5/25/2001 FRI. Day one. Got my full series pass with no hassles and am raring to go. 24 days and counting.
IP5
(Jean-Jacques Beineix - France)
Beineix is one of my favoite directors: he has the moxie and style of a Carax
without that director's tendency to overdo it. This film is
particularly sensitive and touching. Olivier Martinez has never
been more magnetic (never a great actor, he still combines star quality
with rare masculine sensitivity); and Yves Montand gives a great final
performance. I was enthralled and moved. *** 1/2.
LIFT
(DeMane Davis/Streeter - USA)
Lift
is an American indie production which combines black middle class
materialism with gangsta bad assism, all told from a woman's point of
view. It
was reasonably well made and well acted; but the plot had several
holes,
which left many in the audience grasping for explanations from the
directors
in the Q&A afterwards. It wasn't boring and gets points for
style. ** 1/2.
BREAD AND
TULIPS (Silvio Soldini - Italy)
This film is
that rarity, a comedy where the laughs come from the recognition of a
unique spin on the human condition, in other words, wonderful writing,
acting and direction. Especially notable was actress Licia
Maglietta, whose development from bored housewife to adventuress
anchors the film. Only a tendency for predictableness kept
this from being a great film. It remains a tender, mature love
story combined with a fine comic character study. Very enjoyable;
and one of the best uses of a realistic and photogenic
Venice ever. *** 1/4.
CITY OF
LOST SOULS (Takashi Miiki - Japan)
I decided to
skip this one. The same director's film last year, AUDITION,
literally made me sick to my stomach from its feminist
hyperviolence. Nevertheless it was a highly satisfying first day
of the festival.
5/26 SAT.
THE TESTIMONY
OF TALIESIN JONES (Martin Duffy - Wales)
A small film,
ostensibly a kid's film, about a 12 year old boy in a crisis of
faith. I found it quite moving and surprisingly effective, with
some beautifully nuanced performances, especially John Paul MacLeod as
the boy, Alan Delon lookalike Matthew Rhys as his older brother,
and Ian Bannon in his final performance. ***
DIARY OF A
CHAMBERMAID
(Luis Buñiel - France)
Typical
Buñiel, skewering just about everybody in the decadent rural
town except for Jeanne Moreau's relatively pure chambermaid. It
did feel oddly truncated
at the end, as if a reel of so was missing. Anyway, a beautful
wide
screen b&w print, and a classic: but certainly not my
favorite
Buñiel. ** 3/4
BROTHER
(Takeshi Kitano - Japan)
What can I
say? Just when you thought Takeshi Kitano couldn't take the
violence any further, he manages to do so...in a stylish way which
somehow avoids being lurid, but still feels over-the-top. The
film has some narrative problems; it feels chopped up and is hard to
follow at times. And Kitano's mythologizing of the Italian mafia
at the expense of the Yukaza tradition is a little strange. The
film (like the recent Ken Loach) makes wonderful non-traditional
use of L.A. as a symbol of the multi-racial modern world. Beat
Takeshi is, as usual, a fantastic and inscrutable anti-hero. I
find the gratuitous highly stylized gunplay a little much; but as an
L.A. native, I did feel relief that so many local punks were
rubbed out. Not Kitano's
best. ** 3/4
AMY'S
ORGASM (Julie Davis - USA)
Why is it that
an attractive, smart woman actor/director can get away with a blatant
ego-tripping, self-involved, masturbatory fantasy while a male like
Eric Schaeffer, who plays in the same territory, is a walking
disaster? If you can answer that, you're halfway to understanding
how a movie like this, even presented in the worst film to video
transfer ever made (the director is $50,000 short of a film finish and
still dithering in her mind about the final cut and even the ending of
the film), can work so fantastically well as comedy and trenchant
modern social commentary. In addition to the flawless central
self-directed performance of Davis, she's managed to elicit a true
starmaking turn from magnetic, sexy leading man Nick Chinlund; and an
even more astounding supporting performance from stand-up comedian Jeff
Cesario as a confessional priest whom Jewish Davis is using as a
substitute psychotherapist. Very
funny, very audience pleasing, this is one of the surprise hits of the
festival...and deserves those finishing funds and distribution.
*** 1/4.
THINGS
BEHIND THE SUN (Allison Anders - USA)
O
was a complete sellout (I chose a good dinner over standing in line for
an hour), so I managed to get into this at the last minute.
Anders
has left her rock star milieu for a much more deeply felt story of a
damaged
female singer-songwriter (played convincingly by Kim Dickens) who was
irredeemably injured by a childhood rape; and the music
journalist (in a sensitive, subtle performance by Gabriel Mann) out to
tell her story, who not so coincidentally had personal
involvement in the sordid rape several years before. Don
Cheadle does his usual fine performance, too. Yet the film drags
at times; and several people walked out during the extended sex and
rape
scenes. I liked the film; it resonated with me. But,
all
in all, it doesn't quite work. ** 1/2.
MAîTRESSE
(Barbet Schroeder - France)
Once again, I
flaked out on the midnight movie. This one I really wanted to
see; but sleep is getting to be a real problem at this festival.
I'm already feeling sleep deprived; so who knows how long I'm going to
be able to stick with my schedule.
5/27 SUN.
Secret Festival #1
My lips are
sealed. However, this minor studio project from a major indy
director is a mess, virtually unreleasable. *
ALL OVER
THE GUY (Julie Davis - USA)
Unlike Amy's
Orgasm, the other film in the fest directed by major talent
Julie Davis, this film is really by actor/writer Dan Bucatinsky, who
had the smarts to make a deeply personal film from his play and get a
sympathetic director to bring his vision to the screen. Hopefully
this film will break
out of the gay film genre...it is genuinely funny, well made, mostly
well
acted film about dating and relationships gay & straight, and a
tremendous
audience flick. It skirts but overcomes the self-indulgent
hyphenate
crap by virtue of having a separate director to open up the story's
point
of view. Bucatinsky is portraying my kind of neurotic
Jewish
guppy, so maybe I'm predisposed to love the film. *** 1/4
O
(Tim Blake Nelson - USA) [Golden Space Needle award:
best director]
On paper this
sounds like it could be a disaster: another teenage
Shakespeare adaptation (this time the tragedy Othello), a high school
shooting story about a basketball team. So tricky it can't
possibly come off well. But it mostly does, due to some deft
direction by Nelson (much more sophisticated than he comes off in O
Brother), and a script by Brad Kaaya in modern language which
mostly holds together. This one has been kicking
around since 1998 when the Columbine shooting gave Miramax a major
attack
of cowardice. Now Lion's Gate has come to the rescue, and the
film
might just find its audience with its fine cast of young stars:
Mekhi
Phifer, effective especially in the basketball scenes as O;
Josh Hartnett showing signs that he can really act as Hugo (Iago);
Julia Stiles
as a convincing Des; and Andrew Kegan doing fine work as the Cassio
avatar.
** 3/4
SIDEWALKS
OF NEW YORK (Ed Burns - USA)
Yet another
whiny hyphenate loser movie from this director? Well no.
Actually it's his best film, made on film for less than $1M (Burns said
that digital doesn't interest him as long as he can keep to budgets as
low as this). This is Burns doing super low-budget Woody
Allen...a semi-documentary faintly harking to Husbands and Wives,
but with a really wonderful, sensitive personal gloss by a very
underrated director, imo. It has a great cast, especially notable
David Krumholtz, Stanley Tucci,
Heather Graham, Brittany Murphy and Burns himself (he seems from his
films
and this Q&A to be a genuinely nice guy). The structure and
comedy
really work here. This could be Burns' biggest hit yet. ***
1/2 (really).
