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Okja Movie Review & Film Summary (2. It is also the tale of animal rights activists doing battle with a Monsanto- like corporation that wants to turn said pig, allegedly the cutest in a batch whipped up by genetic scientists, into a poster animal for a revolutionary line of meat products. These two modes might seem incompatible.

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But as overseen by the great South Korean director Bong Joon- ho (. Advertisement. The heroine is a South Korean farm girl named Mija (An Seo- hyn), an orphan who lives with her grandfather Heebong (Byun Hee- bong) in a mountainous stretch of rainforest. Her constant companion is the title character, Okja, a pig with the rounded snout and leathery skin of a hippopotamus, a soft pink belly, and trusting eyes. Okja loves Mija and Mija loves Okja, but their sacred bond is governed by a ticking clock. As revealed in an opening flashback, Lucy Mirando (Tilda Swinton), the CEO of the Mirando Corporation, seeded the world with prototype pigs and announced that when they'd all spent ten years growing to maturity, the company would choose the finest environment in which to raise them, the better to provide the world with cheap but high- quality meat and meat products. The pigs were presented to the media as a .

This is one of many deceptions labeled . They are meant to bamboozle animal rights activists and protestors against genetically modified organisms (GMOs). Mija and Okja's separation kicks off a story that follows the pig from South Korea to New York City and (parenthetically) to a plant near Paramus, New Jersey, where hundreds of other prototype pigs are kept for experimentation and eventual slaughter.

Members of the Animal Liberation Federation (ALF, just like the sitcom alien) briefly kidnap Okja and fit her with a camera that they hope will expose the company's animal rights abuses. The ambitious screenplay includes discussions of corporate responsibility, the ethics of meat consumption, the acceptable threshold of animal cruelty, and other matters that you might not expect to see find in a film so simply told and lavishly produced. Is it a kids' movie? Every parent's mileage will vary.

Without getting into too many plot specifics right off the bat, it should be said that Bong and his co- writer, Jon Ronson—a journalist, filmmaker and social critic who wrote The Psychopath Test: A Journey Through the Madness Industry and So You've Been Publicly Shamed—have made a film that lots of little kids will want to see but that not too many will be able to handle. Advertisement. To their credit, the moviemakers signal right away that this isn't a film that adults can use as an electronic babysitter. The dialogue is liberally peppered with F- words, and the more exaggerated jokes about corporate hypocrisy are reminiscent of non- child friendly satires like . Strangelove. There are also visual and thematic nods to cartoonist turned director Terry Gilliam, who made films that were childlike and sometimes childish but never strictly for kids—in particular the 1. And there are many upsetting images of animal abuse, particularly towards the end—not as harsh as what you find through a You. Tube search, but nevertheless unusual for commercial cinema. These harrowing moments are always tied to the characters' wants as well as to the film's belief in showing compassion for creatures lower on the evolutionary chain.

Harris Dickinson plays a South Brooklyn teen exploring his sexuality over the course of an indolent summer in Eliza Hittman's second feature. Below is a full list of upcoming 2017 movies, both nationwide and limited releases. The 2017 movie release schedule includes movies in theaters, monthly and week by.

But because we've invested deeply in Okja and Mija's story, they're still hard to take. The film is unapologetically against the assembly line- style . Despite gentle mockery of the activists' self- righteousness and tendency to announce their beliefs melodramatically, and an unfortunately unexamined strain of fanaticism exhibited by the group's leader Jay (Paul Dano), the movie is very much on ALF's side. The gloomy concrete- and- ironwork facility where Okja's brothers and sisters are held suggests a concentration camp for animals; when key characters trek away from its main gates, Bong's compositions and texture palette evoke . Sci Fi Thriller Movies Monster Project (2017).

Bong's film is even tougher going, mainly because it steers clear of the . And yet, in the end it is somehow warmer, or at least less brutalizing. Maybe it's because Bong is a showman who packs every frame with three jokes and grace notes where most directors would only offer one, if that. The chain reaction slapstick sequences are as thoughtfully assembled as . The pig's fearful rampage through an underground shopping mall in Seoul is a marvel of composition and editing, creating surprise through clever camera angles and unexpected cuts while giving us a glimpse of the bland consumer paradise that companies like Mirando depend on. The score, by Jaeil Juing, is a delight, alternating gentle acoustic guitar with his version of klezmer music, which lends a whimsical quality to action scenes while reminding us that this is, in a sense, a kosher film. The soundtrack of pop tunes is charming as well, especially when it scores a slow- motion  sequence to John Denver's .

Advertisement. The movie is so packed with incident and characterization that that it sometimes loses focus or wanders down alleyways it can't properly explore. There's a saggy midsection that concentrates too much on the corporate bad guys, scenery chewers who work best in small doses (besides Swinton, who plays both Lucy and her even more evil twin sister, Nancy, there's Giancarlo Esposito as a ruthless corporate bean counter). Jake Gyllenhaal's performance as a hypocritical nature TV celeb is the only flat- out casting disaster. Jim Carrey- style clowning is not, to put it mildly, this actor's most comfortable mode, and his fidgety, braying, often mincing performance is so misjudged that it destroys scenes that should have been unsettling or touching. And there are subplots that don't get the attention they deserve—in particular the conflict between ALF leader Jay and his lieutenant K (Steven Yeun of . But while these flaws might have shattered other movies, they barely ding the surface of this one.

