The Vault (2017, Dan Bush)


The Dillon sisters, Leah (Francesca Eastwood) and ex-con Vee (Taryn Manning), stage a bank robbery to help their troubled brother Michael (Scott Haze) get enough money to pay off the gangsters threatening to kill him. Their plan is to hit the place fast and be gone before the local authorities can react but things quickly get out of hand when the manager refuses to co-operate and they find the safe is too sophisticated to crack. The situation escalates when a female bank employee is badly injured trying to escape and the police surround the building.

However one of the employees, Ed Maas (James Franco), seems strangely calm and offers to help the robbers in return for 5% of their take. There is it seems another vault in the basement, much older and easier to break into which he insists contains six million dollars and another way out. The Dillons are so desperate they don’t notice Ed seems a little too keen for them to open the vault.

Dan Bush co-directed The Signal (2007), an intriguing little horror about society collapsing through a message sent through television screens which turned the viewer into a raging psychotic. There’s a similar theme here of people turning into savages here though this is a much more conventional film, a mixture of heist movie and supernatural horror which doesn’t really move far beyond genre tropes. It’s atmospheric enough in the early sequences with Franco’s quiet stillness a counterpoint to all the aggression going on around him but once access is gained to the vault what lies within proves to be something of a let down.


Bush’s direction in his segment of The Signal  is spare and haunting but the goriness present in The Vault  recalls the worst excesses of the torture porn era diminishing his good work in the opening first act. The earlier film was violent but at least had something to say about contemporary life. The Vault is efficient and the final revelatory sequence does send a chill down the spine before The Vault reverts to the familiar with one of the most overly used horror movie endings.

What is clear from The Vault though is that Hollywood studio bosses who are trying to promote Scott Eastwood as a movie star are backing the wrong sibling because with her charismatic turn here and her equally fierce performances on television in Fargo and the Twin Peaks finale it’s clear Francesca Eastwood is the one to watch.


Content Media

A Dan Bush Film

The Vault 

In Cinemas & On Demand on September the 8th


DVD Review – Revolution : New Art for a New World (2016, Margy Kinmonth)


Kustodiev – Demonstration in Uritsky Square (image courtesy of Foxtrot Films)

Mary Kinmonth’s visually striking documentary examines the avant-garde art movement in Russia which emerged alongside the Revolution. Both shared similar aims, to sweep away the old order and create something new. Many of these young artists supported the Revolution and allowed their work to be co-opted for political means. However in the years afterwards as Stalin came to power and began the purges they would become enemies of the state and their work would be hidden away or in some cases destroyed.

The avant-garde movement was already underway before the Czarist regime fell but the Revolution gave it impetus. Young visual artists like Wassily Kandinsky and Kazamir Malevich rejected the traditional European influences on Russian art and embraced the extremities of the avant-garde. They found an ally in Lenin who recognised the power of the image in country where most of the population was illiterate. “Art is the most powerful means of propaganda available to the socialist cause” said Lenin who allowed a certain amount of freedom as long as they obeyed the party line and did not belittle the Revolution.

There are ground-breaking advancements in photography through the work of Alexander Rodchenko and in film two of the most influential directors of the 20th century emerge, Dziga Vertov (Man with a Movie Camera) and Sergei Eisenstein (Battleship Potemkin). Indeed, Kinmonth’s interest in making Revolution: New Art for a New World came from seeing the storming of the Winter Palace sequence in Eisenstein’s October 17: Ten Days that Shook the World and finding out it was a myth designed to please the Bolshevik regime. Eisenstein in effect was doing what John Ford would later do with the Western. Printing the legend.

Having worked in Russia directing a film for the South Bank Show about the origins of The Nutcracker ballet Kinmonth has used her contacts in the arts world to gain access to paintings long unavailable for public viewing. These artworks appear alongside archive footage, photographs, interviews with art historians, and readings by actors (including among others Matthew Macfadyen, Tom Hollander, and Daisy Bevan). Location filming gives us a sense of time and place as well as the social conditions under which this work was done. An amusing role playing sequence performed by young art students recreates the arguments over Malevich’s ‘Black Square’ paintings, literally paintings of black squares to which the viewer is invited to find their own meaning.