SENTIMENTAL
DESTINY (Olivier Assayas - France)
A surprising
3 hour epic from this great director. It covers about 40 years of
the early 20th century and has a truly great performance by my favorite
actor, Charles Berling. It is a flawless evocation of time
and
place, and very novelistically involved with processes, such as the
making
of Limoges porcelain, which many will feel is padding to an overlong
movie.
Even though it was at the end of a long day of films, I was never
bored. Assayas is that good a director. Of course, any film
with Emmanuelle Beart is easy on the eyes. *** 1/2
5/28 MON. Four days into a 25 day festival and I already have severe sleep deprivation. And last night I had a run-in with a waitress at a Greek restaurant in the heart of the festival area. Seattle is a very laid back town; and she seemed to be unable to cope with the kind of type-A festival goer on a strict schedule who asks for reasonably prompt service. She was deeply offended at this heinous breaking of her routine, and responded by slamming down every plate and refusing to talk or look at me. At the end of the meal, I tried an apology and explanation; but she wasn't having any of it. "I was offended for all the other diners in this busy restaurant...you're old enough to know you're not the only person on the planet," was typical of her angry rhetoric. She demanded I not leave a tip and never return on her shift, and offered that anyway she wasn't going to have this job much longer. Oh, well, I debated with myself and then left a zero tip for the first time ever. This lady needs a vacation.
CHOPPER
(Andrew Dominik - Australia)
This one has
already been given a limited release; but I wanted to see it
anyway.
I almost didn't since the festival changed venues for this screening
without
advance warning; and I only found out that I was waiting in the wrong
line
because of incidental conversation with a couple of fellow pass holders
in line with me. Anyway, I'm glad I made the fast 7 block run to
the
other theater because this was a fun film in a very warped way.
It's
a biopic "with liberties" about a violent, but rather charming,
sociopath
who spends his life mostly in prison. The acting throughout was
superb,
and the film is tight and well made, if hyperviolent. But I guess
I'm getting desensitized to violence and blood. ***
IGNORANT
FAIRIES (Released 2002 as HIS SECRET
LIFE) (Ferzan Ozpetek - Italy/Turkey)
I really loved
Ozpetek's first feature, Steam: The Turkish Bath, so I
was
looking forward to this one and it delivered in spades. Actually,
I've
seen this basic story before (it was vaguely reminiscent of a terrible
Spanish film, Second Skin.) But this film was
so infinitely superior. Ozpetek creates a large number of
memorable characters with remarkable economy; and the leads (Margherita
Buy and Stephano Accorsi)
have a magical chemistry. I have a feeling that my reaction to
this
film may be skewed by resonances I found here to my own life.
But,
for me, it will be hard for this festival to deliver a superior film.
***
1/2.
VENGO
(Tony Gatlif - France)
A movie based
on Asturian clan vengeance and gypsy flamenco singing. The
music was great, even if it badly needed a stronger editor to cut away
the excessive takes. The story was slight. There was a fine
performance by a main character (Orestes Villasan Rodriguez) with
cerebral palsy (I'm assuming he was acting, it was flawless). It
was a mood piece, and I wasn't in the mood. * 1/2 for the film;
but *** for the music.
SONG OF
TIBET (Xie Fei - China)
A surprisingly
effective old couple's love story told mostly in flashbacks. The
photography was beautiful, the acting adequate, the story a
heart-tugger for the unjaded (which I still have the ability to
be.) A lovely little film. Of course I'm suspicious of the
politics of how the Chinese liberated the peasants; but no big
whoop. I almost skipped it after my fight with the waitress and
almost sleeping through Vengo; but I'm glad I
went. ***
5/29 TUE Sorry. I'm late with this update and emotionally drained from just having watched one of the great tennis matches of all time, where my man Andy Roddick, cramping and in great pain for two sets, managed to pull out a 7-5 5th set victory over Michael Chang...payback for Chang's equally thrilling cramping victory in 1989 over Ivan Lendl (in a match I'll never forget.) I guess tennis is more important to me even than movies. I'll have to revise my Friday schedule to watch Roddick-Hewett in the AM.
WILLFULL
(Rebel Penfold-Russell - Australia)
This screwball
ghost story from Australia was just annoying. It was sort of
amusing seeing C. Thomas Howell try to do Tom Cruise's character from Magnolia;
but he didn't quite make it. Very retro film, and oh, so
predictable. * 1/2
GAUDI AFTERNOON
(Susan Seidelman - USA)
Seidelman is
one of my favorite directors...she made my all-time favorite short
film,
The Dutch Master. This film has a very nice
ensemble
of actors, led by Judy Davis doing her usual strong, original
character.
Marcia Gay Hardin, fresh from her Oscar, is playing a pre-op
transsexual
and she is flawless (how she managed to be just that slightly over the
top
super-female while exhibiting male tranny physicality is a wonder of
body
control.) And Lily Taylor and Juliette Lewis also excel in this
paean
to gender busting. Still, despite the best use of Barcelona as a
setting
ever (beating Whit Stillman by a mile), the film was fairly predictable
and overlong. But amusing, and a fun lark, too. ** 3/4.
A MATTER OF TASTE (Bernard
Rapp
- France)
Just yesterday
I was saying that it would be hard to surpass Ignorant Fairies
as my favorite of the festival...but this one easily did. I've
been finding most movies here to be enjoyable, but predictable.
Here we have
a truly original, absolutely unpredictable story played so well by
Bernard Giraudeau and Jean-Pierre Lorit (who is playing in Richard
Gere's American Gigolo territory) as to send chills up
the spine. I got totally involved with the characters: two
men trying to merge identities and tastes, one slave, one master...or
which is which? The story dripped with sublimated
homoeroticism. Only the ambiguous ending struck a slightly
false note; but the film still left me intellectually satisfied in
addition
to giving the pleasure of trying to decode its underlying
meaning. It fairly drips with atmosphere of French high living:
one can almost taste the haute cuisine and smell the fabulous wines and
cognacs. I'll get the Region 2 DVD and watch it just for the
sensory pleasures. Anyway, objectively *** 1/2. For me ****.
IF....
(Lindsay Anderson - England)
For much of
the film it is as good as I remember. I was curious to see if
that 1968 anarchy, so true to the Zeitgeist of that era, would
translate into the year 2001; and sadly it doesn't. Or maybe the
ending is made all the more relevant by its prescience. The
mood of the scenes in the fascistic English prep school is still
unsurpassed for suppressed sadism. The film remains jarring and
upsetting; but I was strangely turned off to it
by the end. Part of it was due to a lousy projectionist, who
managed to deliver 1/2 a reel (and a vital part at that) without
sound. Part is due to a script which confuses reality and fantasy
in ways which were trendy
in 1968, but seem somehow wrongly envisioned now. Still, it's a
fine
print with splendid color fidelity, and a classic well worth
revisiting. ***
NIGHT SHIFT
(Philippe Le Guay - France)
This one could
have been called: With a Friend Like Fred.
It's a working class story of personal strife on the assembly line of a
French bottling manufacturer during the night shift (and interesting
parallel is to be found with the industrial documentary style scenes
here and those Limogean scenes that Assayas used in Les
Destinées Sentimentales.) The hero, a sympathetic
family man, tries to befriend the shift bully. I could tell that
the audience was not relating. But the film won me over
with its strong developing central characterizations and a fine
resolution to the plot. ***
5/30 WED Some days it doesn't pay to waste the gas going to the fest. I almost snoozed through the first two films, before the third film at least provided enough diversion to keep me awake.
A BANQUET AT
TETLAPAYAC (Olivier Debroise - Mexico Doc.)