Like Brad Bird in . It's engrossing from start to finish, and masterfully juggles tones that might have caused viewer whiplash in a less carefully imagined work. It has a strong moral vision and stands as an example of political filmmaking aimed at the widest possible audience. Its point- of- view won't be to everyone's liking (I can see Fox News Channel getting a solid week's worth of programming from the fact that Netflix helped bankroll a blockbuster anti- meat picture). But at a point in movie history where entertaining movies often stand for nothing and films with something to say keep forgetting to entertain us, this film's balancing act is remarkable. The girl and her pig are usually front and center.

When they aren't, it's their love that we're thinking of. And this is a love story, after all. A repeated image shows the girl leaning into the pig's floppy ear and whispering to calm her down. We never hear exactly what she's whispering, but the tight closeups of Okja's mesmerized eye show us that she's listening intently and gets the gist—that the girl's words matter and make sense even though they don't speak the same language.

The pig trusts her friend. All the film's many threads ultimately come back to questions of trust: what it means to keep it or betray trust, and whether there are circumstances where betrayal is necessary, and whether the trust between human and human is more meaningful than the trust between human and animal. Mija would tell you there's no difference.

But Eliza Hittman's second feature is very much the work of a filmmaker with her own distinctive voice, combining moody poetry with textural sensuality to evoke the dangerous recklessness that often accompanies sexual discovery. Shifting from the portrait of adolescent female experience in her striking debut, It Felt Like Love, Hittman here turns her penetrating gaze on a Brooklyn teenage boy navigating an even more pivotal transition, played with understated intensity by promising newcomer Harris Dickinson.

Set amid the working- class streets and sleepy shorelines of Sheepshead Bay and Gerritsen Beach, with frequent detours into the surreal carnival world of Coney Island, the movie is a long way from the hipster Brooklyn neighborhoods that have become such familiar indie- film and TV turf of late. And while the leads of both genders are easy on the eye and amply capable of dramatic nuance, the casting of non- actors in secondary roles adds to the scrappy authenticity of this plunge into an outer- borough New York environment we don't often see onscreen. French cinematographer Helene Louvart's credits include Wim Wenders' masterful dance documentary Pina, and there's a similarly beguiling embrace of the physical here, whether the film is observing its introspective protagonist, Frankie (Dickinson), or looking through his eyes at the hazy summertime world and cruisy nighttime playgrounds in which he moves. Hittman shows no interest in making a standard coming- out film, though the direction in which Frankie's sexual instincts are steering him is quite apparent as he logs onto online gay hookup sites, at first flirting shyly with older men but soon arranging assignations. That secretive activity is completely divorced from his aimless time with his three swaggering . Frankie, seemingly indifferent to the imminent loss of his father, is mainly concerned with pilfering the dying man's opioid pain meds to get high with his friends. However, it's crucial to the film's hold on the viewer that Hittman never judges Frankie, no matter how selfish or uncaring his behavior.

The parallel experiences of Frankie's sexual encounters with men, on a local cruising beach or in a motel, and his attempts to keep things going with the increasingly wary Simone start to weigh on his equilibrium. That conflict is especially notable in a trippy party- boat sequence during which his overindulgence in recreational drugs makes the proximity of his separate worlds especially uncomfortable. That scene and one that follows showcase terrific work from Weinstein as a hard- edged young woman drawn to the fragile quality beneath Frankie's Abercrombie & Fitch beauty, but at the same time smart enough to protect herself. There's lovely, unforced work also from Hodge as Frankie's mother, quietly struggling to process her grief while watching her son become increasingly unknowable. The turning point comes when Frankie involves his friends in his cruising exploits, maintaining cover by insisting that the online connections are merely an easy way to score drugs from guys all too eager to share them.

But the inevitability of violence has been signaled from much earlier, with his buddy's fist functioning like Chekhov's gun when it strikes a Coney Island novelty punching- bag machine with impressive force. The film brews a potent cocktail of bristling male aggression and inarticulate sexual longing mixed with fear, as Frankie's burgeoning identity becomes irreconcilably distant from his native habitat. That makes for a tense and unsettling final section, with a conclusion that leaves Frankie reeling at an ambiguous crossroads. English actor Dickinson stands to make a significant leap on the casting radar with his work here, playing a character floating through his impulsive sexual exploration, seemingly in total denial that any of it involves conscious choices. It's a characterization that might easily have read as weak, unfeeling, even remote, and yet despite the refusal of both actor and filmmaker to signal Frankie's vulnerability, his lost quality keeps us in a melancholy grip. With respect to It Felt Like Love, Beach Rats represents a leap forward in terms of craft and narrative maturity, and also a companion piece in its dreamy, tone- poem feel, and its keen eye and ear for adolescent behavior. Hittman folds Louvart's evocative summertime images, composer Nicholas Leon's brooding electronic notes and the fluid rhythms shaped by editors Scott Cummings and Joe Murphy into a raw observational portrait that leaves a haunting impression in its wake.

Venue: Sundance Film Festival (U. S. Dramatic)Cast: Harris Dickinson, Madeline Weinstein, Kate Hodge, Eric Potempa, Anton Selyaninov, Frank Hakaj, Nicole Flyus, David Ivanov, Harrison Sheehan, Neal Huff. Production companies: Cinereach, in association with Animal Kingdom, Secret Engine. Director- screenwriter: Eliza Hittman.

Producers: Drew Houpt, Brad Becker- Parton, Paul Mezey, Andrew Goldman. Executive producers: Philipp Engelhorn, Michael Raisler, David Kaplan. Director of photography: Helene Louvart. Production designer: Grace Yun.

Costume designer: Olga Mill. Music: Nicholas Leon. Editors: Scott Cummings, Joe Murphy. Casting: Susan Shopmaker. Sales: UTA9. 8 minutes.