never attainable.

This threw me back to the conclusion of the much loved Rogue One, the first film following the purchase of Lucasfilm by Disney, that told the story of how the rebels obtained the plans to destroy the first Death Star in the 1977 film A New Hope.

At that film's conclusion, Andor and Jyn Erso (Felicity Jones) are on the beach of Scarif, they have succeeded and the plans are away in the hands of Princess Leia providing hope to the rebellion. While that portion of the mission is completed, Andor and Jyn are about to be destroyed by the Death Star itself. They stand together embracing each other, knowing that despite their impending doom they are confident that what they have done will change the course of the galaxy.

Yet it is this closeness to nature, the rich green of Scarif to be the last resting place of Andor is fitting as he was born on a leafy planet such as Kenari - in essence it is a return to Paradise for him.

So for me, Andor in the new series is being portrayed a salt of the earth soul as very much, high on morals but looking out for himself firstly, tired of the empire he thinks a difference can be made and is eager to do so at any cost. He does not discriminate when using his blaster, we knew as much at the commencement of Rogue One when he very much went Of Mice and Men on an informant of his. Already he has killed three people in cold blood in six episodes when he feels threatened by someone's rationale.

Yet for me, it is no coincidence that Andor is comfortable in any climate or is so fond of nature he is most at peace when in nature, it also got me thinking about Ralph Waldo Emerson's poem 'Nature' where he lays about the essence of transcendentalism and gaining a divinity through nature, you can only understand reality through studying nature.

Andor is a proponent of this due to his being born within nature and being nutured by nature somewhat - how to live and survive - before he is taken from his planet by a starship and absconded halfway across the galaxy via hyperspace. That episode at the end of Ep 3 'The Reckoning' shows us Andor like we have all before staring into the vastness of space, a new sort of nature for Andor to explore and attempt to touch the untouchable but forego the relationship he has built up previously with the wood and trees. He would now live in a world of greys and darks, built up environments of cement and concrete, with buildings as tall as redwoods and animals are scared of people and do not live in harmony.

And so begins Andor's journey

But every night come out these envoys of beauty, and light the universe with their admonishing smile. In the woods, is perpetual youth 

And so begins Andor's journey into this beauty, one that he must have thought unattainable. The stars smile upon him and they promise him much, but it is down to him/man to obtain his reward. Emerson goes on to mention that the stars are unattainable, yet with technology at his disposal, they become reachable. Nature evokes poetry, simplicity and childlike wonder - the advent of technology to Andor is a shock to the system as Fiona Shaw's character first meets Andor smashing up consoles of a crashed spaceship, his fear of the new immediately strips away his innocence to create this now young adult full of anger and rage at this new way of life.

In the woods, is perpetual youth 

This could have been written for Cassian. Born within nature, and part of it. Emerson writes, in the woods we return to reason and faith. And at the start of the series, Cassian is looking for his sister a meaning or relic of his past life, and in the series so far he is surrounded by builidngs but nature is not far away. The Scottish Highlands substitute for Aldhani, and you can feel the howling gust of winds in this Star Wars galaxy - yet Andor looks at home and comfortable; as Emerson writes, he finds something dear and connates with the wilderness far more than in streets and villages.

The need to reach the horizon is as beautiful as his own nature, and for Andor that is an attempt to return back to his wilderness and a place of belonging. This is indicative of his rebellious character, someone who is unsure when his reckoning shall occur, but nevertheless always looking over his back, gun at hand.

The remaining six episodes of Andor promise a lot and I for one cannot wait to see his relationship with nature bloom further.