Raya Burstein and Uri Burstein in CHARM CIRCLE. Photo courtesy of Cinequest.
Inthe superbly structured documentary Charm Circle, writer-director Nira Burstein exquisitely unspools the story of her own bizarre family. At first, we meet Burstein’s father, a sour character who inexplicably is about to lose his rented house, which has become unkempt, even filthy. He is mean to Burstein’s apparently sweet and extraordinarily passive mother, and the scene just seems unpleasant.
But then, Nira Burstein brings out twenty-year-old videos that show her dad as witty, talented and functional. We learn a key fact about the mom, and then about each of the director’s two sisters.
Some of the publicity about Charm Circle describes the family as eccentric, but only one daughter is a little odd – three family members are clinically diagnosable. Charm Circle is a cautionary story of untreated mental illness and the consequences of failing to reach out for help.
This is Nira Burstein’s first feature, and she has two things going for her: unlimited access to the subjects and a remarkable gift for storytelling. Charm Circle works so well because of how Burstein sequences the rollout of each family member’s story.
The Nashville Film Festival returns in a few days, and I attended a screening of Charm Circle, with a Nira Burstein Q&A at NashFilm two years ago. It went on to play both the San Francisco Jewish Film Festival and Cinequest, and can now be streamed on the Criterion Channel.
Olivia Colman in EMPIRE OF LIGHT. Courtesy of Searchlight Pictures.
The marvelous Empire of Light is a lot of things, but primarily a showcase for the genius of Olivia Colman. Colman plays Hilary, who lives in a British seaside resort town and works in an ornate British movie palace that is, in 1979, showing its age. She’s not the theater manager (who is male, of course), but she’s the person who runs the staff and makes everything operate.
Hilary seems to live a solitary life outside the theater, but she’s socially confident enough to dine alone in restaurants and to enjoy a social dance class. A young man, of African ancestry, takes an entry level job at the theater, and Hilary is drawn to his sensitivity, intellect and aspirations. The two connect, but their journey together faces difficulties.
There is Hilary’s mental health, for starters. Although, she is the solid presence that holds the theater together, it develops that she is on the rebound from a breakdown. She is taking lithium, for what would have been known in 1980 as a manic depressive disorder. She has been prescribed lithium for a reason – and when she feels good enough to stop taking it, there are consequences. It is later revealed that she, deep down, rages against her mistreatment by male authority figures in her life.
So, in Empire of Light, we have a middle-aged woman and a young man, the topics of mental illness and race relations in the UK during the skinhead revival and ascendency of Thatcherism. And it’s all set in a cinema, which allows director Mendes and cinematographer Roger Deakins and the audience to revel in their and our love of cinema. I loved the cinema’s marquee, which both marks the timeframe and celebrates the wonderful movies of the era: All That Jazz, The Blues Brothers, Gregory’s Girl, Raging Bull, Chariots of Fire, Being There.
As much as I loved and admired Empire of Light, the critical reception has been mixed (ranging between love and loathe), resulting in a middling Metacritic score of 54. Some critics whom I respect panned Empire of Light as a scattered misfire (although uniformly praising Colman). However, I see the multiplicity of topics as reflecting the complexity of life, not a lack of focus.
Sam Mendes has directed a slew of excellent films since winning an Oscar for American Beauty. This is his only second screenplay (the other was 1917). Here, his writing is a strength. The Wife appreciated the subtle signs of Hilary’s decompensation (lipstick on her teeth, an incompletely buttoned dress). We’re cringing, waiting for Hilary to melt down at the most public moment, but Mendes saves the real explosion for later, protecting her from total humiliation. The movie’s ending is sentimental without a hint of corniness.
We live in an age of great screen screen actresses, but I can’t see anyone other than Olivia Colman or Michelle Williams play this role with as much authenticity and emotional power. Colamn, with the greatest subtlety, takes Hilary through moments of tenderness, apprehension, joy, being degraded, exuding dignity, all ranging between command and decompensation. A scene where there is banging at her apartment door is especially heartbreaking. Somehow, Colman was not nominated for an Academy Award for this performance, surely among the five best in 2022.
Toby Jones has a scene, sitting on exterior stairs with Olivia Colman, that is extraordinary – a moment of regret when he stuns himself by reflecting on the cause of a relationship breach.
Micheal Ward is solid and credible as Stephen, and the rest of the cast is excellent, too. Colin Firth is a clump of humorless and pompous entitlement, an exile from the Mad Men era. Tom Brookes is especially memorable as theater worker Neil, whom we initially see for his lively and offbeat humor. Then we pick up that Neil doesn’t miss anything, and Neil’s uncommon decency and sensitivity is finally revealed.
Cinematographer Roger Deakins, having been nominated for fourteen Oscars and won twice, makes the most of the aging, once grand cinema and the sunsets and fireworks of the Margate coast. He’s earned another Oscar nod for Empire of Light.
Life is complicated, and sometimes art is complicated, too. Empire of Light is one of the best movies of 2022.
Raya Burstein and Uri Burstein in CHARM CIRCLE. Photo courtesy of Cinequest.
Inthe superbly structured documentary Charm Circle, writer-director Nira Burstein exquisitely unspools the story of her own bizarre family. At first, we meet Burstein’s father, a sour character who inexplicably is about to lose his rented house, which has become unkempt, even filthy. He is mean to Burstein’s apparently sweet and extraordinarily passive mother, and the scene just seems unpleasant.
But then, Nira Burstein brings out twenty-year-old videos that show her dad as witty, talented and functional. We learn a key fact about the mom, and then about each of the director’s two sisters.
Some of the publicity about Charm Circle describes the family as eccentric, but only one daughter is a little odd – three family members are clinically diagnosable. Charm Circle is a cautionary story of untreated mental illness and the consequences of failing to reach out for help.
This is Nira Burstein’s first feature, and she has two things going for her: unlimited access to the subjects and a remarkable gift for storytelling. Charm Circle works so well because of how Burstein sequences the rollout of each family member’s story.
I attended a screening of Charm Circle, with a Nira Burstein Q&A at the Nashville Film Festival. In July and August, it will play both the San Francisco Jewish Film Festival and Cinequest.