This was a
last minute impulse change; and I sure wish I hadn't. This is a
documentary about the making of Sergei Eisenstein's unfinished film Que
Viva
Mexico! which mixes styles: using actor re-creations,
scenes
from the original film, and a dizzying myriad of montage tricks to tell
its story. I found it hopelessly arty and pretentious; and even
worse,
confusing and unfocused. Maybe I'm just not pseudo-intellectual
enough
to get it. *
MEMENTO
MORI (Min Kyu-Dong/Kim Tae-Yong - S. Korea)
Another
confusing, overly arty film: this one a sort of lesbian If...
set in a modern day Korean girl's high school. For the first half
of
the film I had trouble distinguishing the characters, the actresses
failed to establish their identities (at least for me.) I think
this was supposed
to be a horror genre film; but it was so artless that it never really
established
a tone. Still, it did have a visual flair, so it wasn't a
complete
waste of celluloid. **
PRINCESA
(Henrique Goldman - Italy)
This Italian
film about the lives of several transvestite prostitutes in Milan had
one
major strike against it: every other reel was printed a
couple
of seconds out of sync, which led to some odd transpositions of dialog
(fortunately this isn't as disorienting in a sub-titled film as it
would have been in a
film in English.) Yet, in spite of its raw, unprofessional look
and tone (or maybe because of it), the film had real power and was
effective at
limning its strange demimonde. The central character, a Brazilian
pre-op
played very sweetly and laid back by Ingrid De Souza, was easy to
like.
And Cesar Bocci was excellent as the straight man who falls for her so
self-destructively.
Some films just work despite everything; and this was one of
them.
** 3/4.
5/31 Thurs.
LEFT
SIDE OF THE FRIDGE (Philippe Falardeau - Canada)
Sometimes it
pays to come to a film tabula rasa. If you want to enjoy this
film
even more, skip to the next paragraph (major spoiler ahead).
On the surface
this is a documentary with an unpromising subject: a roommate
decides to shoot a digital video doc of his unemployed mechanical engineer
roommate's search for a new job. Christophe (who is the spitting
image of a young Roman Polanski with a brash outgoing
personality) has his ups and downs, mostly the latter, looking for a
satisfactory job. His roommate, filmmaker and part time
theatrical actor Stephane, has an
agenda somewhat like Michael Moore in Roger And Me:
to skewer the businessmen that Christophe is trying to impress.
Needless
to say, the documentary gets in the way of the job search. What
is
amazing is that this entire thing is scripted and acted, which isn't
clear
until the final titles roll. I've been fooled before by a faked
documentary (a serious simulation as opposed to a mockumentary which is
more obviously satirical); but this one was so well done that it takes
the art form to another
level. *** 1/4
O FANTASMA
(Joao Pedro Rodrigues - Portugal)
How to
approach this film? In a way, I was sorry I saw it at a press
screening, rather than as the Saturday date night midnight movie.
What are the
unprepared burghers of Seattle going to make of a hard-core gay
fetishistic
porn film? Well, it is hard core (defined by erect frontal nudity
with
insertion); but is it a porn film? All I know is that the film,
at
least until a strange, absolutely disastrous break in the narrative
coherence
3/4 of the way through, did engage my brain (as well as other parts of
my
voyeuristic gay male body). The young lead actor, Ricardo
Meneses,
is both brave to undergo real degradation on screen (playing variations
on
sexual predator and phantom stalker and self-identifying as a dog at
times)
, and perfect physically for this exercise in onanistic
fetishism.
The director was brave to not pull back from a serious examination of
sexual
perversity. Ultimately, the film falls apart and goes nowhere;
but
for most of its length I found it magnetically engaging. Straight
males
with hangups should stay away from this movie at all costs (for that
matter
so should gay males with reasonably good taste in movies)! For
this
audience of one it was a blast. * (objectively); but I liked it a hell
of
a lot more.
MECHANISM
(Djordje Milosavljevic - Serbia)
I'm late this
morning, heavy tennis match on the tube (and my man Andy was carried
out on his shield with a muscle strain)...so I think I'll hold on to
further comments until tomorrow and get to todays festivities. To
be continued...So now it's the next morning, and all I have to say
about this film is "oh, those wacky Serbs!" Not that this is a
comedy. The war seems to have imbued the Serb filmmaking
community with a collective guilt trip which leads to some depressing
footage coming out of that country. This story of a psycho
assassin is full of gratuitous violence and gunplay. Yet it was
done with such style (almost Kitano country) that it sort of
works. I'm not recommending it; but the acting and direction are
good enough for cinephiles to watch for it. ** 3/4
VIRGIL
BLISS (Joe Maggio - USA)
This film
proves, once again as if it needs proof, that if a film works it hardly
matters how primitively it is made. In years past this film might
have been done on super 8mm and never seen the light of day. Now,
with digital tape and projection, a film like this made with almost no
budget and with mostly amateur actors, can be seen (though chances are
nobody will ever buy it
for release, even on video). And it is worth seeing.
Virgil is just getting out of prison after spending most of his life
institutionalized and naive about the real world. He is
determined that this time he'll survive in the world; but he gets
involved with a loser in the half-way house and then falls head over
heels in love with a heroin addicted street hooker: not exactly
the route for success. The film indicts society for its treatment
of released prisoners; but it isn't preachy, since the politics is
implied in the plot and never pushed overtly. The story just
works, despite all obstacles (shaky hand held camera, terrible sound
with a loud hum for most of the movie etc.). ** 3/4+
POSSIBLE
LOVES (Sandra Werneck - Brazil)
Usually, when
a country tries to out-Hollywood Hollywood at its own lush, high
concept game, it falls on its face. Maybe Brazil is
different. This is
a brainy, fabulously well made love story about three possible outcomes
15
years later of a boy being stood up by a girl on a movie date. I
can
just see the inevitable Hollywood remake with Tom Cruise and
Julia
Roberts (though friends who have seen it are convinced that Hollywood
would
never dare to go where this film goes with the gay
subplot). After all, Hollywood is doing this with a
previous movie which had similar hallmarks (Open Your Eyes soon
to become Vanilla Sky). In the meantime,
Murilo Benicio (a dreamboat with impressive acting chops) and Carolina
Ferraz will have to do. The movie diverges from that
date into three cross-cut separate stories with the same actors
(amazingly enough, one acquaintance claims to not have realized that
the stories were about the same characters played by the same
actors...which is indicative of how well these actors managed to play
differently in each sub-story.) It sounds like tricky
hokum; but in the hands of a very competent director, and with a
brilliantly original script, the film works. It also plays with
sexual politics, mostly from the woman's point of view (you can tell
when many of the laughs are almost obviously from the women in the
audience.) I thought the film was going over amazingly well with
this oversold audience (not the first time at this festival that people
literally had to be turned away after entry to the theater and no seats
or aisle space was to be found). Yet, no applause at the end,
which mystifies me. Maybe it didn't work for an audience as well
as it did for me. I thought while watching
it that this was surely the next foreign language smash hit in the
U.S. But maybe I was seriously put off track by my adoration for
the male lead who was stunning and marvelously soulful. I guess
time will tell. *** 1/4.
6/01 Fri.
STARTUP.COM
(Chris Hegedus/Jehane Noujaim - USA Doc.)
This one has
already engendered a lot of press since its big city release.
It's
a very well made documentary about the trials and tribulations of a
failing
startup dot.com and the people involved. I'm not going to say
much
about it except that I was vaguely disappointed that it didn't quite
live
up to its rep. Still it was fascinating, and I cared about the
people
while it was happening, which is an indication that it was working. ***
THE YOUNG
AND THE DEAD (Robert Pulcini/Shari Berman - USA Doc.)
