Film Fatales #40: Divines (Houda Benyamina, 2016).
Divines is an interesting movie, for me anyway, because it takes place somewhere I know little about (French suburb), and the lead actor, who happens to be the director's kid sister, is the best thing in the movie. It's also a different kind of gangster movie, much more a female buddy movie.
The buddies are Dounia (played by Oulaya Amamra, Benyamina's sister) and Maimouna (Déborah Lukumuena). They are low-level hustlers who want to join a gang led by Rebecca ... with Dounia as the primary instigator, they work their way into the gang. What follows isn't particularly original, nor does the fact that many of the primary characters are women seem to make a lot of difference. It works because the writing is good, because the acting is especially good, because the locale is intriguing. Cinematographer Julien Poupard adds a lot to the power of the film, working closely with Benyamina (this interview offers an up-close look at their work together), resulting in a film that, as Poupard says, colorful but not to colorful. He also mentions the influence of Mean Streets, which hadn't occurred to me but which makes perfect sense.
Divines won awards at several festivals, and won César Awards for Most Promising Actress (Amamra), Best Supporting Actress (Lukumuena), and Best First Feature (Benyamina). Promising ... that's a good word to describe Divines, which makes one look forward to the future work of Benyamina et al. But there is no need to wait, for Divines is already a solid accomplishment.
By Request: Watchmen (Zack Snyder, 2009).
I've been trying to find something to say about Watchmen since I saw it last week, and I'm drawing a blank. It kept my attention for its long running time, and it was often visually dazzling. (I've read the graphic novel, but it was so long ago I can't rely on my memories for comparison purposes.) But it also wasted Carla Gugino, and while I could tell Snyder was reaching for grandeur and meaning, I was mostly impressed by the amazing mask worn by Rorschach. It's the damnedest thing ... the only thing I can compare it to is the rotoscoped faces in A Scanner Darkly.
(Explanation of the Film Fatales Series.)