‘Black Square’ by Kazamir Malevich (image courtesy of Foxtrot Films)

Kinmonth also speaks to descendants of the artists, some of whom have devastating stories to tell about the effects of Stalin’s purges on their family. Some fled the country, others survived by amending their art to suit the demands of the state, while others faced the gulag or execution. Sergei Eisenstien’s assistant-editor on October 1917 was a certain Josef Stalin who personally oversaw the movie’s final cut and made sure there was nobody resembling in any way shape or form his political rival Leon Trotsky. Film director Andrei Konchalovsky (Runaway Train, Tango & Cash) talks about his grandfather, the painter Pyotr Konchalovsky, who turned away from the avant-garde and focused on more traditional forms of painting in his later years.

Revolution: New Art for a New World is fascinating to watch during our own current period of political uncertainty, especially with new media and technology clearly being used for propaganda purposes. Great artworks may well outlast the society in which they are created, but this illuminating documentary suggests they are better understood together.


A Foxtrot Films Production

Revolution: New Art for a New World

On DVD from 3rd April

Directed by Mary Kinmonth

Running time 85 minutes

Films of 2016

10. The Nice Guys (Shane Black)


After digressing with a Marvel movie and the pilot for a Western show for Amazon, Shane Black returns to the kind of wise-cracking buddy movie which made his name. Ryan Gosling’s hopeless PI teams up with low-level enforcer Russell Crowe to solve the disappearance of a porn star. The retro 70s’ era stylings add a new element to Black’s familiar tropes (yes, we’re in L.A., yes it’s Xmas) and while I’m not entirely sure what’s going on it’s very entertaining.

9.  Creed (Ryan Coogler)


Successfully paying tribute to the franchise’s history while also moving it forward Ryan Coogler’s Creed mixes the pathos of Stallone’s wonderful Rocky Balboa (2006) with the gritty underdog status of John G. Avildsen’s original Rocky (1976). Michael B. Jordan’s Adonis Creed follows in his father’s footsteps, only this time he’s the unfancied contender given a shot at the big time in a show fight with the champion while Rocky is the grizzled seen-it-all Burgess Meredith figure. Creed can rightly be ranked alongside Rocky, Rocky II, Rocky III, Rocky IV, and Rocky Balboa as being the best movies in the franchise.

8. Elle (Paul Verhoeven)


Excerpt from LFF review.

“Though Elle may seem like Verhoeven is being deliberately provocative it’s his most restrained film to date, a character study of somebody who has already suffered a horrendous trauma (the matter-of-fact way Huppert reveals this is shocking and hilarious) and is now more than capable of dealing with anything else life might throw at her.”

7. Nocturama (Bertrand Bonello)


Excerpt from LFF Review

Touching on themes of a disenfranchised youth, Europe’s collapsing institutions, misguided political idealism, and materialism, Nocturama perhaps the most prescient film of the year.

6. Hail Caesar! (Joel, Ethan Coen)


Eddie Mannix was by all accounts a son-of-a-bitch and totally undeserving of being the centre-piece of the Coen Brothers love letter to classic era Hollywood, but hey it’s the movies and this is essentially what the film is about. Everything being awful behind the scenes but turning out perfectly in the final cut. Particular highlights are Channing Tatum’s “No dames” routine, a Christopher Lambert cameo, and the exchanges between haughty English film director Ralph Fiennes and Aiden Ehrenreich’s singing cowboy. The payoff to their celebrated “would that it were so simple” scene is beautiful.

5. Pikadero (Ben Sharrock)


Hoping Ben Sharrock’s melancholic but very funny movie gets a UK release. It’s about a young couple trying to consummate their relationship while also trying to deal with effects of the financial crisis in Spain and the limited options now available to them.  

Excerpt from EIFF review.

“Both are still living at home with their parents. Mostly they just hang out having conversations about their hopes for the future. Their ambitions are modest. She’s contemplating going to Edinburgh. That’s how bleak things seem, working in a hotel in Scotland seems like an attractive proposition.”

4. Tale of Tales (Matteo Garrone)


Something of a departure from the director of the gritty gangster film Gomorrah (2008), this anthology of fairytale stories is filled with beautiful images, occasionally grotesque sequences, characters who are selfish and cruel but who retain out sympathy, and dark humour. As adaptations of fairytales go it’s up there with the best of Borowczyk, Demy’s Donkey Skin (1970), and Neil Jordan’s The Company of Wolves (1984).

3.Goldstone (Ivan Sen)


That rare thing, a sequel that not only improves on the original but adds depth to it by showing how much events in the earlier film affected the protagonist.