Another
documentary, this time with the unlikely subject matter of a bunch of
Missourians who move to L.A. and buy a run-down Hollywood cemetery
(home to many past luminaries such as Rudolph Valentino), recondition
it and turn it into a 21st century model of technology influenced
burials (offering taped tributes to the
deceased which are put on the internet etc.) The leader, Tyler
Cassedy,
is truly charismatic: movie star good looks (a la James Dean), an
attractive personality. The doc itself is fascinating and
illuminating
in parts...but slightly overlong so that it's ultimate impact is
diminished.
This cemetery is only 3 blocks from my office; but I had no idea all
this
was going on (last time I visited it it was overgrown and
rundown.)
I think the filmmakers might have started out to satirize the whole
affair...it's an easy target. But somehow it got turned into a
tribute and puff piece for the cemetery and its operators...mostly
because these are genuinely good people driven by admirable
ambitions. I was surprised how much I liked this film. ***
1/2
THE BLUE
DINER (Jan Egleson - USA)
Some films
have admirable ambitions and are well enough made, and just don't
engage me. This was one of them. Its the story of
some latino people in Boston and their lives and loves. I slept
through part of the middle section; but the audience seemed to enjoy
it. So don't take my word. ** (it had enough going for it
to be not a complete waste of film.)
LOST AND
DELIRIOUS (Léa Pool - Canada)
It must be
rolling around in the Zeitgeist: this is the exact same plot more
or less, as Memento Mori. Lesbian hi-jinks and
angst in a private prep school, this time in Canada. This one
was much more effective for me, since the characters
actually differentiated and the film held together, even if it was a
lot more conventional filmically. The acting was quite
good. I'd probably have skipped this when it gets its
inevitable art house release (it's definitely a candidate for a
break-out hit.) But I would have missed out. OK, maybe it's
a little too obvious and overwrought. It more or less worked for
me, which is impressive considering my innate prejudices. ***
6/02 Sat.
TEETH
(Gabriele Salvatores - Italy)
Not exactly
your everyday flick. This one is a black comedy about a neurotic
Italian man's tribulations with his oversized front teeth. Much
of it takes place in flashbacks, in a complex filmic structure which
uses every trick of montage in the book and then invents some new
ones. Also, much of the film takes place in dentist
chairs...which elicited horrible groans from the audience (including
me) when some gut wrenching images of dentists at work hit the
screen. Yet, despite all those obstacles, the film is
charming and inventive and has something new to say about the human
condition. Sergio Rubini overacts a bit in the lead; but that
might just be chalked up to his being such a typical Italian
male: husband, father, lover, dental victim. ***
CURE
(Kiyoshi Kurosawa - Japan)
A double bill
from this prolific young Japanese filmmaker (Seance was
run immediately after and Kurosawa was in attendance for a well
translated Q&A). Cure was made in 1997, and is
an atmospheric thriller/horror/slasher serial killer movie made with
style and intelligence. I must admit that I found a lot of it
inscrutable...but the director's explanation (as far as it went) in the
Q&A helped explain a lot. I wonder about audiences not
privileged to see it annotated by the director...will they be equally
at sea with the resolution of the plot? The director is a master
of the use of ambient sounds to signal a mood of dread. But even
after explanations and much reflection, I don't think the plot holds
water. Sometimes a puzzle is just infuriatingly opaque rather
than solvable
and satisfying. Anyway, the filmmaking raises this one to ***,
even
though I didn't like it very much as a movie.
SEANCE
(Kiyoshi Kurosawa - Japan)
This one is
much more approachable than Cure. It also stars
Koji Yakusho (so memorable as the bus driver in Eureka),
this time as a sound man who, with his psychic wife, gets involved in
an intricate kidnapping and murder plot. Once again, Kurosawa is
a master of mood and oblique terror. He is so good at avoiding
the pitfalls of genre filmmaking, his sights are set much higher:
examining the human psyche in modern Japan. Still, these
two films make a depressing double bill. *** 1/4
LE ROI
DANSE (Gérard Corbiau - France)
I had high
expectations of this movie. First of all it stars one of my
favorite actors, Benoit Magimel as Louis XIV. Secondly, the
director has made some memorable movies (Farinelli and
The Music Teacher), which I've enjoyed in the past. Here
Corbiau is visiting the same territory that Vatel
stumbled in, the court of Louis XIV. Like Vatel it
gets mired in spectacle at the expense of story. And what story
it has (centered on J-B Lully as court musician and J-B Moliere as
court playwright) doesn't engage...mainly because the main character
Lully is portrayed as such a scoundrel that it seriously handicaps the
emotional resonance of the story. Still, the movie is splendid to
look at and has enough going for it (another fine performance from
Magimel, for one) to be worth a look. ** 1/2
WEBCAM BOYS
(RADD - USA Doc)
This is an
amusing and well made video documentary about several guys who exhibit
their all on internet webcam sites for a porn industry offshoot company
run by dot com entrepreneur ANT. The boys and men have
compelling stories to
tell; and the filmmakers have managed to put it all together in a fast
paced,
well edited film which really works. Even better was the lengthy
Q&A
afterwards, where ANT proved to be a very effective at stand-up
improvised
comedy (one of his other professions in addition to tv series
actor.)
The package made for a very entertaining segment and a good ending for
another
day of film. Ten down, and only 15 more days to the fest and I'm
still
full of energy and raring for more. *** 1/2
6/03 Sun. Today my eyes hurt. No, not with fatigue...maybe just a little eye strain from so many movies (by 6:PM Sunday evening, I'd seen 42 movies at the festival. Can I really get through 14 more days at this pace?) I decided to take the evening off and enjoy a real meal with my friend David Morgan, who watched Borstal Boy with me. We drove to the International District and had a great Chinese meal (ginger crab, chinese broccoli and scallops, oyster pepper pot.) I have to get ready for my first morning film at 10 AM Monday.
Secret Festival #2
Once again my
lips are sealed (not that that worked out all that well last
week.) I can't even give out any hints...except this is a
practically lost three decade old film in English by an acknowledged
master of international cinema. I missed it when it first came
around (in fact I hardly remember its original release); and it turned
out that I was very glad to get another chance
to see it. The audience was wildly enthusiastic. 30 years
has
not dimmed this films luster...it may even have enhanced it.
Unfortunately, the negative may be lost.
BARTLEBY
(Jonathan Parker - USA)
This movie is
very roughly based on a Herman Melville novel. I'd prefer not to
write about it (a joke if you've seen the movie.) Actually,
they've updated it into a sharp satire on office politics in the 21st
century. Crispin Glover couldn't be better as Bartleby, the
psycho employee of death. And Glenne Headly is wonderful as the
office secretary with a world class vocabulary. The other
inhabitants of this surrealistic office also shine (David Paymer, Maury
Chaykin and Joe Piscopo). I thought the movie
was well written and acted; but somehow it didn't involve me as much as
it
should have. It seemed silly in spots rather than
trenchant. But
I think mine is a minority opinion. ** 3/4.
BORSTAL BOY
(Peter Sheridan - Ireland)
This film was
freely adapted from Brendan Behan's novel about an Irish boy sent to
Borstal for attempted terrorism in WWII England. Actor turned
director Peter Sheridan (his brother Jim directed My Left Foot)
does a fine job of evoking the era. He was brave to cast an
American, Shawn Hatosy (always an interesting actor) as Irishman
Behan. But he really hit a home run with his choice of Danny Dyer
as Brendon's gay friend Charlie. Sometimes the accents were too
heavy to understand (especially Dyer's cockney). But ultimately I
found the coming of age story quite surprisingly moving, considering
that there was little suspense because I knew the real
history. This one is a keeper; and I suspect it is going to
get a release since it carried a Strand Releasing banner. *** 1/4
6/04 Mon. My eyes have been itching from eyestrain (probably from too much watching movies and the computer screen. I bought some Visene eye drops, and it really helps! Note for future festival marathons: bring eye drops.
