I’m Glad That My Mother Is Still Alive (Je Suis Heureux Que Ma Mere Soit Vivante)

Co-directed by Claude Miller and his son Nathan, I’m Glad That My Mother is Still Alive is a drama inspired by a true incident. Based on a newspaper article about a similar situation, the film is an adaptation of the original screenplay by Jacques Audiard (A Prophet).

The story follows two young boys – Thomas, 5, and Patrick, 2, whose troubled mother Julie lacks maternal instinct and struggles to make ends meet. Leaving the boys alone to fend for themselves as she goes off to work, the children end up in a care home and are adopted by Annie and Yves Jouvet. By the time he is 14, Thomas struggles with the knowledge that he is adopted and acts out on his school friends, his brother, and his adoptive parents. He is put in a boarding school and coerces a state official into finding his real mother’s address. When he pays Julie a visit, he finds she is married and pregnant, and writes her a letter to say that he never wants to see her again.

The film shifts back and forth in time between Thomas aged 5, 14, and 20. When adopted, Patrick was renamed Francois by their new parents, and the happy-go-lucky 17 year-old has no desire to see or meet his biological mother, especially when he sees how much Julie’s influence in Thomas’ life tortures him. Aged 20, Thomas finds Julie again and befriends his younger brother, Fred, now aged 5. He becomes increasingly tense and frustrated with Julie’s lack of parental ability, and ultimately seeks his revenge.

Though the title should be the pivotal line in the film, since it is repeated constantly between checking the film listings, purchasing a ticket, telling your friends what you are going to watch, and having it introduced, it loses all meaning. It gives away the ending and does not resonate in the way that it should when spoken at the end of the film.

Like the title, the film itself drones on without hitting any real points of tension. The scene in which Thomas stabs his mother is uncomfortable rather than shocking, and Thomas’ consistently hard face does not ever soften. Every scene in which Thomas argues with a friend or one of his parents is fraught and sharp, and since there is no love with which to contrast his anger, it never lends any real emotion to the scenes. Some issues furtively sneak into view, such as some undecided sexual tension between Thomas and Julie, and adoptive father Yves’ mental illness. Though they appear, they are never addressed or developed, leaving the audience confused rather than moved or confronted. It all feels unfinished.

The acting of the young children is superb, and much of the cinematography is a joy to watch. The editing is unnecessarily complicated, however, and the story does not engage or emote as dramatically as it deigns to. A disappointment. Or, should I say, I’m Glad That I Did Not Pay For This Ticket.

American: The Bill Hicks story is the biography of Bill Hicks and the career that spanned almost his entire life. The film traces his life through the memories and stories of his family and closest friends from his schooldays ‘til his final days. From as early as age 13, Hicks was certain that stand-up comedy was a form of expression of great importance, and a worthwhile profession. This conviction led him directly to a life on stage. From the early days of sneaking out of his bedroom window to perform at a local comedy club, through his tumultuous years of alcoholism and drug abuse, all the way to the days when he truly found his voice and became a huge star in the UK; he kept his friends close and his family closer.

Watching this film is like flipping through a commemorative scrapbook. Featuring snippets from those closest to him, their stories are artfully knit together by directors Matt Harlock and Paul Thomas. What sets it apart from other documentary biographies is not only the impressive amount of research and incredible interviews, but the delicate presentation. The animation technique used to bring the photos to life is at once groundbreaking and engaging. We see literally hundreds of pictures of our supporting characters, not to mention a lifetime of images of the hero of our story: Mr Hicks himself. The typical on-camera interview documentary style is eschewed until the pivotal moment of the film: Hicks’ diagnosis of the pancreatic cancer that claimed his life. This switch in aesthetic is seamless and gently moves us from a world of imagination, ambition, and dreams, into the cold realisation that greatness cannot last forever. This humanises Hicks and his friends and relatives, adding a bittersweet hint of mourning without becoming melodramatic or derailing the tone of the film.

American: The Bill Hicks Story is a moving and respectful biography. Like all biographies, there are elements missing, such as Hicks’ romantic relationships and his thoughts on religion. Despite this, Matt Harlock and Paul Thomas have succeeded in creating a multidimensional world that seeks to understand a complex and deeply intelligent man. Questions will always be left unanswered, and director Paul understands this, but continues in his quest for more knowledge, more experiences, and more perspectives through which he can attempt to piece together the jigsaw that is Bill Hicks. His curiosity is endless, and his great respect – above all else – resonates throughout the film. American: The Bill Hicks Story is an investigative and beautiful piece of work that truly brings Bill Hicks to life. A great achievement.

In this stoic yet fluid drama, renowned actor Otto Kullberg’s love of drinking and eccentric behaviour stalls the production of his latest film. When the producer decides that the best way to proceed is to make two versions of the film – one starring Otto and another using a replacement – the feature is thrown into turmoil. Set on location (both the film and film-within-the-film) on the Baltic sea, it mirrors the tides with its slow and deliberate pace and steady erosion of relationships. With elements of Wenders, it is a character-driven affair that explores the complex relationships that take place on the film set. Anyone who has worked in film (professional or otherwise) will recognise the power-struggles and drama that result.

The two stars Otto and Bettina describe the film-within-the-film’s cast as “a big family”. A dangerous statement, as sex is the currency by which relationships are negotiated and the hierarchy of cast and crew are established. From the shy assistant director’s crush on the camera operator to Bettina’s affair with Otto (despite being married to the director, Telleck), no-one is immune to the need for acceptance in this incestuous family affair. Bettina and Otto establish themselves atop the hierarchy as Otto’s replacement Arno flounders at the bottom, making passes at every actress on set, desperately clinging onto that bottom rung as he shamelessly attempts to gain a foothold… and a contract.

Otto is not immune to paranoia, though, and tensions arise between Otto and Arno as they play the same poorly-drawn character in Telleck’s mediocre film. The funniest moments arise from this rivalry, from their alpha male attempts to out-act one another to Otto’s eventual taking Arno under his wing and getting him rip-roaring drunk.

Despite the tensions, Whisky & Vodka is full of heart. When the relationships thrive, they shine with a realistic warmth. Despite his playboy tendencies and unpredictable behaviour, there is a certain wisdom about Otto that warms you to him. This is particularly true during the wrap party, when he makes a speech about the ways in which the studio has mistreated him. Try as you might, it is impossible not to forgive Otto his misgivings.

With excellent pacing, great characters, and hilarious moments, Whisky & Vodka is a fantastic way to get through any sober evening.