From LFF review.

“Like Mystery Road the film utilizes the Western genre to tell a story about the culture clash between the disenfranchised indigenous community and those who seek to exploit the land for profit. The charismatic Pedersen’s taciturn hero is a wonderful creation, a man trapped between cultures but increasingly drawn back to his roots. “

2. The Love Witch (Anna Biller)


Excerpt from EIFF review.

“Anna Biller’s stunning retro-styled fairytale borrows the iconography from classic movies but the result is anything but derivative. There are nods to Hitchcock’s Psycho, Douglas Sirk melodramas, and Jacques Demy’s fairytale romances but The Love Witch has most in common with Angela Carter’s feminist reworking of Brothers Grimm stories with Biller critiquing female roles and masculinity.”

1.Personal Shopper (Oliver Assayas)


Assayas audacious ghost story is an unpredictable and moving study of grief with a tremendous performance from Kristin Stewart. It also has a scene in an empty mansion which is more terrifying than anything I’ve seen in a straightforward horror movie in years.

Excerpt from LFF review.

“there is a hint of ambiguity present suggesting Maureen’s grief may have taken form, just as Eleanor’s anguish might be the cause of the strange occurrences in Shirley Jackson’s ‘The Haunting of Hill House.’ Yet Assayas and everybody in the movie treat her gift with respect which suggests this is a world where the supernatural is possible and the dead exist alongside the living.”

LFF Round-Up

Personal Shopper (Olivier Assayas)


Olivier Assayas reunites with Kristin Stewart following their success with Clouds of Sils Maria for this unusual tale of a young woman trying to come to terms with her twin brother’s death. Maureen (Stewart) lives in Paris and works as a personal shopper for a supermodel. She hates her job collecting expensive items from high-end department stores, but it pays the rent. She has a reason for staying in the city.  Maureen is a medium and believes Lewis is haunting the house they grew up in so she spends her nights there trying to make contact with his spirit. These scenes are unsettling and eventually become downright terrifying, though there is a hint of ambiguity present suggesting Maureen’s grief may have taken form, just as Eleanor’s anguish might be the cause of the strange occurrences in Shirley Jackson’s ‘The Haunting of Hill House.’ Yet Assayas and everybody in the movie treat her gift with respect which suggests this is a world where the supernatural is possible and the dead exist alongside the living. There’s a sub-plot about mysterious texts sent by somebody who seems to know her whereabouts at all times,  a Vertigo like transformation into her boss, and a murder but it’s plot is less important than the mood Assayas creates. Personal Shopper may prove divisive for audiences but it’s an audacious study on grief, and urban loneliness with a terrific performance from Stewart.

Nocturama (Bertrand Bonello)


Bertrand Bonello’s remarkable film is a real gut-puncher. Opening with a beautifully choreographed wordless sequence showing a group of youngsters repeatedly crossing paths as they move through the Paris Metro, then towards their various destinations at the heart of the city it’s clear they are carrying out some kind of well thought out plan. Bonello gives us hints through flashbacks but retains this ambiguity until they’ve completed their missions. The kids then retreat from the real world of the city, and into an upmarket department store where they hide away from the consequences of their actions. Running wild through the various floors this place becomes like a fantasy world occupying their time until the inevitable happens and the real world catches up with them. Touching on themes of a disenfranchised youth, Europe’s collapsing institutions, misguided political idealism, and materialism, it’s perhaps the most prescient film of the year. Bonus points for using John Barry’s theme for the 70s’ Roger Moore/Tony Curtis TV show The Persuaders to haunting effect.

Barakah Meets Barakah (Mahmoud Sabbagh)


Funny and occasionally melancholic romantic-comedy from Saudi arabia about a young couple trying to further their relationship while also dealing with societal pressures and their families. The first time we see Barakah (Hisham Fageeh) he’s walking towards the screen like ‘Beat’ Takeshi’s introduction in Violent Cop, but he’s a gentler sort of fellow. As a civil servant his job requires him to patrol his local neighborhood and hand out fines for minor civic infringements, but Barakah usually just warns them instead. Barakah is beginning to feel life is passing him by until he meets social media star Bibi (Fatima al-Banawi) and the two become although their personalities are very different. He’s working-class, while she’s the adopted daughter of rich parents. Barakah is quiet and obeys the rules, Bibi walks around with her head uncovered and sails dangerously close to the wind with her Instagram account. The presence of the religious police is never directly shown except in one absurdist sequence but the threat is always there in the background. The couple meet in public places for moments at a time making sure these encounters look more like chance than romantic liaisons in case somebody reports them. There’s a beautiful riff on the “this is 2003/1955…” scenes from Mike Mills Beginners (2011) contrasting the freedoms his grand-parents generation enjoyed with the limitations they’ve placed on the young. It is first and foremost though a romantic-comedy though, and both Fageeh and al-Banawi are very charming together.