CRIMSON RIVERS (Mathieu
Kassowitz - France)
Kassowitz is
one of my favorite actors; but I get the feeling that he is most
comfortable behind the camera...which can't be a bad thing because he
is just getting better and better as a director. This is a high
budget French serial killer thriller with two, count 'em two
rogue, loner cops (played
beautifully by Jean Reno and the increasingly wonderful Vincent
Cassell)
converging on the case. Kassowitz's camera is never stationary;
but
he is a master at shooting action and evoking moods. An
interesting
comparison at this festival is between this film and Kurosawa's CURE,
which
it resembles slightly. Personally, I'm more responsive to
Kassowitz's
style. It's almost too bad that this plot had to resolve (this
sort
of story is usually claptrap anyway...and this one is no exception; but
the
execution is beautiful to behold.) ***
HAIKU
TUNNEL (Jacob & Josh Kornbluth - USA)
I didn't
originally schedule this film since it sounded ridiculous in the
catalogue; But I'm glad they held a press screening. This is
another one of those crazy office comedies (the kind that Mike Judge
conquered so memorably in Office Space). In this
case, it is an opening up of a comic monologue
by Josh Kornbluth (who is very effective on camera as a schlubb legal
secretary.)
It was funny, pointed, and somehow managed to stay just this side of
being
overly clever and precious: in short, a very good time at the movies.
***
CHRONICALLY
UNFEASIBLE (Sergio Bianchi - Brazil)
My only
walkout at the festival so far. To be fair, I'd probably have sat
it out despite my misery and incomprehension; but my new festival
filmgoing bud Howard was so annoyed that he left about 3/4 of the
way through...and I gladly followed him. Don't ask me what it was
about: some hybrid fiction/fake documentary film about the
decadence of the Brazilian social fabric, with points made over and
over without going anyplace. The come on in the catalog was naked
guys performing in a club...but this was only a 1 minute scene
(admittedly sort of hot). The rest of the film was literally
unwatchable (but then, my other friend here, David, to whom I had
recommended another Brazilian film, O Fantasma, just
wrote me e-mail that it was the worst movie he'd ever seen with no
redeeming features at all. So much for my taste.) W/O
THE OTHER
GIRLS (Caroline Vignal - France)
A charming
coming of age movie about a 15 year old French girl who is determined
to lose her virginity (as had most of her mostly black and Muslim
friends already). I really liked the young actress, Julie
Leclercq. The film was well observed (the parents and friends are
very real types.) It's hard not to admire a little film which
manages to be heartfelt without becoming
oversentimentalized. ** 3/4
LIAM
(Stephen Frears - England)
A little film
(for TV?) by this world-class director. Liam is a 6
year old stutterer, whose pre-WWII Liverpool working family is beset
with economic troubles. His proto-fascist father (magnificently
played by Ian Hart) loses his job and the family falls apart.
There are some wonderful scenes played in Liam's Catholic school class,
where Liam is being prepped for First Communion. This is the best
illustration of the genesis
of Catholic guilt that I've ever seen portrayed on film.
Extremely
well written, directed and acted, this little sleeper deserves to be
seen. *** 1/4
6/05 Tue. A truncated day,
since I went to my step-grandaughter's 12th birthday party. And
at the evening session of LIVE BLOOD I had my very first encounter at
this fest with talkers in the audience (Seattle festival audiences are
remarkable for their good manners.) This group of 4 women came in
late, sat in front of me and then proceeded to chatter throughout the
entire first half of the film...with me getting increasingly angry and
distracted. Finally I leaned forward and threatened them
with...well, it was a somewhat empty threat, but uttered with such
menace that they never uttered another peep the rest of the film.
I usually suffer such a situation in silence; but when others in the
nearby audience started to look over to these people I decided to take
the law into my own hands.
GHOST WORLD
(Terry Zwigoff - USA) [Golden Space Needle Award:
best Actress (Thora Birch)]
Originally I
hadn't scheduled this film, since on paper it seemed so unlikely (made
from
a comic book story that, of course I've never seen; teen movie
provenance.) But the cast intrigued; and especially I was curious
to see how a director that I'd only admired from his documentary, Crumb,
would
do with a fiction film. Rest assured that this is one of the most
interesting films you'll see this year. Thora Birch was
absolutely
fabulous playing a nerdy girl graduating from high school with a vague
depression
and no plans. She gets involved with much older, uber-nerd Steve
Buscemi,
who is equally wonderful, in this his best role ever. The film is
directed on downers, deliberately set at a pace which is excruciatingly
slowed down. As unlikely as it sounds, this works remarkably well
to
match the character's existential angst...and somehow turns this film
into
a comic masterpiece. Brad Renfro has a cameo that he literally
walks
through zombie like; but it may rank as his most interesting portrayal
yet
(one hopes his career rebounds from his personal problems.) This
movie
isn't going to be to everybody's taste...I was surprised that everybody
I talked to afterwards confessed to love it, because I wasn't sure it
was
working for the rest of the audience as well as it was working for
me...the
pacing was certainly different enough to annoy some people, and I doubt
that it will be a commercial success. Still, it remains one of my
favorites at this festival. *** 1/2.
THE
PRINCESS AND THE WARRIOR (Tom Tykwer - Germany)
Tykwer is one
filmmaker who never seems to repeat a past formula. This one is a
strange,
mysterious thriller set mostly in an insane asylum. It features
another
great performance by Franka Potente, who also resists being pegged in
one
niche. Equally interesting was the leading man, Benno
Furmann. The plot is intricate, based too much on coincidence to
make total sense (almost
to the point of being supernatural). Yet the film works extremely
well
as a mood piece. Tykwer is undeniably one of the most interesting
and
accomplished directors currently making films. He broke new
grounds cinematically in Run Lola Run; but this film is
more conventional. I don't think I quite got the ending; but the
road up to that point was interesting enough to raise this movie to ***
1/4.
LIVE BLOOD
(Edoardo Winspeare - Italy)
This one is
southern Italian, bleak, and sporadically interesting. It
does feature some very nice integrated gypsy folk music (one of
the two brothers in the story is very involved in making a
professional music group and getting a recording contract.) In
some ways this is reminiscent of a French movie at this festival, Vengo,
which I also didn't enjoy all that much. I found the plot
hard to follow; maybe because I was
pissed off at the people in front who never stopped
chattering. ** .
6/06 Wed. This day of films was remarkable only for the occasion where the projectionist mixed up two reels towards the climax of a film and it didn't much matter (see below).
TORTILLA SOUP
(Maria Ripoll - USA)
Usually,
American remakes of wonderful foreign films don't work. This one,
based on
Ang Lee's masterpiece, Eat, Drink, Man, Woman (one of my
all-time favorite films) is no exception. I ought to amend that
with a note that
others found this movie charming. I'm still trying to figure out
why
the film failed for me, despite a fine cast, a good script, and food to
die
for (on an empty stomach yet.) Certainly it wasn't the idea of
transferring
the story from a Taiwanese family to a California Mexican one, since
sociologically this worked very well. The major downfall is one
I'd have to ascribe to the director (and maybe the cinematographer who
failed to make the food's deliciousness leap off the screen the way it
did in the original.)
