Shadows on the Wall | Arthouse Films

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On this page: DONGJI RESCUE | LITTLE TROUBLE GIRLS | MALPERTUIS

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See also: SHADOWS FILM FESTIVAL | Last update 25.Aug.25

Dongji Rescue
Review by Rich Cline | 4/5

dir Hu Guan, Fei Zhenxiang
prd Liang Jing
scr Chen Shu, Dong Runnian, Zhang Ji, Fei Zhenxiang
with Zhu Yilong, Wu Lei, Ni Ni, Yang Haoyu, Chen Minghao, William Franklyn-Miller, Ni Dahong, Wang Yiquan, Li Zhuozhao, Liu Lu, Zhang Chen, Nakaizumi Hideo
release Chn 8.Aug.25,
US/UK 22.Aug.25
25/China 2h13

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Strikingly visual, this engaging Chinese epic combines spectacular locations, gorgeous cinematography and expertly seamless effects. It also recounts a true story from WWII with energy, wit and plenty of offbeat heroism. The characters are complex and messy, which makes it easy for us to engage with them as they face what feels like an impossible situation. The sequence of events is riveting, as are the implications for humanity.

In 1942, while transporting 1,816 British prisoners of war, the Japanese ship Lisbon Maru is torpedoed by the Americans. Rogue fisherman brothers Bi and Dang (Zhu and Wu) witness this, and drag unconscious blue-eyed Thomas (Franklyn-Miller) out of the sea. Back home on Dongji Island, a small Chinese community brutally occupied by Japan, the schoolteacher (Chen) helps translate, learning that many need rescuing as the ship sinks. Because Britain is also fighting the Japanese, the villagers understand that, even though they're afraid, they are the only hope for these imprisoned Englishmen. And for each other.

In this account, Japanese are cold-blooded murderers who horrifically execute rebels. Their commander orders that prisoners will go down with the ship and that islanders should be killed as well. By contrast, Chinese villagers are noble and heroic, even if they disagree about what to do. The hold containing scores of prisoners looks like levels of hell as it fills with water. This leads to both soaring and genuinely harrowing action sequences on land and at sea.

Sharply defined characters pull us in. Skilled divers, Bi and Dang add terrific physicality in eye-catching underwater sequences. Zhu's Dang is tenacious and compassionate, while Wu's more short-tempered Bi fashions himself as a cool pirate, complete with a hot girlfriend (Ni Ni) who's even more fiery than he is. Throughout the story, islanders take a stand against the odds, realising that they can no longer keep their heads down in the face of oppression.

Even with its sentimental moments, the film is directed in a visceral style that puts us right in the middle of each situation. So when a character dies, it feels like a punch to the gut, which in turn drives the determination that comes next. This may not be very nuanced storytelling, but the narrative is involving and packed with resonant themes, charging through harrowing set-pieces that are staged on a jaw-dropping scale with an attention to personal detail. And frankly, it's a miracle that so many people survived to tell the tale.

themes, language, violence 15.Aug.25

Little Trouble Girls Kaj Ti Je Deklica
Review by Rich Cline | 3/5

dir-scr Urska Djukic
prd Jozko Rutar, Mina Cernec
with Jara Sofija Ostan, Mina Svajger, Sasa Tabakovic, Natasa Burger, Sasa Pavcek, Nateja Strle, Popovic Stasa, Strle Mateja, Lotos Sparovec, Casson Matia, Marko Mandic, Tomazin Irena
release US Jun.25 tff,
UK 29.Aug.25
25/Slovenia 1h29

BERLIN FILM FEST

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With a strong visual style, Slovenian writer-director Urska Djukic assembles this coming-of-age drama to get into the mind of a teen girl as she begins to question things about herself. By mainly using extreme closeups, the film largely eliminates context, creating a flurry of emotions that stem from inner desires, peer pressure and religious fervour. So there's plenty to think about, even if the point remains elusive.

At 16, Lucia (Ostan) has joined a Catholic school choir, befriending the cool girl Ana-Maria (Svajger) who sings alongside her. But Ana-Maria and her friends tease Lucia about her lack of sexual experience, which rattles her confidence so much that the choirmaster (Tabakovic) notices. As they travel to a convent for a performance, Lucia becomes fascinated by a beefy construction worker (Matia), especially when the girls spy on him swimming in a local river. But Lucia isn't sure if he's what she really wants. Maybe she is more attracted to Ana-Maria. Or the Virgin Mary.

