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2018 / ISSUE 109 21 FILM John Krasinski's A Quiet Place delves into the unique logic of a world where keeping the noise down is a matter of life and death. Let's face it, we're all going to die one day. Sure, none of us want to, but we can't exactly prevent the inevitable. Michelle Knox, feels that death should actually be a widely discussed topic rather than a social taboo. Her argument is that since we are all going to go at one point, we should be more open and accepting of our inevitable deaths so that we can become more comfortable and less afraid of what we know will happen to us all. With that out of the way, Knox then talks about the importance of funerals, and how they should serve as both a celebration of the life of the deceased in addition to farewell ceremonies. MICHELLE KNOX TELLS US HOW WE CAN BE MORE ACCEPTING OF DEATH FEATURED TED JOHN KRASINSKI AND EMILY BLUNT TRY TO KEEP THE NOISE DOWN IN A QUIET PLACE OUR TOP FOUR FILM FLICKS Ocean's 8 18th June The sleek and stylish heist series returns with a new all- female team. Sandra Bullock, Cate Blanchett and Anne Hathaway are among the star-studded crew hoping to pull off a risky job at New York's Met Gala. Hereditary 15th June Toni Colette uncovers the sinister secrets of her family heritage in an intense new supernatural horror film that channels the terror and inner turmoil of mental illness. In the Fade 22nd June A woman seeks justice after her husband and son are killed in a bomb attack in this unsettling German drama starring Diane Kruger and scored by Queens of the Stone Age singer Josh Homme. Leave No Trace 29th June Director Debra Granik's first narrative feature film since 2010's critically adored Winter's Bone, stars Ben Foster as a traumatised war veteran living illegally with his 13-year-old daughter in an Oregon public park. Sicario 2: Soldado 29th June The sequel to the gripping 2015 drug cartel thriller sees the return of Benicio del Toro and Josh Brolin as two agents contending with the escalating conflict at the US-Mexico border. Several shots follow each other, focusing more and more on the activity of humans as they run to the sea to meet the whales herded there by the boats, until the red tide caused by the slaughter cuts in, harshly reminding the audience of the violence demanded of the Faroese to survive. As TIATW progresses, several different characters provide the story. It soon becomes clear that rising mercury levels in the ocean are causing the Faroese to ingest it along with whale meat - the country's staple food. Mercury is one of the top ten most toxic chemicals in the world. It has a negative effect on almost every aspect of the body. At least 1,000 years ago, Vikings settled the Faroe Islands and presumably have been hunting whales for just as long. The practice known as the grindadráp, or grind is, therefore, an ancient tradition, and those are not easily cast aside, even when health is at risk. TIATW teases out the differing perspectives of the Faroese, and it is hard not to see things from their point of view. The grind is part of their identity and constitutes a major building block for the Faroese sense of community. Having communicated this conflict, TIATW then incorporates a whole section where the global oceanic conservation organisation Sea Shepherds come to the Faroe Islands. Their goal is to prevent the hunting at all costs. The Sea Shepherds disregard the Faroese tradition and heritage, instructing them in a patronising way to go vegetarian and stop hunting. They argue that pilot whales have comparable intelligence and social structures to humans and that their numbers are dwindling. However, the Faroese hunters point out that nothing grows in their country, so going vegetarian would demand reliance on imported goods from the other side of the world - equally bad for the environment as hunting whales. The scenes surrounding this issue are deeply troubling and very profound. They expose the true complexity of the current environmental issues, as well as the attempts of organisations to simplify and polarise arguments. Krasinski stars as Lee Abbott, father of three children and husband of Evelyn (Emily Blunt). An all-American nuclear family living in a post-apocalyptic 2020, the Abbotts are among the few human survivors in the wake of an invasion from extra-terrestrial predators. The only apparent weakness of these spider-like creatures is their lack of sight, a shortcoming they make up for with their extra- sensitive hearing. Communicating mostly via sign language, the Abbotts live a secluded, self- sufficient life on a farm where their day-to-day routine is meticulously ordered to make as little sound as possible. The family's delicate system of living threatens to collapse with the arrival of another child. Though preparations are put in place to mask Evelyn's cries during labour, as well as the noises made by the newborn baby, mayhem predictably ensues in an engaging but rather conventional climax as the Abbotts employ every trick at their disposal to evade their sound- sensitive assailants. The real meat of the film, however, comes largely in its first half as Krasinski patiently unpacks the particulars of a life lived in near- silence. Though the monsters themselves remain mostly unseen until the final third, their presence permeates every scene as an invisible threat hanging over the family and granting nervous tension to their every move (the metaphor is yours to pick: God? The government? Mass shootings?). It's a distorted vision of family life set in an environment where anything above a whisper feels like a scream. The Islands and the Whales (or TIATW ) opens with a majestic, sweeping shot of the flank of a tall Faroese island. Grey skies loom above, and a choppy sea gnaws away at the rock, sparsely covered with grass. THE ISLANDS AND THE WHALES - AN ENVIRONMENTAL MASTERPIECE