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Learn to Swim is a beautiful film that I know Ava DuVernay’s ARRAY is proud to share with the masses. The brief view of love and loss amidst a backdrop of Latin and jazz fusion is a pleasure to watch and listen to. Learn to Swim premiered at TIFF 2021 and was chosen as one of TIFF Canada’s Top Ten films. The film was produced in participation with CBC Films. It was released in Canada by Mongrel Media and by Array in the US and internationally. It is an independent film by new artists with loads of potential. It’s not perfect, but Learn to Swim is still a great watch.
Directed by Thyrone Tommy in his feature-length debut, Learn to Swim captures grief and pain in a very sensorial way. Written by Tommy and Marni Van Dyk, the film is a diverse look at the contemporary jazz scene. Learn to Swim follows Dezi (Thomas Antony Olajide), a doggedly private, talented saxophone player, and Selma (Emma Ferreira), a vivacious but less experienced singer.
When they meet there is noticeable sexual tension, but their temperaments make a rocky road to romance. Other characters include bandmates June (Andrea Pavlovic), Jesse (Khadijah Salawu), Sid (Christef Desir), and Charles (Jolly Amoako). They highlight the workday world of musicians, whose excitement over their creative efforts is stifled by their meager profession.
One of the major highlights of this film is the music. Beautiful slices of jazz are used to enhance and move the story along. The music, diegetic and non-diegetic, are poetically reflected in this intricate narrative. The romantic and sexual tension between Dezi and Selma are explored primarily through music, whether it’s the music they play, create, or just listen to.
Almost all of the music was composed specifically for the film. The music captures the heartbreak, exhilaration, and tragedy of this film. For Learn to Swim, dedication to the role and craft was never in short supply. The actors learned to play their instruments for these roles. It’s hard to decipher where they end and the backing track begins.
The cinematography that couples this music is divine. Cinematographer Nick Haight evokes classic Blue Note vinyl album covers, capturing the aesthetic and nostalgia of an era long forgotten. The cinematography personifies the music and gives a dreamscape look to the film. Colors play an important role in many films but especially in the storytelling of Learn to Swim. Haight uses the tone, colors, and music to his advantage as he gravitates to the energy and vibes of these low-lit sound studios. This makes it all incredibly beautiful and intimate.
Things go slightly askew in the pacing and the first few time shifts. Shuttling between two different timelines is no easy venture. The first few time jumps were missed and made for some confusion. The shift from past to present wasn’t clear. With such an intricate narrative where each moment counts, it’s a shame that the film wasn’t clearly connected at the beginning.
Reflecting on the ways both memory and grief can take control of one’s life needs to have a strong start and a strong ending. I appreciated the bookend scenes, but that beginning needs to be tightened up. Once you find your footing, the film flows and the title becomes clear.
Themes of loss and grief are explored well in Learn to Swim. It’s a simple story told in a deep and complex way. These themes are best portrayed through Dezi — interesting, talented, and layered, his silence steals the show. Olajide brings him to life in a powerful way. Ferreira, as Selma, portrays a young, confident woman whose insecurities are hidden behind the songs she sings and the music she makes.
While Olajide and Ferreira play well off each other and give a convincing portrayal of two people in love, I needed more. The stakes and tragedy are played up, spiraling from a relationship I needed to see more of on screen. Their chemistry is deniable. The jumps between them together, versus their flirty back and forth, weren’t clear. I wanted to see them together more and to feel that knot in the stomach pain that Dezi was manifesting on screen.
Learn to Swim is a strong feature debut that balances performance and feelings. It’s romance. It’s a Shakespearean tragedy. Everyone should enjoy this sensual feast for the eyes and ears. From some perspectives, you might think of A Star is Born. But, Learn to Swim hits different. It’s such a proud moment to see films like this making their way to the screen. I appreciate DuVernay and others making a way for Black voices to be heard. Even with its flaws, people should see this film not only for the Black excellence that it is, but for the all around great storytelling.
Learn to Swim is currently streaming on Netflix.
