Some People Think It’s All Over

The weather gets even more impressive, if you like it hot. I run with the Lad on Monday but it’s far too hot for him (and me) on Wednesday so I take both dogs for a walk instead.

Our great leader tells us we are now into ‘phase two’ of easing the Lockdown. Some people think it’s all over... and if you look at how many people were on the beaches this week... it is now.

There’s been couples entwined on the park for a few weeks now who I’m sure would tell you that they live together if you’d asked them. While some folk have been driving over 200 miles from London to Durham.

Although it turns out that that particular excursion was before even ‘phase one’ of easing the Lockdown never mind ‘phase two’ at a time when the rest of us were feeling like a criminal for nipping the 200 metres to the local Co-Op for a loaf of bread.

On Thursday, things seem a little better at Asda but I think that’s probably because everyone’s still at the beach.

Soon you’ll be able to put an app on your phone that will tell you which one of your fellow beach bums has given you the virus as we hurtle into the second wave on our surfboards.

Some people are worried about the privacy of the new app. Clearly not realising that you are already being tracked simply by carrying a mobile phone and forgetting about all those loyalty cards they have that allow the shops to track them while publicly documenting everything else on their Facebook accounts.

L has always wanted me to take her to the Hay Festival, so this year I spoil her and take her without even leaving the house. The Festival goes online and she can attend as many book events as she likes. I even attend a few myself.

On Sunday we are treated to a film quiz from Broadway. Which you instinctively know is going to be almost impossible and we’re not wrong. 

(Sunday 24^th May)

Vivarium

With Broadway shut we aren't getting our usual fix of films but in an attempt to try and keep them in business we renew our membership anyway. In return they continue to send us their weekly emails with links to the films that they would have been showing, so that we can stream them along with discounts off the various streaming sites.

The first one we watch is Vivarium.

Gemma (Imogen Poots) and Tom (Jesse Eisenberg) are a young couple desperate to get on the housing ladder. They wander into an estate agency staffed by Martin (Jonathan Aris), who looks like he’s just come straight off the set of Book Of Mormon.

Even though it isn’t at all what they are looking for, he persuades them to visit a new housing development called Yonder. Yonder is Suburbia on speed with its rows of identical houses with their identical white picket fences and identical manicured lawns.

They are shown around No 9 which is like a show house with everything ready for a couple to move in and complete with a spare bedroom ready for child number one.

When Martin simply disappears, Gemma and Tom can’t wait to make a run for it but they discover that escape is not possible. Every road leads back to No 9 and after driving around until it gets dark, they run out of petrol right outside No 9.

The next day, Tom climbs on to the roof where he sees nothing but more identical houses, so they decide to follow the sun to find a way out. They walk across identical garden after identical garden, always climbing over the identical fences using identical white plastic chairs. When they finally find a house with some lights on, it’s No 9. 

They discover that a box is left outside the house every day containing food and other provisions. The same food and provisions, day after day. Then one day the box has a baby inside it with a note saying, 'Raise the child and be released'.

If you assume that by merely having entertained the ‘dream’ of suburban living ‘sold’ by the estate agent and subsequently found themselves trapped in it then the last thing they should now do is to agree to raise the child. After all, why would you move to suburbia in the first place if the next step wasn’t to have a child to occupy that spare bedroom?

Out of compassion (I guess) they accept the child, thereby trapping themselves more deeply because having the child piles further demands on them. The way Tom and Gemma deal with those demands is by reverting to stereotypical gender roles.

Gemma cares for the ‘Omen’ child or at least tries to reason with it, as it grows at the rate of a dog and screams at the top of his lungs until it gets what it wants. While Tom digs because it makes him feel like he's doing something, and that is what men do.

As the child grows up into a Martin clone it all ends rather brutally as, with their roles affectively fulfilled, they are 'released' but not before we get an insight into other couples doing exactly the same thing in exactly the same trapped environment.

I thought it was a fascinating film, in the vein of the Twilight Zone or Black Mirror. A film about the treadmill of life, that life itself is a trap.

Where many films these days are remakes or sequels any film that dares to be different should be applauded. Vivarium gets a standing ovation from me.

