James Kent’s ‘The Aftermath’ is described as a romantic-drama so of course I was drawn to it right away. Plus, I liked its cast: Keira Knightley and Alexander Skarsgard are two of the most beautiful actors to look at so I know visually i will not be bored. And the film all in all is classy and elegant. It felt like I was watching a modern supersized version of Masterpiece Theater so everything goes down smoothly. And that is enough to make you forget about the silly screenplay, riddled with melodrama that most times do not make sense. But it hardly matters, because Knightley and Skarsgard more than sell it – their romance manages to be hot and scorching, their chemistry pulsating even if you really do not understand how and why their characters got together. Set in Hamburg after the Second World War, the film looks beautiful even in ruins that you are instantly swept in by everything, and you think there is depth in the shallow screenplay. I enjoyed myself immensely, even succumbing to the romance at hand. Sure, this film has been done better, but for nowadays, this works.
‘Colette’ is good, but it could have been better. The film is sort of a biography of Sidonie-Gabrielle Colette, but is mostly known as Colette. She was a feminist before that term existed, a trailblazer if there ever was one. The film smartly tracks her path from a small town girl who got swept off her feet by Henry Gauthier-Villars, who released books under the name Willy (these said books are ghost-written by other people) After Willy’s deals with these writer dried up (mostly from bad financial transactions) he forces his Gaby to write something for him, and the result is the’Claudine’ series, which becomes a Parisian sensation. When Colette tries to get her independence from him, things go awry, and with that she explores her same-sex afflictions. While Director Wash Westmoreland does a great job on the first half of the film, the second part seems muddled. I don’t get some of the motivation on some of Colette’s actions, resulting on some WTF moments. Keira Knightley as Colette is fantastic, and she goes through the transformation of Colette well from provincial to Parisian. A lot of times she cuts through her underwritten character. She brings real heart and soul to Colette, but I just still could not connect to her. It’s mostly me, for sure, as the audience started clapping for her when the credits came up.