Learn to Swim is a beautiful film that I know Ava DuVernay’s ARRAY is proud to share with the masses. The brief view of love and loss amidst a backdrop of Latin and jazz fusion is a pleasure to watch and listen to. Learn to Swim premiered at TIFF 2021 and was chosen as one of TIFF Canada’s Top Ten films. The film was produced in participation with CBC Films. It was released in Canada by Mongrel Media and by Array in the US and internationally. It is an independent film by new artists with loads of potential. It’s not perfect, but Learn to Swim is still a great watch.
Directed by Thyrone Tommy in his feature-length debut, Learn to Swim captures grief and pain in a very sensorial way. Written by Tommy and Marni Van Dyk, the film is a diverse look at the contemporary jazz scene. Learn to Swim follows Dezi (Thomas Antony Olajide), a doggedly private, talented saxophone player, and Selma (Emma Ferreira), a vivacious but less experienced singer.
When they meet there is noticeable sexual tension, but their temperaments make a rocky road to romance. Other characters include bandmates June (Andrea Pavlovic), Jesse (Khadijah Salawu), Sid (Christef Desir), and Charles (Jolly Amoako). They highlight the workday world of musicians, whose excitement over their creative efforts is stifled by their meager profession.
One of the major highlights of this film is the music. Beautiful slices of jazz are used to enhance and move the story along. The music, diegetic and non-diegetic, are poetically reflected in this intricate narrative. The romantic and sexual tension between Dezi and Selma are explored primarily through music, whether it’s the music they play, create, or just listen to.
Almost all of the music was composed specifically for the film. The music captures the heartbreak, exhilaration, and tragedy of this film. For Learn to Swim, dedication to the role and craft was never in short supply. The actors learned to play their instruments for these roles. It’s hard to decipher where they end and the backing track begins.
The cinematography that couples this music is divine. Cinematographer Nick Haight evokes classic Blue Note vinyl album covers, capturing the aesthetic and nostalgia of an era long forgotten. The cinematography personifies the music and gives a dreamscape look to the film. Colors play an important role in many films but especially in the storytelling of Learn to Swim. Haight uses the tone, colors, and music to his advantage as he gravitates to the energy and vibes of these low-lit sound studios. This makes it all incredibly beautiful and intimate.
Things go slightly askew in the pacing and the first few time shifts. Shuttling between two different timelines is no easy venture. The first few time jumps were missed and made for some confusion. The shift from past to present wasn’t clear. With such an intricate narrative where each moment counts, it’s a shame that the film wasn’t clearly connected at the beginning.
Reflecting on the ways both memory and grief can take control of one’s life needs to have a strong start and a strong ending. I appreciated the bookend scenes, but that beginning needs to be tightened up. Once you find your footing, the film flows and the title becomes clear.
Themes of loss and grief are explored well in Learn to Swim. It’s a simple story told in a deep and complex way. These themes are best portrayed through Dezi — interesting, talented, and layered, his silence steals the show. Olajide brings him to life in a powerful way. Ferreira, as Selma, portrays a young, confident woman whose insecurities are hidden behind the songs she sings and the music she makes.
While Olajide and Ferreira play well off each other and give a convincing portrayal of two people in love, I needed more. The stakes and tragedy are played up, spiraling from a relationship I needed to see more of on screen. Their chemistry is deniable. The jumps between them together, versus their flirty back and forth, weren’t clear. I wanted to see them together more and to feel that knot in the stomach pain that Dezi was manifesting on screen.
Learn to Swim is a strong feature debut that balances performance and feelings. It’s romance. It’s a Shakespearean tragedy. Everyone should enjoy this sensual feast for the eyes and ears. From some perspectives, you might think of A Star is Born. But, Learn to Swim hits different. It’s such a proud moment to see films like this making their way to the screen. I appreciate DuVernay and others making a way for Black voices to be heard. Even with its flaws, people should see this film not only for the Black excellence that it is, but for the all around great storytelling.
Learn to Swim is currently streaming on Netflix.
So many things happened at San Diego Comic-Con this year! Enough for a two-hour episode. But, in #TWINN fashion, Keith and Mikkel do their best to give you a speedrun recap in less than 20 minutes.
Hear about that and more on This Week in Nerd News.
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The post TWINN: Everything You Missed From San Diego Comic-Con appeared first on Black Nerd Problems.
