INTERVIEW
INTERVIEW
RIGHT TO PROTEST
Kimberly Peirce, director of the Academy Award-winning Boys Don’t Cry, talks to Miles Fielder about her long-awaited second feature
Two films in ten years is a meagre output by any filmmaking standard. But then American writer-director Kimberly Peirce’s striking 1999 debut, Boy’s Don’t Cry, won an Oscar, and her belated follow-up, Stop-Loss, might be the first film about Iraq to really engage a cinema-going crowd. So Peirce’s batting average is pretty good.
The new film dramatises the plight of US soldiers returning from Iraq, their tour of duty done, their minds and bodies scarred from combat, only to be returned to the front line courtesy of the Bush administration’s involuntary re-enlistment policy widely known as the ‘back-door draft’. It’s an angry protest film, but an entertaining one, designed to reach an audience. And it began life seven years ago, immediately after the twin towers struck the World Trade Centre.
‘After 9/11 my younger brother enlisted in the Army,’ Peirce says. ‘I understood his motivation, but the thought of him doing this was devastating. In an effort to understand what he was going through I started to make a documentary about our soldiers, and during the course of interviewing many of them it became clear there was a great deal of discontent about how the war was being fought.’
She continues: ‘With enlistment rates falling, the Department of Defense invoked its Stop-Loss policy and the military began to forcibly re-enlist Iraq veterans, about 81,000 I discovered, which led to soldiers taking legal action. When that didn’t work they started going AWOL.’
Sometime in 2004 Peirce decided to turn her documentary into a feature that would hang the story of a group of young soldiers from Texas on their reaction to the back-door draft. Peirce developed the script with co-writer Mark Richard, whom she’d been introduced to by mutual pal Charlize Theron and with whom she’d adapted his yet-to-be filmed story, The Ice at the End of the World. The pair opted to work outside the studio system due to the bad experience Peirce suffered working on her abortive second film, Silent Star. By the time the script was complete, Hollywood had begun in earnest to greenlight projects about Iraq, and although neither Lions for Lambs, nor In the Valley of Elah had played very well at the box office Peirce got the heads up from Paramount.
Stop-Loss has done respectable business in America, but more importantly for its maker it has appealed to the people it’s about. ‘I’ve had veterans and the families of veterans approach me and say they are glad their story has been told in this film,’ says Peirce. ‘These young men and women have a sense of duty, so they sign up to serve their country. But their patriotism is turned upside down when they’re faced with impossible circumstances in Iraq and they end up committing acts that force them to question who they are and what they believe in. I’m glad to have had the opportunity to tell their story.’
I Stop-Loss is on general release from Fri 25 Apr.
46 THE LIST Azx I",
DRAMA PRIVATE PROPERTY (15) 95min .000
‘The story of an explosion in a closed world' is how the young Belgian writer'- director' Joachim Lafosse has described Private Property. his emotionally complex and merdantly amusing family drama. in which the boundaries between parents and children become fatally blurred.
Divorced mother Pascale ilsabelle l-luppertl lives with her grown-up twin sons. lhierry and Francois (played by real life brothers Jeremie and Yannick Renieri. in a rambling converted farmhouse. The boys enjoy a cocooned eXistence: she does all the cooking and the cleaning. while they watch TV. play computer games and table tennis. and shoot rats on the riverbank ithat the siblings also still bathe together suggests an element of infantilisation). But when Pascale reveals that she plans to sell the property. which is actually owned by her ex-husband «Patrick Descampsl. and set up a 88.8 with her new lover. her offspring respond furiously.
Fans of the Dardennes brothers should relish the immediacy and austerity of Lafosse's filmmaking. Shooting on location and using music sparingly. he prefers long. controlled takes. where the framing traps these individuals within their stifling domestic environment. Demonstrating how mealtimes are key sites of familial conflict. Private Property is also impressively acted by its trio of leads. whose characters seem painfully unaware of the emotional cruelty they inflict on those they love. i'l'om Dawsonl I li'r/rrrhorrse. Fdrrrbirr'gh. In 2 r lhu 8 r‘./lay:
SCI H I’M A CYBORG, BUT THAT’S OK (15) 105 min 0.00
Korean director Park Chan wook burst onto the international film scene ‘.‘.':th the ferocious O/(lboy in 2003. lhe bleak and violent study of reyenge was y'ery publicly championed by Quentin larantino. Howeyer‘. after the unrelenting nature of his Vengeance trilogy which also includes Sympathy for r'yi'r Vengeance and lady \./errgeancer. here the director changes tack With a unique take on the romantic comedy ~ set in an insane asylum.
Park creates a loyrngly realised y'xor'ld packed with oddities. Cha Young goor‘ rl..;m Soo Jungi is a young girl who thinks she's a cyborg. and has :lelusional flashes where she r'eyer'ts to a mechanised killing machine. f‘elloy': rr‘mate Park Ir soon iplayed by Korean pop star Hainr falls for her innocent charms. stealir‘g other people's personality trails to help her‘ as she star'yes to rieat“ due to he' insistence on orin consuming electricity rshe is a cyborg after all..
If you expect the filth and fury of Park (lhar‘ yyook's Ver‘gearx:e films. this via. feel a tad lighty'.’eight. But /'.'r‘ a (beo'g. . . is a yyhimsrcal frln: packed witl‘ cnarr“ and startling imagery which confirms Park as a director of range. lhere are st'll moments of yiolence but ;t's all stylised ‘.'.’lllll-'l a yaorld of ‘aritasy: this 's ()"e f z .‘ ()yer fl‘e (,‘u'ckoo's Nest retold as a children's fable. borr'oyur‘g a crisp. br'rglit colour palette and '.'.'oo/y pastel shades front [ magi/u" Sessr>"‘;r"u"s. At its near“. its a kooky loye story told yia rmagrnatiye set pieces and Parks cl‘ar'acteristrc grasp of meticulously constructed images. I ler‘ry Nortiintorer
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