Ripoll delivered a very static film, and the actors were all just
slightly
off in their delivery. A story that should have sung with
resonances
just lay there like a dead fish. Anyway, the biggest hoot was
seeing
Raquel Welsh, gloriously youthful at 60 (although as plastic looking
and
dreadful at acting as ever), get her just dessert. ** 1/4
BETTER
THAN SEX (Jonathan Teplitzky - Australia)
This is a film
about intimacy between a man and a woman during a one-night stand which
stretched to three nights. I wouldn't have expected to like
it...and
in fact, I heard nothing but terrible comments from the audience at the
end (one lady called it the worst film she'd ever seen.) Yet, the
film really worked for me. I found the couple engaging and
very
realistic, and their interior monologues extremely well written and
portrayed. The film was very sexually explicit without crossing
the line...in a festival full of heterosexual coupling this one stands
out for its exceptionally sympathetic portrayal of two people enjoying
the act and doing it well. Oddly enough, in this straightforward
chronological film, when the projectionist switched the two penultimate
reels by mistake, the mood and comprehension of the
story was not compromised. It was soon obvious what had happened;
but
it didn't really effect the film all that much. Which says
something about the story, I guess, although I'm not sure what that
is...probably, by
that time the major story arc was established and obvious. ***
BORN
ROMANTIC (David Kane - England)
Strictly
Ballroom crossed with Dirty Dancing and They
All
Laughed. In other words, nothing original
here. Yet this story of three not quite couples and a taxi driver
linked by their attendance at a dancing club in modern day London,
still had charm to spare. Unfortunately, I was only sporadically
charmed...but the stories and actors were good enough to overcome the
predictability of the story. My favorite character was the black
taxi driver; the others were mostly variations of whining
yuppies, though to be fair they were all assorted ages and types.
I think that my inability to relate to any of the characters was the
major problem of the film for me. ** 1/2
UNDER THE
SAND (François Ozon - France)
Yet another
departure for this emerging master director...one of my
favorites. This one is a serious study of a woman of a certain
age (magnificently portrayed by
Charlotte Rampling...and I can't praise her highly enough) in deep
denial about the mysterious disappearance or possible death of
her husband. Any comment about this film is likely to give away
too much...so I'll just leave it that it is an outstanding film, an
interesting enigma which didn't totally engage me, but left me in awe
of the filmmaking talent involved. *** 1/4
L'AMOUR,
L'ARGENT, L'AMOUR (Philip Gröning - Germany)
This one
deserves a prize for something...messiest film of the festival, a 136
minute disaster, that nevertheless I loved (ok, second prize to O
Fantasma). Actually, it's nothing but a road movie about
two irresponsible, immature kids running away to nowhere for no
particular reason. The girl survives on her back; and the boy
wants to actually work for money to support them both, yet he's so
inept that he keeps breaking bones and otherwise
self-destructing. Still, both kids were so irrepressibly
attractive, and their adventures
were so preposterous and unpredictable, that I was just swept along
mouth
agape for much of their journey. I felt intensely for these
misguided kids. The mis en scene was terrible, shaky big screen
camera which occasionally induced nausia...protracted double exposures
of road scenes stretching
interminably (the film could have been an hour shorter...but I was
entranced
throughout anyway.) Most of the audience stuck it out, even at
the
end of the long evening (though my friend Howard said sayonara half way
through...and
I can't blame him if the film wasn't working for him...it was for
me!)
*** 1/4
6/07 Thu. Two of the best films of the festival today. Energizing to be sure; but I'm starting to feel sleep deprivation again. I wonder if I shouldn't take some time off; but the schedule of upcoming films is so promising that I don't feel I can.
MONKEY'S MASK
(Semantha Lang - Australia)
Susie Porter,
the same actress who was so convincingly heterosexual in Better
Than Sex, plays a lesbian here, and equally effectively.
She is one hell of an actress, and one of the revelations of this
festival for me.
This is a better than average private eye mystery movie..very good at
mood,
but somewhat by the numbers and predictable. Lots of MacGuffens
here;
but I guessed the killer fairly early. Kelly McGillis plays the
lesbian
love interest with her usual stolid, opaque lousy acting job; yet, here
it works pretty well. ** 3/4
THE WEDDING
(Pavel Lungin [Lounguine in the credits] - Russia/France)
How can such
a wonderful, accomplished, virtually perfect film get through Cannes
(2000) and other festivals and arrive here so unheralded? I
almost
missed it, since it didn't sound all that interesting in the catalog,
and
I hadn't heard any rumors. Fortunately I didn't miss it, and I
was
treated to an amazingly paced and photographed comic
masterpiece.
One must credit the director, Pavel Lungin, for this gem.
Eschewing
master shots, using a very accomplished hand held camera style and
perfectly
timed editing, he literally whirls the audience through a
frenetic
24 hour wedding process with event piled on top of event in a never
less
than fascinating progression which mixes drama and farce in a very
original
way. The actors were flawless: a huge number of characters who
all
were memorably differentiated. I felt watching this a shot of
energy
of pure enjoyment. I was reminded of Kusturica at his best (Time
of the Gypsies, Black Cat...); but Lungin surpasses that
filmmaker
with a disciplined script which held together throughout. This is
just
about the best that cinema can do. ****
IRON
LADIES (Y. Thongkongtoon - Thailand)
Enjoyable,
based on a true story, gender bending Thai film which held my interest,
but was very predictable and not very interesting filmically.
From scenes of the real Iron Ladies (a winning Thai volleyball team
made up mostly of drag queens) which played over the end credits, I'd
say that the casting was
very well done to evoke the reality. But the direction was rather
plodding. The Seattle audience lapped it up, however. **
SOUTHERN
COMFORT (Kate Davis - USA Doc.)
A beautifully
made, surprisingly moving documentary about several Georgia
transsexuals, focusing on three female to male (one of whom, Robert,
was dying of ovarian cancer) and one male to female post ops.
This one should be required viewing in schools. It makes a strong
case for acceptance and inclusion. The people were likable and
well spoken; and the filmmaker was just there as witness and recorder
and managed to get it down perfectly. This is one hell of an
effective documentary. *** 3/4
6/08 Fri Today my body started to rebel. I've been feeling a scratchy throat and the affects of sleep deprivation, so after the 2nd movie on Friday, I decided to go back to Lira's house (a 15 mile one-way daily commute to the festival) to take a nap. That was not a great idea, since Seattle traffic was particularly terrible on a Friday...but I managed to avoid the worst, and got an hour's sleep, getting back to the festival in time for the 5:00 movie. This meant I missed the uncut version of Betty Blue...but I figured that I'd already seen the movie twice, and I'll get to see the new edit sooner or later at another venue. I needed that nap. And now, the next morning after taking a Nyquil at 6AM to try to get more sleep, I've awakened refreshed, not sick, and raring to go (missing The Melancholy Chicken Saturday morning; but what the hell.)
JACK THE DOG
(Bobby Roth - USA)
This film,
shot on digital video and then transformed back to a very nice looking
film print, started out very ineptly...forced characterizations,
cliched dialog, a main character with no redeeming features except that
the actor, Nestor Carbonell, has an uncanny resemblance to a young
Tyrone Power. Jack's nickname of "the dog" was well earned, since
he was relationship resistant and territorial, and simply a heel to the
many women he bedded until he met "the one" (very well played by
Barbara Williams) whom he married, and who fathered his child.
From that point on, the characters started to progress. The
pre-teen son, especially, played by Andrew Ferchland (who so resembles
a young John Cuzsac that I was certain through the movie that he must
be that actor's son), and the assortment of minor characters started to
bring the movie alive. About half way through I was amazed by how
much I was enjoying the film, considering that I almost walked out
after the first reel. This isn't a great film, not even a
particularly good one; but it ends up being one of
the highlights of the festival anyway, for its heartfelt script which
turned
out to be director proof. ***
JACKPOT (Michael
Polish - USA)
I'm one of
those who was not impressed by the Polish brothers' Twin Falls
Idaho. My reservations were confirmed in spades with this
follow-up film, which is
boring and pointless to an extreme, despite competent surface elements
like
fine cinematography. The film inhabits the same world as the
first film
(the only laugh of the movie was when the main character says that he's
going
to Jackpot, NV, which is on the road to Twin Falls). It follows
the
same faded Karaoke trail as the unmemorabe film Duets.