Fans of Game of Thrones (based on A Song of Ice and Fire by George RR Martin) are waiting in anticipation for a new entry into the popular fandom, House of the Dragon. Based on Martin’s (fictional) historic text, Fire and Blood, House of the Dragon takes place 200 years before the events of Game of Thrones.
While many are not familiar with the Targaryen Civil War known as the Dance of Dragons in which Princess Rhaenyra faced off against her brother Aegon, keen viewers will notice that Princess Shireen mentioned the war to her father, Stannis Baratheon, in the ninth episode of Game of Thrones Season 5. Now the story will unfold before our very eyes this Sunday.
Before we dive in, let’s get to know some of the key players in Westeros.
House Targaryen
Sigil: Three-headed dragon
Seat: King’s Landing and Dragonstone
Their words: Fire and Blood
In Game of Thrones, the Targaryens were a dying house with only a few descendants remaining in Westeros. In House of the Dragon, the Targaryens are at the height of their power, ruling over the Seven Kingdoms with dragons at their side.
Viserys I Targaryen is the fifth Targaryen king to sit upon the Iron Throne. He was elected by the Great Council to succeed his grandfather, “Old King” Jaeherys I. While he rules in King’s Landing, his ancestral seat is Dragonstone. Viserys was a dragon rider who rode the black dragon, Balerion. Far from the ruthless temperament thought common of Targaryen rulers, Viserys is a kind and peaceful man with a great distaste for conflict. During his reign, the Seven Kingdoms lived in peace and prosperity, but soon that peace is shattered.
Rhaenyra Targaryen is the firstborn child of Viserys and heir to the throne after the death of her younger brother, Baelon. Described as beautiful and charming, Rhaenyra became a dragon rider as a small child, choosing the yellow-scaled dragon, Syrax. As a woman, her claim to the throne was often challenged and was the spark that started the civil war.
Daemon Targaryen is the younger brother of Viserys and Commander of the City Watch. He is an ambitious player and one of the greatest warriors of his time. As with the rest of his family, Daemon is a dragon rider, riding the formidable red dragon, Caraxes. Daemon has a complicated relationship with his older brother as he was once in line to inherit the throne. He’s an abrasive character and has an intense rivalry with the Hand of the King. Nonetheless, he reluctantly supported his brother’s reign all the while forging an alliance with his niece and future queen, Rhaenyra.
House Velaryon
Sigil: Silver Seahorse
Seat: Driftmark
Their words: The Old, the True, the Brave
Much like the Tyrells in Game of Thrones, the Velaryons are the second most powerful house in Westeros. And unlike the Tyrells, they were true allies of the Targaryens. The Velaryons’ house seat is Driftmark, the largest island in Blackwater Bay. The Velaryons are a great and ancient house of seafarers who came to Westeros before the Targaryens. As such, they hold an influential position in the series.
Corlys Velaryon, known as the Sea Snake, is the Lord of the Tides and Master of Driftmark. Corlys is a legendary seafarer, arguably the greatest of the Seven Kingdoms, and his travels across unknown lands bring great riches to his family. His alliance with the Targaryens is strengthened through his marriage to Rhaenys Targeryan, cousin to Viserys, and later through his son Laenor’s marriage to Princess Rhaenyra.
Rhaenys Targeryan, known as the Queen Who Never Was as she was passed over by the Great Council in favor of Viserys, is the wife of Corlys Velaryon and a formidable force in her own right. She is described as a great beauty with matching intellect. Her mount was the scarlet dragon, Melys, one of the fastest dragons in all of Westeros. When the Dance of the Dragons breaks out, Rhaenys along with her husband shift their allegiance to Princess Rhaenyra, but we soon learn allegiances change.
Leanor Velaryon is the only son of Corlys and Rhaenys Targeryan and heir to Driftmark. Laenor’s dragon is the silver-gray Seasmoke. Like his mother, Leanor was passed over as heir apparent, but this slight is soon remedied once Leanor weds Rhaenyra. Their marriage is an unhappy one, as Leanor and Rhaenyra have very little interest in each other and spend much of their life apart. As a result, the validity of their children’s parentage is often called into question.
Laena Targaryen is the older sister of Leanor and only daughter of Corlys and Rhaenys Targeryan. She was said to have inherited her mother’s great beauty and was sought after by many suitors, although she was known to have far more interest in flying than boys. Her dragon was the largest Targaryen dragon alive — the flame-red Vhagar.
