I wouldn’t characterize myself as a movie person, but I enjoy a good film every now and again. In fact, while I see the argument for seeing movies at home—it’s cheaper and easier—I find I don’t actually watch very many movies when at home, so the majority of my movie experiences come at the theatre.
(Entirely as an aside, if the reader has never seen a movie alone, he or she should try it. It’s freeing and should not be stigmatized. I will now descend from my soapbox)
This is all to say that I have in the past few days engaged with two separate movies, wildly disparate in tone, setting, and story; their only similarity is that they were both exquisite. What follows is the briefest of reviews for the films. Without further ado:
It is manifestly astonishing, in the waning days of the vampire craze in which we find ourselves, that there are still vampirical depths yet to be plumbed. But What We Do In The Shadows, Jemaine Clement’s witty and satirical film on the lives of modern-day vampires, shows that no subject is too trodden upon for a skilled writer and filmmaker. What We Do In The Shadows is a mockumentary about the lives of four “modern” (the youngest is 140 years old) vampires living in a house together near Wellington, New Zealand.
Many challenges face the everyday vampire in today’s world, from the travails of dressing oneself without being able to see one’s reflection to the difficulties of getting into a bar or club (vampires, of course, can’t enter unless invited). These challenges are alleviated somewhat when an actually modern vampire joins their midst: the newbie, Nick, is able to introduce the flatmates to some of the trappings of modern life. But with the magic of cell phones and the newfound ability to party hard—Nick is friends with the bouncer of the hottest club—come challenges: Nick is unused to the rules of the vampirical lifestyle and has to be constantly restrained by his fellows (and by Stu, the mortal who hangs out with them).
This synopsis, as engaging and lovingly crafted as it is, doesn’t do justice to the film itself; What We Do is smart and self-mocking, taking all the traditional vampire tropes and putting them in the characters of three goofy slackers. If you are in the market for a highly amusing, off-the-beaten-path type of comedy, do yourself a favor and go see What We Do In The Shadows.
If you do happen to be in that market, however, by no means should you go see Timbuktu. I understand you may not believe that a movie about ISIL imposing Sharia law on a peaceful village wouldn’t be side-splittingly hilarious, but you’ll have to take my word. But the depressing story and reality that it portrays doesn’t take away from the fact that Timbuktu is a marvelous movie that beautifully portrays life in and around the ancient Malian city. Kidane is a cattle herder who lives outside Timbuktu with his wife and daughter. They lead a simple, happy existence; Kidane has a small herd of cows which he leaves to the care of Issan, a local shepherd boy, while he spends time with his family. They are happy and free, isolated from the laws imposed on Timbuktu by the militants. I won’t ruin it for you, but the peace doesn’t last.
The story is compelling and sad; it opens a small window into the world that millions of people suffer from on a daily basis. Incredibly, it also manages to humanize the militants to a degree; as horrible as militants are, they are still people. But the true appeal of Timbuktu is the cinematography; the subtlety and beauty of the shots was truly mesmerizing. I was not the only one to think so; Timbuktu was a nominee for best foreign film at the Academy Awards. I’m not sure what mood you’d have to be in to see it—reflective, introspective, whatever—but whenever you get in that mood, go see Timbuktu. It’s worth your time.
After working in Washington, D.C., for two years, Andrew Orlebeke (’10) is in graduate school in Seattle, Washington, studying public policy. In addition to public service, he has a passion for traveling and an abiding love of sports.