Blue Velvet Revisited (Peter Braatz)

David Lynch, Isabella Rossellini



Documentary put together from behind-the-scenes footage taken by a German filmmaker Peter Braatz. As a student Braatz asked if he could shadow David Lynch during the production of Blue Velvet and to his great surprise Lynch agreed. Blue Velvet Revisited is for die-hard Lynch fans only, a mixture of still photography, on-set interviews, and footage taken of scenes being filmed presented with little context for the uninitiated. The most interesting part is hearing Lynch talking thirty years how he would like to experiment with new computer technology and his dissatisfaction with the process of shooting on film. No wonder he was one of the first directors to embrace digital filmmaking.


Dog Eat Dog (Paul Schrader)


Easily the biggest disappointment of this year’s LFF is the normally great Paul Schrader’s adaptation of Eddie Bunker’s crime novel about three recently released ex-cons and their return to their violent old ways. Dog Eat Dog reteams Schrader with Nicolas Cage after the poorly received Dying of the Light which did at least have production problems to use as an excuse for its failure. On paper Bunker’s novel seems the perfect material for Schrader, director of the cool detached adaptation of Comfort of Strangers (1990) and the stylish crime thriller Light Sleeper (1992) but the darkly comic tone here and the occasional digressions into the kind of dream-like fairytale stylings of David Lynch don’t suit him. An opening scene in which Mad Dog (Willem Dafoe) murders an overweight mother and her teenage daughter is shockingly played for laughs and this glib tone continues throughout the movie despite the obviously fatalistic direction the story is clearly taking. Bunker’s story about ruthless none too bright criminals who will hurt anybody who get in their way is still in there behind Schrader’s excesses but despite excellent performances from Cage and in particular Christopher Matthew Cook as hulking enforcer Diesel this is an unpleasant and (remarkably considering the age of its director) adolescent work.


LFF 2016 – Elle (Paul Verhoeven)


Fairly convinced Paul Verhoeven is engaged in the process of shaping his own CV so each film is part of a matching pair. Basic Instinct (1992) is a glossy Hollywood version of The Fourth Man (1983), Black Book a female tale of heroism to go with his earlier WWII epic Soldier of Orange, while Showgirls (1995) essentially tells the same story as his period drama Katie Tippel (1975), with a young woman trying to make her way in a workplace where men hold all the power and frequently abuse it. Now with Elle he reworks medieval action movie Flesh + Blood (1985) into a film that manages to be both a revenge thriller and a French comedy of manners.

Like Flesh + Blood it concerns a rape victim shifting the balance of power against her attacker by beginning a relationship with him. Video games CEO Michele (Isabelle Huppert) is brutally assaulted in her own home by a masked intruder. Rather than reporting the incident to the police she clears up the damage to her home and washes away the physical evidence by bathing. Though Elle may seem like Verhoeven is being deliberately provocative it’s his most restrained film to date, a character study of somebody who has already suffered a horrendous trauma (the matter-of-fact way Huppert reveals this is shocking and hilarious) and is capable of dealing with grief.

Michele refuses to be a victim and indeed proves stronger than those around her, most of whom are reliant on her for money or seek to use her as an emotional crutch. It wouldn’t have worked so well without Huppert who can play characters who refuse outright to ask the audience for sympathy (see also White Material). Maybe Adjani could have matched her but I’m not sure. It’s a complex and ambiguous film and I’m not sure I’ve got a handle on it after one Film Festival screening.

LFF 2016 – Goldstone (Ivan Sen)


Ivan Sen’s impressive sequel to 2013’s Mystery Road sees detective Jay Swan (Aaron Pedersen) once again searching for a lost girl in a remote area of Australia. Last time we saw Swan he was standing tall in true Western style having just faced down a violent gang in the outback, but it’s clear from Pedersen’s demeanour he’s no longer the same man. We learn later Jay’s drug-addict daughter from the first film has since died and he’s taken to drink in a big way. Sent out to the tiny mining town of Goldstone on “light duties” to investigate the reported sighting of a missing young Chinese woman he spends the first night in jail after being pulled over by local lawman Josh (Alex Russell) for drink-driving.