The characters, especially the side-kick manager played by Garrett
Morris, were annoying rather than simply quirky. This one is a
total failure, and a real disappointment. 1/2*
CRAZY
(Hans-Christian Schmid - Germany)
A coming of
age film about a partially crippled 16 year old boy who keeps changing
schools trying to pass his math course and ends up at an elite
mixed-sex boarding school, his first time away from home. This
film is an unmitigated delight, filled with good characters (especially
the two boys in the lead and the girl who is the object of their mutual
affection). Apparently the story is so authentic because it was
adapted from a popular German novel by an actual teenager. The
movie covers little new ground...except
that I've never seen an authentically handicapped actor (Robert
Stadlober) play this kind of role so perfectly. This one is a
keeper. *** 1/4 NOTE (written 5/25/05): In
hindsight, Stadlober is obviously not handicapped. Shows how
outstanding he really was in this role!
THE KING IS ALIVE (Kristian
Levring - Denmark)
Dogma
#4...this one in English with a bunch of fine actors, including
Jennifer Jason Leigh, Janet McTeer, and Bruce Davison. I've
been partial to all the Dogma 95 films up to now...concentrating on
characterization and plot instead
of surface cinema tricks has worked very well for me in the past.
But this story about a group of adults lost in the desert who try
restaging King Lear in a desparate attempt to remain civilized, just
failed for me. ** 1/4
FINAL
(Campbell Scott - USA)
I changed my
plans to watch this film when I heard that Campbell Scott was going to
do
a Q&A afterwards. I'm glad I did. Dennis Leary gives
the
dramatic performance of a lifetime. The film is an
interesting
enigma (Scott and his screenwriter have obviously been influenced by
David
Mammet), sort of soft science fiction. Very low budget, shot on
digital
video, it's probably going straight to video. ***
6/09 Sat.
STRANGLED LIVES
(Ricky Tognazzi - Italy)
A well made
thriller about a vicious loan shark who, with the cooperation of
corrupt bankers, ruins and steals legitimate businesses. As well
done as the film was, and as much in sympathy as I found myself with
the victims (who admittedly were somewhat dumb to get so easily
bilked), I just didn't feel like sticking through the movie at the risk
of being late to my next film. So I bailed early...not officially
a walkout, because the film was too good for that. However, I'll
forego rating it anyway. The director is obviously very
talented. I'm viewing his most recent movie on Sunday.
THE
PERFECT SON (Leonard Farlinger - Canada)
This is the
most realistic film I've ever seen about somebody dying from AIDS (I
know from experience as a caregiver for a dying lover myself).
It's told from the point of view of the straight brother who learns
that his older brother is both gay and dying right after their father's
funeral (and 10 years into the elder brother's illness.) The
story hit very close to home, which may have added to its powerful
emotional impact. But there's no doubt that the two actors who
played the brothers, Colm Feore and David Cubitt, did an excellent
job. The film was beautifully lit, stark lights and shadows
enhanced the action and mood. Yes, it's a depressing film; but it
raises important issues and does it extremely well. *** 1/4
MY FIRST
MISTER (Christine Lahti - USA)
A high budget,
high gloss film about a friendship between a fuddy-duddy older man
(played wryly by Albert Brooks) and an alienated, goth teenager (Leelee
Sobieski). It's manipulative and changes tone completely half way
through in an artificial way that Hollywood movies often do. Yet
the film was also well acted and directed...Lahti shows great skill at
defining her characters and telling her story. I liked this film
a lot, more than it deserved, which
is a tribute to the talents involved. ** 1/2
THOMAS IN
LOVE (Pierre-Paul Renders - Belgium)
The surprise
of the festival: the most innovative filmmaking since Run
Lola Run, the most fun in a movie theater I've had in
ages. There's never been a film like this. We never see the
hero, only hear him in voice-over as he relates to the world entirely
through his video screen. Thomas is an agoraphobe (afraid to
leave his house or let anybody else enter) in a future world where
technology allows and embraces such a disability. His adventures
with cyber-sex are the most effective use of computer animation
yet. I don't think I'm overpraising this film; but it hit me hard
in my pleasure zone and never stopped. Long stretches of this
film
I watched mouth agape in wonder at what the medium can achieve. I
suppose
it won't be to everybody's taste, it is strange and different.
But
for me: *** 3/4.
6/10 Sun.
Secret Festival #3
This film
shall remain nameless, of course; but it is a wonderful new romantic
comedy by a first time director, a major new talent. The director
wanted it to play at an "audience festival" such as SIFF; but the
releasing company was so desirous that the film get into industry
favorite Toronto that they only allowed it here on the proviso that the
TIFF organizers never hear that it already had played at SIFF:
thus the secret festival. *** 1/4
CANONE
INVERSO -MAKING LOVE (Ricky Tognazzi - Italy)
This one is a
major disappointment. Lushly photographed with a high gloss and
in English, this pre-WWII clone of The Red Violin
nevertheless suffered from oversentimentalization and a weak,
predictable plot. Tognazzi is a talented, hard boiled director
who goes really soft when essaying his first international
production. Very unfortunate. **
1/4
THE
CAPTAIN'S DAUGHTER (Alexander Proshkin -
Russia)
One can only
imagine what an epic masterpiece this might have been, if only the SIFF
presentation hadn't skipped one 20 minute reel about 2/3 of the way
through
the film. It did interrupt the narrative, making it difficult to
follow
what happened; but it didn't change the cumulative impression that this
adaptation of a Pushkin novel about an abortive rebellion in the time
of
Catherine the Great, was an affecting and lush spectacle.
It
helped that leading actor Mateusz Damiecki is incredibly beautiful and
stoically
effective in the role of Lieutenant Grinyov. ***
MANIC
(Jordan Melamed - USA)
This is a near
masterpiece, a little film about troubled teenagers confined in a
psychiatric facility. It centers around a boy (extremely well
played
by Joseph Gordon-Levitt) who has anger management problems and the
therapist
(in another amazingly effective portrayal by Don Cheadle who seems to
be
unable to give a mediocre performance) who leads the various kids in
group
therapy. Here is an example of an effective use of digital video
transformed
to film...roving hand held camera focusing documentary-style on fast
moving
action and giving an uncanny intimacy with the characters. The
film
is hard hitting and difficult to take at times; but I, for one, became
very
involved with these troubled kids and their progress during the course
of
the film. Just an outstanding little film. *** 1/2
WEIGHT OF
WATER (Katheryn Bigelow - USA)
An uneasy
combination of two genres: the historical costume drama and
contemporary intellectuals on a boat movie...like combining Dead
Calm with The Scarlett
Letter. It didn't work very well. Even Sean Penn
seems
to walk through his role without passion, and Sarah Polley in the
historical
story just seems catatonic and drab, reprising exactly her role in The
Sweet Hereafter. I've always liked Bigelow in the past
for
her hard hitting direction; but this one is a failure on nearly every
level.
**
6/11 Mon. A strenuous day, with a tight schedule and films in widely spaced venues. No time between films to eat, just rush rush rush to the next film (and try to find parking when on a tight schedule in Seattle!) But I managed to make it in time to all of them, and four out of five of the films rank at or near the top of this festival, so the day is well worth while.