Blindspotting

Today is a rare Saturday night out for us and we go to Broadway to get a meal and to take in a film.

Blindspotting is another film about racial bias but one with a different angle. The screenplay is written by its two lead actors and is set on the streets of Oakland, USA. It is here where Collin (Daveed Diggs) is working as a white van man alongside his childhood friend, Miles (Rafael Casal).

Collin is a former prisoner running down the clock on his last three days of probation and is therefore desperately trying to away from any trouble. Then, with his parole completed, he can move out of the halfway house he's living in and move on with his life.

The problem is that staying away from trouble isn't easy when your best friend is someone who seems to be seeking it out. Collin is a black man and Miles is a white man, but Miles is the one who acts and talks like a black gang member, something that Collin now finds very clichéd.

The social landscape of Oakland is changing fast and the once dominant black culture is being pushed aside by the incoming hipsters and their kale smoothies. Collin embraces this but Miles seems wrong footed by it all.

One night, just before his 11pm curfew, Collin sees a white policeman (Ethan Embry) shoot an unarmed fleeing black suspect in the back. He is faced with the dilemma of whether to report the incident or not. If he does, he’s admitting he was beyond his curfew which could potentially put him back behind bars. So he doesn't and goes off to get his hair done instead. 

They both work as white van men for a removals company where Val (Janina Gavankar) is their boss. She used to be Collin's girlfriend until the things that happened that sent Collin to prison happened. It is some way into the film until it is revealed what actually happened and why Collin is so keen to move on.

Then, while on a removals job, he comes face for face with the policeman.

Excellent film. Well worth a look.

Afterwards we check out the Peacock for the first time in ages. Sadly the Old Peculiar is off, not that it’s been in great shape the last few times we’ve been. They do have a decent porter instead.

(Saturday 6^th October)

Up The Rams

Another lie-in, this time to midday. L wanted to give her ankle a break (of the unbroken kind) and this is clearly the best way of giving it a rest, doing something not load bearing.

I tentatively suggest that this is perhaps also a good chance to stretch the wheels of her bike (puts on tin hat). So later L cycles to Harvey Hadden, does the bike track there and then the gym.

I walk the boys on the park, again and again without balls. They are seriously starting to wonder if something is up.

In the evening we head to Broadway for our second film in two days.

Now here's a quirky one. Rams is a snapshot of life in a remote Icelandic valley, an environment so harsh that seemingly only sheep and stubborn bearded old men can survive there.

The stubborn bearded old men are two brothers, Gummi (Sigurður Sigurjónsson) and Kiddi (Theodór Júlíusson). They live in neighbouring farmhouses but have not talked for forty years. Their only form of communication is the occasional written note which is delivered by border collie.

The film starts with them going head to head in the competition for the most highly-prized ram.

Kiddi wins with Gummi coming second. Kiddi’s celebrations are brief though when it turns out that the winning ram has scrapie. The outcome being that all the sheep in the valley will have to be slaughtered.

Kiddi refuses to comply with the slaughter. So he is arrested, his flock is forcibly destroyed and he goes on multiple drunken benders. Twice we see Gummi reluctantly forced to save his brother when he finds him lying motionless in the snow, drunk and about to freeze to death. On one occasion he scoops him up in his tractor's front loader and deposits him in front of the nearest hospital.

Gummi meanwhile kills his sheep himself against regulations, so that he can secrete a few ewes and his prize ram in his basement. At first he gets away with this but eventually they are discovered by the authorities.

When Kiddi learns what his brother has done, they start to become reconciled. Kiddi helps Gummi re-hide them and then when that doesn’t work, the two of them combine to drive them off into the mountains during a blizzard. A plan which doesn’t go too well due to the inclement weather, this time leaving Kiddi trying to return the lifesaving favour and attempt to save Gummi.

Quirky but excellent. Well worth seeing.


Afterwards we go for a few pints (rather appropriately maintaining the sheep theme) in the Golden Fleece on Mansfield Road, which has recently become Flipside’s second pub. Then it’s the traditional Sunday Indian.

(Sunday 28^th February)