With his jaw-dropping version of Rudyard Kipling’s beloved anthology The Jungle Book, which tells the story of young, abandoned orphan Mowgli who has been raised by wolves, director Jon Favreau has achieved the near impossible, managing to stay true to both Kipling’s tales and Disney’s revered 1967 animation, while offering something entirely new.
A symbiotic creative collaboration between British filmmaker Grant Gee and Nobel Prize-winning Turkish novelist Orhan Pamuk, Innocence of Memories is a beguiling, meditative study of the indelible link between memory and identity, and the transformative power of love.
It’s a testament to the strength of his talent and vision that David O’Russell is readily regarded as one of today’s greatest filmmakers, despite the fact that he has made just seven films – discounting the disowned Accidental Love – in the past two decades. With topics ranging from the opportunities of war (Three Kings) to blue-collar boxing (The Fighter) and the exquisite art of the con (American Hustle), O’Russell’s screenplays demonstrate a colour and eloquence that are expertly serviced by his masterful direction. It’s an exemplary body of work that sets a very high bar; one which his latest, screwball drama Joy, struggles to reach.