Josh  is the only lawman in town, but his job is basically breaking up drunken brawls and doing the bidding of local mining company boss Johnny (David Wenham, think evil Rhys Darby) and town mayor (Jacki Weaver). Josh might not be taking the cash bribes offered to him, but he knows when to let things slide. There is no evidence a Chinese girl was ever in Goldstone and nobody’s talking. Even the local indigenous community wants nothing to do with Jay. The sighting was called in by Maria (Ursula Yovich) months ago but it’s only now the authorities have taken an interest and sent him out there. Jay’s visit is watched over by company man Tommy (Tom E. Lewis) who warns him off the next day. Later his mobile home is machine-gunned by a biker gang.  Josh wants Jay gone before he causes any more trouble, while Jay thinks the Goldstone man is shirking his duties. Both rile each other into action. Jay to sober up and Josh to finally start acting like a cop despite the intimidation they both face from those intent on protecting their business interests at any cost.

Like Mystery Road the film utilizes the Western genre to tell a story about the culture clash between the disenfranchised indigenous community and those who seek to exploit the land for profit. The charismatic Pedersen’s taciturn hero is a wonderful creation, a man trapped between cultures but increasingly drawn back to his roots.  Once again he faces corruption from authority figures, an outlaw gang, and even a rival gunslinger (Aaron Fa’oso) this time but there’s a departure away from the realism of the first film towards a kind of mysticism where the land has a profound haunting effect on those who are willing to make a connection with it. Sen’s dialogue is occasionally portentous, but Goldstone is an ambitious film, beautifully shot (by Sen who also wrote the music and edited) with a rousing finale as the two lawmen join forces for a stunning showdown. There’s a sub-plot which hints at a possible third film and I sincerely hope they Pedersen and Sen make this a trilogy.


52 Films by Women – Three Examples of Myself as Queen

19. Three short stories by Anna Biller, whose latest film The Love Witch is currently winning acclaim on the Festival circuit. Biller writes, edits, designs the costumes, provides the music, directs, and occasionally stars in her own movies. She uses classic forms of cinema to tell stories about women’s roles in popular culture, all firmly located in the aesthetics of 1950s’ melodrama through their use of Technicolor and retro stylings. Though The Love Witch may prove to be her breakthrough movie she’s been working on short films and made her feature debut with in 2007 with Viva. In this 28 minute short film Biller creates three different musical narratives all built around herself as a woman being the subject of adoration.


In the first story ‘The Queen’s Sad Life’ Biller plays a melancholy Arabian Queen sitting alone in her palace. The set design recalls big epic Hollywood productions from the 40s’ and 50s’ when studios would greenlight movies based on stories from the Arabian Nights. She is visited by a Rajah who asks her why she’s so sad when she has everything she could want. The Queen describes the repetitive nature of her life in the palace, the isolation, the feeling of missing out on other things. The Raj admits he feels the same but then scolds her for asking difficult questions about the nature of existence. She turns to her consorts for comfort and they perform an old-fashioned song and dance number called ‘Let Us Dance’ to make her feel better.


In the second, ‘The Queen Bee,’ Biller plays an exhausted queen bee who is on the search for a place to build a new hive with her colony. Her followers describe potential locations for a new hive but none are suitable until the last member of the swarm returns and describes a place surrounded by flowers. In their new hive the worker bees all sing a song praising her as “the loveliest of bees.”


The final story, ‘The Queen Poinsettia,’ is set in the 60s’ as Poinsettia (Biller) and her friend Buttercup attend a house party together. There’s a live band present singing a song whose lyrics seem to be about a man pressurizing a woman into sex. “Please say yeah, oh don’t say no, yeah, no.” Poinsettia is so into the music she doesn’t notice she’s now the only woman there and Buttercup has left without her. The guys begin to come on strong so she runs from the house, but they follow her. When a handsome hero turns up on a white horse and saves her from harm the story turns into a fairytale. Poinsettia asserts her authority over her attackers by assuming the role of fairy queen and using “mystification” to turn them into dogs. Then she leaves them all behind,  including the now crestfallen hero, and escapes towards towards her castle in the sky.