Respond to these rapid questions in our Raging Fire quiz and we will tell you which Raging Fire character you are. Play it now.
Finally, we come to a close with four films from the World Dramatic Competition program, two of which are from small European countries with thriving national cinemas and two of which are from East Asia. They all deal with traditions and the struggle to keep or change them, and all of them are influenced by masculinity, both in its fragility and in its evolution, in some way.
Despite the fact that you’ve probably seen the beautiful coastal views of Malta on the big screen, which have been mined by Hollywood as dazzling locations, it’s likely that you’ve never seen a movie about the people who live there. It helps to fill that void by being crafted with humanistic grace, as in “Luzzu,” the debut feature from Maltese-American writer/director Alex Camilleri’s debut feature. The only other production from the island nation that this critic had seen before was “Simshar,” directed by Rebecca Cremona, which was nominated for an Academy Award in 2014 and won the award.
Jesmark (Jesmark Scicluna, a first-time actor) comes from a long line of fishermen, and he goes out to sea every day in his luzzu, the traditional and colorful boats that give this story its name. His vessel has been in his family for generations, having undergone countless repairs over the years, and it is distinguished by a pair of longing carved eyes and Jesmark’s baby footprint, among other features. Nevertheless, the waters have changed, and so have the laws, which means that there are fewer fish to catch and more regulations to observe. He’s shackled to the water like salt itself, and he can’t fathom the idea of doing anything else. But he’s a father, and his partner Denise (Michela Farrugia) insists that he consider changing his life path. When the pressure mounts, selling illegal catch for a kingpin is the only thing that can keep him financially afloat until things improve.
It is a film that is understated to the point where the gods of neorealism would be pleased, and it is anchored by Scicluna’s alluring, underlying rage in his lived-in performance. In Jesmark’s weathered face, piercing gaze, and sparse speech, the pride he feels for his dying trade is mixed with frustration at no longer being able to support himself and his family. A decision must be made when faced with the destructive ways of the modern world. Is he still considered a fisherman despite the absence of his luzzu? Doing so, do you think, will bring a blemish on the legacy of his father and his father’s father? With great intentionality that feels organic to what the protagonist is experiencing internally, Camilleri’s writing imbues every scene, and cinematographer Léo Lefèvre complements it with modest and spontaneous camerawork. It doesn’t hurt that the area is naturally brimming with old-world beauty, either. “Luzzu,” a ravishing portrait of tradition in transition, elevates Malta to the forefront of international attention.
But you shouldn’t waste any more time and start this Raging Fire quiz.
The woman at the center of Blerta Basholli’s auspicious tale of female resilience “Hive,” who is on the run for her life, is also grappling with the way long-held traditions operate in the twenty-first century, according to the author. The film, which takes place in Kosovo during the early 2000s, is based on a true story. In the midst of the characters’ struggle for independence, the director also addresses the still-open wounds of a bloody episode in the country’s brief history as a young Balkan state.
Fahrije (Yllka Gashi) has been forced to look for ways to supplement the meager income she receives from selling honey as a result of economic hardship. A mother of two, she lost her husband to Serbians several years ago, just as many other women in this small town have lost their husbands to the same fate. Although her in-laws’ father, Haxhi (Cun Lajci), is the de facto head of the household, his limited mobility prevents him from being an active participant in it. As a result, the family faces a difficult situation because, in this extremely patriarchal society, the mere suggestion of a woman working outside the home or learning to drive is frowned upon and equated with immorality. Because of this, when Fahrije decides to get behind the wheel and start her own business selling red pepper spread to supermarkets, the men in town turn on her and anyone who assists her.
Raging Fire Quiz
Despite its story beats, which are common in inspirational stories about people banding together and overcoming obstacles for the benefit of all, “Hive” is another work that thrives because of its lead actor’s performance. Gashi’s strong features and resolute demeanor give the impression that she will not be intimidated by others at any point. A strong sense of purpose drives her, not only in supporting her children but also in encouraging others to question the status quo. The fact that Fahrije has created her own hive of women to make the smoky paste is a statement in and of itself. Basholli’s debut feature is reminiscent of documentaries such as “Honeyland” or even the more recent Irish drama “Herself,” but it is distinguished by its specific cultural setting, which keeps it mostly enthralling. This is something you’ve probably seen before, but not through the eyes of a Kosovan.
