The Family Fang

This is a very good work of fiction, well represented on the screen by Jason Bateman (who starred and directed it) and his stellar cast.

It's the story of a unusual family: you will find the story truly original, not only in its premises or in the sequence of events but also because in the end you'll be left without any moral teaching: everything will seem possible and acceptable.

I found it interesting but, to be sincere, not really catching or entertaining. If you are looking for a Comedy I'm afraid you'll be disappointed. If you think you are going to watch a drama you'll probably find it poorly moving. If you want to see something original, on the contrary, you could be satisfied I guess.

'THE FAMILY FANG': Four and a Half Stars (Out of Five)

A dark comedy-drama flick, about the two adult children of a very controversial 'conceptual performance art' couple. The siblings blame their mother and father for all of their current problems in life; and when their parents go missing, the sister is sure it's just another disturbing art project. The film was directed by Jason Bateman, who also co-stars in it, and it was written by David Lindsay-Abaire. It's based on the 2011 novel, of the same name, by Kevin Wilson. The movie also co-stars Nicole Kidman (who co-produced the flick too), Christopher Walken, Maryann Plunkett, Kathryn Hahn (who also costarred in 'BAD WORDS'; which Bateman also directed and starred in) and Jason Butler Harner. I enjoyed the film immensely.

Baxter and Annie Fang (Bateman and Kidman) had a very bizarre, and highly unconventional, upbringing. Their parents are world famous 'conceptual performance artists', named Caleb and Camille Fang (Walken and Plunkett), and they incorporated Baxter and Annie into most of their projects (when they were young). The siblings have had a lot of issues, as adults, because of it. When their mother and father go missing, and are presumed dead by authorities, Annie becomes obsessed with proving it's another art trick.

I really like the story for this movie; it poses a lot of great questions about what makes great art. I'm a big fan of performance art (I experience with it a lot on social media), so this film is very interesting to me. I agree with Christopher Walken's character, on his opinions about art, but I think he took it too far, by involving his kids (I can see how that could do a lot of psychological damage to them). The movie is also a great character study, and the performances are all excellent too. Bateman also proves, once again, what a talented director he is, as well (I'm also a big fan of 'BAD WORDS'). It's definitely a film worth seeing!

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the basic virtue - it is an ambitious, interesting and original film by Jason Bateman.and, for him, it is a real good point. in same measure, it is an inspired analysis of parenthood. not the last, the good performances( especially the reasonable younger Caleb of Jason Butler Harner).

the sin - fragile balance for define the art as pretext for control of life of family.the roles are straitjackets. the thin line between comedy and drama.the sketches of immaturity, credible but not convincing.

short, a good film. especially for reflect. about family, its foundation , its values and the parenthood as significant part defining it.

Abstract

The Family Fang is a certainly strange and intriguing film and not lacking in complexity and interest that reflects on the relationship between art and reality and the deep traces that the artistic narcissism of a father leaves on his children.

Review

During their childhood and adolescence, the Fang brothers participated in "interventions" or performances in public places devised and filmed by their parents. As adults, Annie and Baxter (Nicole Kidman and Jason Bateman), she an actress with an uncertain career and he, a blocked writer, meet them again and must face an unprecedented situation.

The Family Fang is a certainly strange and intriguing film and not lacking in complexity and interest. Two brothers marked by artistic narcissism and the manipulations of their father Caleb (a fearsome and relaxed Christopher Walken), the concessions of a surrendering mother (Maryann Plunkett) and a precocious and unconscious celebrity.

I'm talking about complexity because the ensemble that the director Jason Bateman also makes of the story in the present, flashbacks of the interventions in the past, videos of those interventions and the inclusion of false reports is effective and at times they bring the film closer to mockumentary and reality.

And I speak of interest because the film's explicit and implicit reflections on the relationships between art and reality are understandable, even if they are permeated by Caleb's debatable subjectivity.

Although the development of the story and some decisions or behaviors of the characters may seem forced or implausible, I believe that they must in part be understood based on the deep marks of family history and their artistic creed on the perception of reality and interaction with she.

Finally, it is worth highlighting the performances of the infallible Kidman, Bateman, Plunkett and the great Christopher Walken.

After 'Bad Words', Bateman the director appears to be heading in the right direction and takes on a more ambitious, layered project. This film deals not only with a dysfunctional family, a concept that has fascinated American cinema ever since American Beauty, but also with the relation between art and life. Thematically, the family ensemble has been portrayed more incisively in the recent past (The Squid and the Whale, to name just one example with a similar character ratio), but the manner in which relationships are blurred and redefined here gives Fang a captivating spin.

We are presented with two seemingly wayward, middle-aged siblings who, it turns out, grew up in a tradition of 'intempestive art'. Alongside their eccentric parents, they enacted hoaxes of different scales in front of onlookers who were not in on the game - all with the aim of eliciting life out of the an otherwise mundane, controlled existence. As an accident reunites the family, which had drifted apart in the mean time, tensions persist, culminating when the parents disappear and the obvious question is asked: is this just another hoax?

The story works primarily because Kidman (Annie) and Bateman (Baxter), child A and child B, as their parents called them, convey an understanding that does not require explanations. It's the kind of sibling relationship that draws from so many shared experiences, joys and traumas that it defines a common frame of existence which time has difficulty in erasing. Similarly, we as an audience draw the faith required to suspend our disbelief from the energy the two control when on screen together. The questions pertaining to the philosophy of art, its authenticity and veracity, are interesting to ponder, but they only provide the backdrop to what Annie and Baxter have going on. The point of convergence between the two themes is that of control - its purpose in art, its purpose in relationship building.

This is fascinating, as control is so inherent to anything that happens in the early years within a family: the setting of constraints to the socially unrestrained spirit of childhood. It does not have to be coercive, but it is a matter of natural imprinting that occurs along the way, whether overtly or not. As adults, the struggle becomes to establish what we can (and should) control and what we need to let run freely. The mantra their father had instilled in Annie and Baxter emphasized the idea that by staying centered, one can let the surrounding chaos sweep over and past you. A lot of the time it's easier said than done. We also see that different people need different things in order to express themselves - a given, sure, but finely synthesized in Annie's qualms as an actor and Baxter's writer's block.

Where the story does fall a bit short is in the resolution. In a way, it's predictable and boring, but it's also inevitable. Inevitability is usually a good thing to have in an ending, especially in one dealing with the nature of art. Still, a stronger build up and a more resolute finale would have turned Family Fang into a really memorable piece of work. As it stands, it overemphasizes the idea that unrestrained (performance) art comes at a hidden cost both to those involved and to those affected by it. That it becomes hard to keep art and life contained. And, surely, that the price for this is too high.

Nonetheless, my newly found penchant for movies about siblings really let me enjoy this story. Perhaps just a bit more than I should have, but that's thanks to how authentic Annie and Baxter feel and the depth they lend to the experience.