House Hightower
Sigil: Stone white watchtower, lit with a green flame.
Seat: Hightower, Old Town
Their Words: We Light the Way
The Hightowers are a great family from the Reach whose influence is cemented by the head of their family serving as Hand of the King and an arranged marriage with the Targaryen king. The Hightowers are an ancient house of Westeros tracing their lineage to the First Men. They amassed their wealth through trade and founded Old Town, home to the Citadel, the birthplace of the order of maesters. There’s no surprise why this family is one of the key players in House of the Dragon.
Otto Hightower is a knight of House Hightower and Hand of the King. He is described as a man of great learning. He formerly served “Old King” Jaeherys until his death and now is in the service of King Viserys. He attempts to use his influence to bend and manipulate others to do his bidding, a trait that greatly disgusts Daemon Targaryen. As such the two are bitter rivals at court and eventually face off on opposite sides during the Dance of the Dragons.
Alicent Hightower is the Queen of Westeros and second wife to Viserys. She is described as clever and enchanting, qualities that led Viserys to choose her as his bride. Initially, Alicent has a loving relationship with her stepdaughter (and childhood friend) Rhaenyra, but the relationship quickly turns sour after Alicent gives birth to her first son. Alicent believes Rhaenyra’s half-brother, Aegon, as the first-born son, should be heir to the Iron Throne. This desire drives a wedge between Rhaenyra and Alicent, a move that does not bode well for the realm.
There you have it; the board has been set and the players are in motion contending for the coveted Iron Throne. It’s a story we are all familiar with, and we have no doubt House of the Dragon will fill the void left behind by Game of Thrones.
House of the Dragon will premiere Sunday, August 21, 2022, on HBO. Be sure to join our live tweet under the hashtag #DragonsYall and look out for the return of our TV recap podcast!
*This review includes spoilers of Orphan and Orphan: First Kill.
Jaume Collett-Serra’s 2009 family drama horror Orphan had mixed reviews on its opening: Roger Ebert loved it, and Entertainment Weekly gave it a D+. In the years since its villain, Esther/Leena (Isabelle Fuhrman) has become an iconic addition to the scariest children on the screen of all time. But Esther isn’t actually a kid. She has hypopituitarism that causes her to present as a child when she’s actually in her 30s. That shocking twist in the original was masterfully brought to life by a 10-year-old Fuhrman. A real-life surprise was finding out that a child actor had brought such nuance and depth to an extremely complex, full-grown woman character and a serial killer.
Orphan was also unexpected in many ways.It was a moving portrait of a family post-trauma and a horror film with its fair share of jump scares, gore, and assorted violence against children. Collett-Serra’s unique vision took what could have been pulp storytelling into another director’s hands and made it not just realistic, but framed in gorgeous cinematography and set design for maximum emotional effect. Its prequel, Orphan: First Kill, a Paramount+ original feature, takes an entirely different approach to the subject material, and it’s not for the best.
Orphan: First Kill opens in Estonia in 2007, two years before the events of Orphan, where we meet “the most dangerous patient” at Saarne Institute for the criminally insane. Because Leena is already a killer with at least four victims, the institute has implemented rigid security protocols for her. They still do not stop Leena from a fresh murder spree and an escape. There is a major tone shift from Collett-Serra’s serious family drama with horror themes woven through, to First Kill’s straightforward campy slasher horror.
Gone is the multilayered Esther whose madness only emerges when absolutely necessary. Instead, we have a caricature villain who might as well be rubbing her hands together before she crimes like a cartoon character. After murdering her new art therapist and using her apartment as a staging area for her next moves, Leena finds the profile of a missing Connecticut girl named Esther Albright. Esther looks just like Leena, and Leena steals her identity. She concocts a story to authorities that she was trafficked to Russia. In a lucky turn of events, Esther’s parents Tricia (Julia Stiles) and Allen (Rossif Sutherland) are super wealthy and bring who they think is their daughter back to the US — in a private jet no less.
From the first moments of Tricia reuniting with her 4-years-missing daughter, something feels off. The sensation worsens when Esther’s brother Gunnar (Matthew Finlan) keeps side-eyeing her with glances that suggest he already knows she’s an imposter. Anyone who has watched enough Law and Order can guess what’s coming next. The real Esther was killed in an accident by her roughhousing brother, and her mother helped cover up the crime.