Also, you will find out which character are you in this Raging Fire quiz.
In keeping with the theme, the provocative Indian drama “Fire in the Mountains” also features a self-assured woman who takes a stand against the inflexibility of entrenched superstition and succeeds. Ajitpal Singh, a director in his mid-40s who is making his first feature film, sets his story in a remote mountain village near the Himalayas where tourism is the lifeblood of the locals’ livelihood.
Our view of reality is provided by Chandra (Vinamrata Rai), a resourceful young woman who finds herself trapped between the promised future and the revered past. She and her husband Dharam (Chandan Bisht) own and operate a small hotel off the beaten path in rural India. Chandra saves whatever money he receives in order to build a road that will make it easier for customers to get to their place of business. Her tenacity, on the other hand, causes Dharam to experience feelings of emasculation. The recent death of his sister’s husband, as well as the fact that he has been unable to grow anything on their land, and the fact that their son Prakash (Mayank Singh Jaira) has been unable to walk for several months, lead him to believe that they are plagued by evil. Chandra’s plans for their money are threatened by his belief that the only way out of their predicament is to pay for a ritual, a solution that goes against Chandra’s wishes.
About the quiz
Gorgeous shots of green hills, waterfalls, and snow-capped mountains courtesy of cinematographer Dominique Colin contrast with the high-stakes conflict that the ensemble cast meticulously weaves together. Because each character is hiding something, their interactions are tinged with passive aggressiveness that has the potential to escalate into full-blown violence. Beyond what we see in the foreground, the director cleverly employs radio broadcasts that we hear in passing to highlight the disconnect between deceptive claims about Indians that politicians make and the reality that people like Chandra and her family face on a daily basis. While those in power are celebrating historic events for a country on the verge of becoming a superpower, the general public does not have access to basic services in the same manner. The final act of Singh’s performance is a scorching examination of the ignorance that leads some to disregard common sense and give in to irrational fear, both of which lead to potentially dangerous practices. In the end, he refrains from drawing any conclusions, but what he does present is a damning indictment of the situation.
Also, you must try to play this Raging Fire quiz.
Finally, there’s “One for the Road,” a broad and mostly formulaic buddy dramedy that’s worth seeing. The latest film from Thai director Baz Poonpiriya, whose 2017 film “Bad Genius” received critical acclaim around the world, delivers a cloying narrative that could be described as the less sophisticated child of “Y Tu Mamá También” and “50/50,” respectively. Wong Kar-Wai, a well-known director, is one of the producers on the film.
Dedicated to cocktails, Boss (Thanapob Leeratanakajorn) is the proprietor of a bar in New York City, which he uses in large part for the purpose of meeting women. When his best friend Aood (Ice Natara) reveals that he has leukemia, his bachelor fantasies come crashing down around him. As part of his final wish, Boss returns to his home country of Thailand, where he will visit all of his girlfriends and say goodbye without disclosing that he is dying of cancer. The two of them set out on a road trip that is heavily interspersed with flashbacks to their earlier days on the road. Aood is also dealing with the death of his father, who was a well-known radio DJ, which is one of the movie’s most prominent subplots. Every stop, as was to be expected, contains a lesson to be learned or a twist that either strengthens or challenges the fraternal bond between the co-leads and their companions. An extended montage detailing Boss’ most significant romantic relationship appears late in the film and is the segment that most closely resembles Wong Kar-work Wai’s in terms of the use of moody neon lighting for romantic scenes.
Poonpiriya is known for directing films with high production values, and this one is no exception to the rule. Perhaps there is also a substantial music budget, as evidenced by the numerous well-known pop songs that bombastically score the action (for example, Elton John’s “Tiny Dancer”). It appears that a major American studio would release something similar to this for a broad audience, given the artificial aesthetic, saccharine edits, and comedic tone. As a result, subtlety isn’t a priority in this situation. However, for a story about men deepening their friendship in the face of adversity, it is harmless but uninterestingly artificial, which is not to say that some of the moments are not successfully humorous or even moving.
For more personality quizzes check this: American Skin Quiz.
