REVIEW: Equity

27 08 2016

EquityIn the lead-up to the series finale of “Breaking Bad,” actress Anna Gunn penned an essay for The New York Times entitled “I Have a Character Issue.” In it, she said the following about fan reactions to her character, Skyler White: “My character […] has become a flash point for many people’s feelings about strong, nonsubmissive, ill-treated women. As the hatred of Skyler blurred into loathing for me as a person, I saw glimpses of an anger that, at first, simply bewildered me.”

Gunn’s role in the new film “Equity” represents a feature-length doubling down on this curiosity about how American society views powerful women. As high-powered Wall Street banker Naomi Bishop, she continues probing the perils of feminine assertiveness in the workplace. She must deal with the continued frustration of being judged on her reputation, not by her results. Virtually every move she makes entails a dual calculation – first on her professional instincts, and then on how the powerful men around her will perceive it.

Virtually every scene of Meera Menon’s has this built in conflict perspective about women in business. Be it Naomi, her newly expectant underling Erin (Sarah Megan Thomas) who reluctantly draws power from her seductive wiles, or the ruthlessly committed attorney Samantha (Alysia Reiner) on their trail, no female is exempt from feeling the weight of the patriarchal power system. At certain points, the existing dynamic even pits apparent allies against each other.

“Equity” gets monotonous at times due to its unilateral interpretation of events, but the perspective remains so underrepresented that it never becomes tedious. Menon never opts for the easy resolution of any situation, even ending on a harshly cynical note to make her points. With Gunn bringing her own experiences to the table, however, the film adds a level of informed, impassioned weight that elevates invective to the level of a great discussion generator. B2halfstars





REVIEW: High-Rise

27 10 2015

Fantastic Fest

If Ben Wheatley’s achievement in High-Rise were likened to anything, it might have to be juggling fire.  Not merely content to cautiously play with fire, he lights a few torches and tosses them back and forth into the air.  Having perfect form seems almost beside the point as execution gets subjugated by the power of sheer ambition.  The mere ability to keep so many dangerous objects in orbit without self-immolating inspires wonder.

Tom Hiddleston in High-Rise

Wheatley’s cinematic iteration of J.G. Ballard’s novel, adapted for the screen by his wife Amy Jump, is the kind of filmmaking so outlandish and ballsy that it might even be illegal in some parts. The film lingered in development hell for four decades but arrives at the perfect time both socially and artistically.  For a story that deals heavily with class conflict and economic inequality, High-Rise has only become more topical with each passing year.  Furthermore, all its idiosyncrasies make Wheatley’s gonzo style a perfect match of director with material.

The film uses its titular structure, a Brutalist skyscraper containing all the necessary supplies for a self-sustaining community, as a microcosm of our stratified social strata.  But where many stories obliquely commenting on the de facto arrangements that organize our world opt for obvious allegory, Wheatley finds a more satisfying film by exploring the realm of the metaphorical.  Not everything in High-Rise corresponds directly to a recognizable counterpart in the real world, which allows Wheatley the ability to operate at higher levels of ambiguity.

Elisabeth Moss and Tom Hiddleston in High-Rise

Over the course of nearly two hours, the film takes its audience on a thrill ride akin to the Tower of Terror at Disneyland as it goes back and forth between the Caligula-esque exploits of the top floors’ wealthy residents and the grunge of the working class who dwell towards the bottom.  The closest thing the film has to an entry point is Tom Hiddleston’s Robert Laing, a doctor who seems to fall somewhere between the two divisions.

Laing is more often witness to the proceedings than an active participant in the war that breaks out, yet in a way, that makes him all the more ideal to experience the escalating absurdity through.  Calling him a blank slate does a disservice to Hiddleston’s captivating performance, though he does serve that function ins some part.

When someone roasts a dog or bludgeons their enemy with a BAFTA trophy – both of which happen in ­High-Rise – there is something rather refreshing about not being told precisely how to feel.  Many events that take place come with no obvious response, and Wheatley allows us the chance to react as we feel appropriate.  But be it laughter, fear, shock or disgust, our mouths are wide open in awe regardless.  And since the ideas come flying fast and furious, with a new thought arriving before the last one has a chance to settle in, there is simply no choice but to see High-Rise again. B+3stars