It’s here that First Kill reveals that the meaning of its title actually refers to Gunnar’s killing of his sister. It’s also here that the plot goes off the rails in some outrageous ways that would be at home in one of those made-for-TV murder mysteries of the 80s and 90s. The over-the-topness of these plot developments has some weird but grotesquely fun slasher-movie moments. Julia Stiles seems to be having a blast in this role as doublecrossing Tricia. Her scenes with Fuhrman take on a noir quality as these two incredibly talented actresses work off each other with some pretty rad chemistry. There are moments where First Kill almost has telenovela-esque shades of Paul Feig’s cult melodrama A Simple Favor, and those interactions between Stiles and Fuhrman are weird, wrong, and yet somehow darkly delightful. The Orphan cinematic universe is a strange one.
But some disturbing narrative themes detract from the campy slasher fun that this film could have been. The original Orphan came under fire from adoptive parents for its portrayal of a demonic adopted child. The Daily Beast noted: “The movie Orphan comes directly from this unexamined place in popular culture. Esther’s shadowy past includes Eastern Europe; she appears normal and sweet but quickly turns violent and cruel, especially toward her mother. These are clichés. This is the baggage with which we saddle abandoned, orphaned, or disabled children are given a fresh start at family life.”
Unfortunately, this dynamic has only worsened with Orphan: First Kill and much of it is because we already know Leena/Esther’s secret. Her hypopituitarism has not caused her psychopathy and mass murdering tendencies. Yet, in First Kill, her appearance and disability are continuously linked to her evil deeds, as if being different automatically makes you a killer. The number of times other characters call her “freak,” “deformed,” “mutant,” and worse cement the connection between her appearance as a disabled person and her sociopathic behavior. This is ableism pure and simple, and it’s a really cheap way to have expanded on Leena/Esther’s story without offering anything else about her background or personality development.
There is also an undercurrent of xenophobia in First Kill that wasn’t at all present in the original, adding to the ableism of the story in associating a foreign woman with monstrousness. Tricia, at one point, says, “This family came over on the f*cking Mayflower and built this country,” when defending her actions in covering up her daughter’s death. Later, her son Gunnar calls Leena an “illegal immigrant dwarf freak,” and follows it up with the jaw-dropping statement: “I’m an American. People care what happens to me.” Okay, colonizer. Go off.
Because First Kill is a prequel, we know that the Albright family all die in a housefire that leaves Esther to be adopted by the Colemans in Orphan. By the end of First Kill, the only family member we feel sad to see die is tenderhearted artist Allen. Tricia and Gunnar proved themselves to be depraved in their own unoriginal ways underneath all their fancy clothes and behind the walls of their enormous mansion. They become stock villains themselves when adding their xenophobia into the mix, and it’s a strange twist that packs none of the punches of the original film’s surprises.
For hardcore fans of the original Orphan, First Kill’s major tone shift from serious to campy might be more than just jarring, it might feel even exploitative and borderline offensive when taking the ableism into account. Where Collet-Serra took on the story’s themes thoughtfully and compassionately, First Kill director William Brent Bell has done the exact opposite. However, depending on your perspective, Bell’s version might be a fun horror romp that doesn’t require a whole lot of discernment, just a silly, gory, slasher movie at home in a spooky season watchathon.
Still, Orphan: First Kill was an opportunity to develop more insight into Esther/Leena’s psychology and history: the hows and whys of how a monster was created by circumstance and economics — like Lifetime did with a similarly difficult character Grandmother Olivia in Flowers in the Attic: The Origins. I’m still hungry for a proper origin story about Leena. Unfortunately, though, the three-dimensional Esther of Orphan has been reduced to a stick-figure sketch in First Kill. It’s a shame to see such an iconic horror character diminished so thoroughly into a parody of herself, especially when there was built-in space for so much more. There’s definitely an audience of horror fans for Orphan: First Kill. But if you were hoping for a prequel that matched the mood of the original and deepens the storytelling, First Kill isn’t for you.
Orphan: First Kill is streaming on Paramount+ starting from August 19, 2022.