The planning and orchestration are
extraordinaire: the high-spirited cho-
rography, visionary designs, and exag-
gerated makeup and costumes herald a
cabaret worthy of the legendary Folies
Bergère. Even as guests arrive, work
continues behind the scenes; then, lights
dim and the cabaret explodes onstage
before a transfixed audience. Gaultier’s
creative genius is une expérience fabu-
leuse. Being privy to this insider’s view
makes it irrelevant whether someone is a
fashion enthusiast. Jean Paul Gaultier:
Freak & Chic is a dip into the past, and
the making of an icon. French / German
subtitles, 96 minutes (Marinell Haege-
lin)
Waves ***
Canada/USA 2019
Opening March 19, 2020
Directed by Trey Edward Schults
Writing credits: Trey Edward Schults
Principal actors: Taylor Russell, Kelvin
Harrison Jr., Alexa Demie, Bill Wise,
David Garelik, Joshua Brockington.
Tyler (Kelvin Harrison Jr.) is a suc-
cessful wrestler with dreams of repre-
senting his high school in a state com-
petition. He is good-looking with dyed
blond hair, which is unusual for an Af-
rican American. He and his girlfriend
Alexis (Alexa Demie) drive around
in Tyler’s car, always in good spirits.
Tyler lives in a comfortable house in
Florida with his father Ronald (Sterling
K. Brown), his stepmother, and his sis-
38
In Hamburg
ter Emily (Taylor Russell). They seem
to be way above middleclass. Ronald
is always pushing the family to higher
achievements, saying “we cannot afford
the luxury of being average.” They are
active church goers, where their pastor
speaks about “love.” Naturally if every-
thing is perfect, the only direction from
here is down and that’s where the film
goes: way down. Tyler injures himself
during a wrestling match which puts
him out of action and into the family
drug cabinet. Alexis announces that she
is pregnant and plans to keep the child.
At about 70 minutes (into a 135-minute
film), Tyler is practically incompetent
and sister Emily takes the lead. She is
dating a white boy, Luke (Lucas Hedg-
es), and they take off from Florida and
drive to Missouri. Can things get worse?
This is a basic story about people coping
with the ups and downs (waves) of their
lives. Director Trey Edward Schults
says, “Waves follows a rhythm like high
tide and low tide. I think that in this
way, the film is very similar to real life.”
Perhaps viewers will recognize similar
problems, relationships, and outcomes,
as well as emotions which also come in
waves: sanity, hate, love, crying, laugh-
ing, etc. I found that the most powerful
waves appear as light or color, as well as
waves of music with 32 songs including
“What a Difference a Day Makes.” No
matter your opinion about the plot, for
sure the excellent cast of African Amer-
ican actors is definitely worth your at-
tention. (Becky Tan)
Seberg (Jean Seberg – Against All
Enemies) ***
UK | USA 2019
Opening March 26, 2020
Directed by: Benedict Andrews
Writing credits: Joe Shrapnel, Anna
Waterhouse
Principal actors: Kristen Stewart, An-
thony Mackie, Jack O’Connell, Vince
Vaughn, Margret Qualley
French director Jean-Luc Godard’s
landmark and hugely successful film
Breathless (1960) firmly established
him in Nouvelle Vague. Similarly,
American Jean (Dorothy) Seberg be-
came the movement’s face in its starring
role, reigniting her floundering career.
Five years on, living in Paris with hus-
band Romain Gary (Yvan Attal) and
son (Gabriel Sky), Jean (Kristen Stew-
art) departs to audition for a Hollywood
production. It is during this period that
Joe Shrapnel and Anna Waterhouse’s
screenplay is loosely based, and that
Australian Benedict Andrews directs.
Enroute to Los Angeles, Jean meets
Hakim Jamal (Anthony Mackie), a re-
formed drug addict, cousin to Malcolm
X and active in the black power move-
ment. Her agent (Stephen Root) tries
to dissuade Jean from getting involved.
Unbeknownst, Herbert Hoover’s Federal
Bureau of Investigation has set up a task
force to covertly watch Black Panther
Party sympathizers. Frank Ellroy (Colm
Meaney) assigns Carl (Vince Vaughn)
and Jack (Jack O’Connell) to cover
Jamal. With Jean’s arrival, their boring
surveillance juices up; it transpires that
“America’s sweetheart” supports hu-
man-rights issues for blacks. Jean is put
under surveillance; Jack’s long hours
annoy wife Linette (Margret Qualley),
and their lack of communication con-
cerns her. Weeks pass; Jean’s contribu-
tion to Hakim’s wife Dorothy (Zazie
Beetz) for the children center they are
establishing is sizable. When Jean hosts
a money-raising event, Romain meets
Hakim; the lurking FBI team salivates
when they spot BPP co-founder Booby
Seele there. Next, Hoover condescend-
ingly overlooks the increased intimida-
tion toward Jean. “Before you were col-
lateral, now you’re in the crosshairs,”
she is warned. It is only a matter of time
before major cracks appear throughout