Much of the film features snippets of interaction that feels like it was almost accidentally captured by the camera. Choir rehearsals emphasise Lucia's thoughtful face, as the friendly choirmaster suddenly turns demanding of the girls, often zeroing in on Lucia's distracted singing. Indeed, she has so much running through her mind that she's unable to concentrate on much of anything. And the cameras capture tiny details that reveal her thoughts and feelings in each situation.

All of the performances are extremely naturalistic, anchored by Ostan's riveting turn as a late bloomer who is only just beginning to test out her desires. Through her eyes we see each rolled eyeball and sly snicker from the other girls, all of whom are under the spell of Svagjer's knowing, confident Ana-Maria. Meanwhile, Tabakovic's likeable but oblivious teacher can't see any of this, only noticing that Lucia isn't focussing on the music.

Where the film stumbles is in bringing together all of its various flights of fancy. Many of the more daring moments feel somewhat indulgent, creating a strong sense of cinematic skill but neglecting to share the meaning with the viewer. And because there are so few wide shots in the film, the settings and juxtapositions never quite feel clear. This is an inventive way to depict an adolescent point of view, but it leaves the audience wondering what they've just watched.

themes, sexuality 22.Jul.25

Malpertuis aka: The Legend of Doom House
Review by Rich Cline | 3.5/5

dir Harry Kumel
scr Jean Ferry
prd Pierre Levie, Paul Laffargue
with Orson Welles, Susan Hampshire, Mathieu Carriere, Michel Bouquet, Jean-Pierre Cassel, Walter Rilla, Dora van der Groen, Charles Janssens, Daniel Pilon, Sylvie Vartan, Jenny Van Santvoort, Jet Naessens
restored Bel 15.Dec.23,
UK Aug.25 frf
71/Belgium 2h05

CANNES FILM FEST

Now streaming...

An evocative mix of horror, comedy and lustiness infuses this wonderfully offbeat 1971 Belgian thriller, which has been digitally restored to maximise the impact of Harry Kumel's visceral direction and Gerry Fisher's vibrant cinematography. This is a rich-hued, lavishly designed and very bawdy film with a cheeky sense of humour and insinuating moods stretching from burgeoning sexuality to existential angst. And astonishing freak-out moments punctuate the meandering plot.

On shore leave, young sailor Jan (Carriere) is surprised to doscover that his family home is gone. Then he spots his little sister Nancy (Hampshire) in the street. But this is a trap set by Charles (Bouquet), who captures Jan and takes him to Malpertuis, the sprawling mansion belonging to Jan's demanding old Uncle Cassavius (Welles). He has chosen Jan to finish his life's work and start a new world order. But no one will answer Jan's questions about the secrets that are hiding in this bizarre house. And residents start turning up dead.

After opening with an outlandish Alice in Wonderland etching, the film is designed, shot and edited in a feverish way that sends Jan down a colourful rabbit hole. A crowd of peculiar people, all living in this enormous maze-like house, is literally sitting around waiting for Cassavius to die, so a reading of the will becomes a major melodramatic event. And they're shocked to learn that they inherit nothing if they move out of Malpertuis.

Never rising from his sick bed, the still-magnetic Welles plays Cassavius as an intensely focussed man determined to cement his plan before he dies. In addition to the not-so-innocent Nancy, Hampshire plays several key woman in Jan's journey, including his temptress cousin Euryale, tortured aunt Alice and more. Carriere gives Jan a wonderfully wide-eyed, almost wilful ignorance. And the ensemble around them is marvellously quirky, often hilariously so.

It's fascinating to watch these people expose their inner feelings. Most of them are profoundly greedy, while others have hearts of gold. Unnerving surprises lurk around every corner, up each staircase and down endless corridors. And it begins to become apparent that their consuming avarice has trapped them in this place. So when it finally comes, the ancient truth is at once bonkers, chilling and darkly moving.

themes, language, violence, sexuality 24.Aug.25

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See also: SHADOWS FILM FESTIVAL