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Juliette’s Trousers: Leggings Are Not Trousers
This film is a graduation project mostly shot on the AUC campus. Now as any student who’s tried to make a film knows, filmmaking is incredibly hard work; it can be very costly, even if you’re working with a micro budget, and usually it consists of using friends for as much free labour as possible. It’s an immensely difficult task and requires major guts and perseverance, but having said that, Juliette’s Trousers isn’t a very good film. And while some of its faults can be blamed on a small budget, the film’s biggest fault is in the script and plot; two things that could have held it together should all else fail.
The film revolves around the idea that leggings are not trousers and should not be treated as such. Arguing this is Tarek El Ibiary, while taking the stand for the opposing side is his girlfriend Mona Lasheen. He disapproves that she wears leggings with short tops; she maintains that her fashion choices are none of his business. This is the one issue that poses a problem for them in their otherwise blissful relationship and the film is basically a chronicle of how Mona’s leggings brought them together then tore them apart.
Funnily enough for a film with a central argument, it fails to make a convincing case for either side. The characters speak in clichés and platitudes never delving beyond the surface. Their arguments can be summed up to: leggings overly reveal a girl’s body, and the counter argument that girls are free to wear whatever they want. What is absolutely astounding is that not once does Mona tell Tarek that perverts will stare at a woman no matter what she’s wearing, and that the onus is on the harasser to stop and not on the woman to alter her lifestyle. There was clearly a concerted effort to avoid sexist tropes but due to the film’s shallowness, they fall into many of them anyway. For example, the justification that he is doing this because he cares and isn’t a control freak is trotted out a few times, though this makes it no better. The film doesn’t seem to realize that sexism is sexism no matter how sugar coated or how well-intended that person is.
Another problem that goes hand in hand with the aforementioned one is that the characters are wildly inconsistent with Tarek being the number one example of that. He fluctuates all over the place, starting out as a guy who’s idea of a good time is watching women as they walk by - in fact that’s how he first met Mona - only to become possessive when his friends insinuate that her leggings are a sign of her easiness. From then on, he goes back and forth between being mad at her for wearing them and supporting her right to wear whatever she wants. The acting doesn’t help much either; the cast is made up of amateurs and therefore the dialogue often sounds forced.
As for the technical side of things, the film is for the most part, poorly shot, lit and edited; some ‘funky’ editing tricks are liberally used, giving it an amateur feel - but there are some commendable points nonetheless. It was a pleasant surprise to see that even though the film revolves around leggings, not once did the camera focus on a woman’s curves, preferring instead to use multiple below the knee shots and guys’ reactions to convey the idea. The filmmakers chose the anti objectification route and kudos to them for that; this choice seemed to send a stronger message than all of the film’s dialogue. It says that women shouldn’t be ogled at no matter what they’re wearing and that is ultimately a very decent message to send.
Despite the fact that so few sequels have ever topped, or even matched, the original, How to Train Your Dragon 2 – the sequel to the 2010 hit and the middle chapter of the three-part trilogy – proves otherwise.
Written and directed by Dean DeBlois, the story is set five years after the events of the first film; the Vikings of Berk are now sharing their skies with their winged-friends and Hiccup (Baruchel) has patched things up with father, Berk’s powerful leader, Stoic (Butler).
Now that Red Death has been defeated, the island is relatively peaceful, but Hiccup – now a fully grown man – is about to face a new set of challenges as his father prepares to pass the torch down to his only heir. However, Hiccup prefers to spend most of his time exploring the uncharted lands beyond the island with his now-girlfriend, Astrid (Ferrera), and his pet-dragon, Toothless, a.k.a Night Fury.
Soon, they come across Eret (Harrington); a dragon thief looking to poach anything he can get his hands on to sell to Drago (Honsou) – a ruthless figure looking to build an army of dragons and assume power over the entire kingdom. After successfully escaping Eret, they end up finding a dragon sanctuary controlled by Valka (Blanchett); a mysterious woman who holds a deep understanding of dragons and the only person who might be able to help Hiccup – and the Vikings of Berk – fight off Drago’s rising threat.
In order to make a worthy sequel, one must first make sure that the story is worth revisiting; the first movie was a big hit so it was only natural that a sequel would follow – one of the basic rules of Hollywood. Moving the story into a new direction and building on its already established premise is the next key to its success.
The setup is much bigger this time and the well thought-out narrative ends up serving as a coming-of-age story – as opposed to an underdog tale of a boy and his pet-dragon – which now follows a young man who is forced to leave the naivety of his adolescence behind and move into the troubling waters of manhood. There are a lot more dragons to play with too and the skies over Berk are livelier and feistier than ever; the animation is refined and engaging and there is never a dull moment.
Baruchel is once again loveable as the hesitant hero and as his tenacious father, Butler – still sporting a strong Scottish accent – is as efficient as ever. However, it’s the addition of Blanchett that adds weight to a story that not only entertains, but also offers a few life lessons on the importance of family, integrity and courage.
Adapted from John Green’s 2012 bestselling novel of the same name, The Fault in our Stars - a formulaic but engagingly honest story of star-crossed lovers brought together by a mutual pain - will sadden, enrich and perhaps even comfort, many of those who come across its path.
The story is centred on the sixteen year-old Hazel Grace Lancaster (Woodley); a girl who has been battling with terminal thyroid cancer since the age of thirteen. After being one of the few to respond to an experimental drug treatment, her condition is now stable, though the side effects have weakened her lungs and she is now constantly attached to a portable oxygen tank.
Hazel has pretty much accepted the fact that her days are numbered but her parents, Frannie (Dern) and Michael (Trammell), are increasingly concerned for her emotional well-being and urge her to join a cancer support group for young cancer patients like herself; not wanting to stress her parents any further, Hazel soon agrees to go.
It’s there that she first meets Augustus Waters (Elgort); an optimistic osteosarcoma survivor who lost part of his leg due to the illness. He is now living cancer-free and only comes to the meetings to support his best-bud, Isaac (Wolff). Instantly intrigued by each other, Hazel and Augustus strike up a flirty friendship but Hazel - someone who views herself as a grenade and is set on protecting those around her from the blast when that day eventually comes - is reluctant to let Augustus in. But as their relationship slowly begins to inch towards romance, she soon sees that she really doesn’t have much say in the matter.
Woodley is absolutely enigmatic as the story’s cancer-stricken heroine and ends up infusing a great amount of likeability and authenticity into the role of a young girl asked to face her destiny much too soon, while Elgort shines as the witty and the incredibly charming young man who refuses to let the cruelty of life dampen his spirits.
The Fault in Our Stars is only the second feature-film for director Josh Boone – see 2012’s Stuck in Love - however, he executes the tricky adaptation like a veteran. Scripted by Scott Neustadter and Michael H. Webert, the gravity of the material is handled wonderfully and there is a heavy dose of sincerity, humour and most important of all, heart, injected into the story’s sombre themes.
On the downside, its teenage-romance premise does get a little too cutesy in parts and the subplot, which involves a trip to Amsterdam, feels a little underdeveloped. Nevertheless, it’s the easy chemistry between its protagonists and its earnest approach makes The Fault in Our Stars a success and an ultimate real tear-jerker that won’t leave a dry eye in the house.