A WOMAN IS A
HELLUVA THING (Karen Leigh Hopkins - USA)
This film
fails at so many levels that it is almost breathtaking. First of
all the plot, the taming of a male Chauvinist, is pat and
predictable and sidetracked by the fact that we care nothing for the
characters. Well that's problem number two, also. Then the
direction of the actors is horrible...everybody (and there is some real
talent here, e.g. Paul Dooley, Ann-Margaret and Mary Kaye Place,
who actually is the only good thing in the movie) is allowed to
overact. Especially egregious is the male lead, Angus MacFadyen
whose career may not survive this fiasco. Finally, the movie is really
offensive in the way it dumbs down the inevitable sexual politics of
its central story. The woman next to me walked out; and I really
can't blame her. I'd
expect more walkouts in the public screenings to come. *
GO TIGERS!
(Kenneth
Carlson - USA doc.)
I almost gave
this documentary a miss; but the night before I happened to see that
Scott Tobias had rated it an A after seeing it at Sundance, and I was
intrigued enough to change my schedule to see it. And boy, was I
glad that I did. This just may be the best documentary of the
year, and one I'm hoping to see nominated for the Oscar.
The director may be the luckiest filmmaker on the face of the
earth...everything went just right in
real life to enhance the drama of his story of a high school football
team
in the world capital of high school football, Massilon, Ohio the year
he
decided to shoot a film about it. But let's face it, the success
of
this film is also about the editing skill of the director, who culled
300
hours of digital video into 104 minutes of dynamite. It all comes
together
here: a town obsessed with football and embroiled in a political
controversy
about a property tax levy to support the schools, and a team of
football
players whose personal stories were compelling and who collectively had
a most memorable season. Maybe it helps to have a modicum of
interest in football; but even for the sports hater, the film is so
enlightening about
the human condition that I think it would affect just about
anybody. ****
FLEEING BY
NIGHT
(Li-Kung Hsu/Chi Yin - Taiwan)
This is a film
about pre-WWII China, centered around a Chinese opera company whose
star
player is gay. It is also a Jules and Jim kind of
triangle
which includes a young couple, she the daughter of wealthy parents, he
the
scion of a banking family returned from being educated in America and
interested mostly in his cello, and despite all cultural conditioning
in love with the
opera player. With ravishingly beautiful cinematography and
a very sensitive, attractive cast, the film easily overcomes some
cultural oddness and is truly moving. One of the surprises of the
festival. *** 1/4
THE
ADVENTURES OF FELIX (Olivier Ducastel/ Jacques Martineau
- France)
A road movie
about a young gay man, a sort of Candide-like character with AIDS, who
sets
off on a hitch-hiking trip from Normandy to Marseilles to seek the
father
that he'd never known. Yet this isn't a gay movie. Nor is
it
an AIDS movie. Somehow this gentle and picaresque comedy manages
to
encompass all of humanity in its odyssey through France. The film
reminded me of Western, which had the same
structure.
But this one goes deeper and further than that outstanding movie.
Powerful,
moving, well observed, funny, knowing, loving, beautiful...I could go
on
and on with the adjectives and never do the film justice.
*** 3/4.
HEDWIG AND
THE
ANGRY INCH (John Cameron Mitchell - USA)
[Golden Space Needle: best actor(John Cameron Mitchell)]
What is there
to say about this film? It's a striking adaptation of a musical
theater tour de force by John Cameron Mitchell which remains
theatrical, but also is good enough to rank as one of the great rock
musical films of all time. Still, as good as the singing and
acting were, the story barely existed...so the film fails to have the
impact that one would suppose from the elements. It has all
the earmarks of another cult classic a la Rocky Horror Picture
Show; but I wonder if it has the staying power of that
film. Anyway, Mitchell is a wonder doing it all: singing,
acting, writing and directing, all outstanding credits...and it's nice
to see one of my faves,
Michael Pitt (Henry from Dawson's Creek) getting a chance to
shine
as a rock star, even if as I suspect, his singing was dubbed by another
singer.
***
6/12 Tue
STRICTLY SINATRA
(Peter Capaldi - Great Britain)
Despite
another effective performance by Ian Hart (this time as an aspiring,
but talentless cabaret singer of strictly Sinatra material who
gets compromised by the English version of the mob), this film is only
sporadically interesting. It wants to have it both ways, gangster
thriller and show biz romance...and mostly fails at both. There's
a hint of directorial talent here, though, which partially overcomes a
lame script. * 3/4
KM. 0
(Yolanda Serrano/J.L. Iborra - Spain)
The Spanish
seem to thrive on large cast romantic farces, and this film is no
exception. This is the story of 10 or so people scheduled to meet
on blind dates for assorted purposes at the Puerto del Sol at noon on a
weekday. Everything gets confused and gradually works out
for the best. It
sounds contrived; but the execution is very deft, the characters
memorable
and attractive (especially for me, of course, the 3 1/2 gay
guys.)
There's a sunny, positive, inclusive attitude about human nature which
suffuses
recent Spanish cinema...and this film exemplifies this feeling. I
left
the theater with a bounce in my step. *** 1/4
THE ROAD
HOME (Zhang Yimou - China)
I'm going to
be slightly contrarian here. There's no doubt that this is one of
Zhang's best films productionwise (and I need to say here that I
consider
him to be one of the world's greatest directors). And it contains
another of the director's fantastic female performances, this time by
Zhang Ziyi, who was so excellent in Crouching Tiger.
Still, the film felt like a reprise of Zhang's earlier film, The
Story of Qiu Ju; and, while gorgeous to look at and undeniably
moving, it also felt manipulative and overly sentimental. A mild
disappointment; but one I enjoyed anyway. ** 3/4
ENGLAND!
(Achem Von Borries - Germany)
On the
surface, this dramatic road picture about a man dying a decade later
from the lingering effects from being forced into the cleanup after the
Chernobyl disaster
would seem an unlikely source of heart stopping pathos. Well,
maybe
that's going a little far; but I was moved by this dark little
film...probably
because of the outstanding performance by Ivan Shvedoff as Valery, who
remains
optimistic and focused on his goal of reaching England despite long
odds.
I don't want to oversell this film, it is bleak and perhaps a tad too
long
for its slight plot. But it has a subtle power and I'll remember
it
for a while. ***
QUEERSVILLE
(Var. shorts)
Some hit and
miss gay shorts here. The 16mm Soda Pop was
slight,
poorly made and frankly boring. Audit was better,
featuring an interestingly subdued performance from Alexis Arquette,
but also overly long and fairly pedestrian. This was my second
time around for Boychick; and for some reason it worked
far better for me this time. Maybe it was just that its fantastic
production values (great 35mm photography and fine performances) simply
looked better in contrast to the amateurish 16mm films which preceded
it. In any case, the overly obvious Yiddishisms didn't seem as
off to me this time around. The Australian film In Search
of Mike, where the director played the lead character and also
his whacked out mother, was just too dark and weird for my
tastes. But I thought that Tom Clay Jesus was a
delightfully dark examination of relationships among modern, big
city, young gay men. It somehow rang very true to me. The
final film was the amazingly
zany Jeffrey's Hollywood Screen Trick, played with
animated
dolls a la Todd Haynes' banned Superstar. This one
has
to be experienced to be believed.
6/13 Wed. This is probably the best day of all that I've spent at this festival. After experiencing literally dozens of wonderful small films here at SIFF it's going to be hard for me to claim that 2001 has been a lousy movie year. Only Hollywood, with its obsession to make costly overstuffed turkeys, seems to be in the creative doldrums. The rest of the world cinema is vibrant and bubbling with appealing films. However, today for the first time, my job obtruded ...I spent a lot of time on the cell phone to L.A., and it looks like I'm going to have to cut the festival short and make a mad dash down the coast to return to work. I'm trying to put off my departure as late as possible; but it looks now like I'll have to leave Sunday afternoon before the end of the festival. Very depressing.
I PREFER THE
SOUND OF THE SEA (Mimmo Calopresti - Italy)
An
outstanding, serious drama about an industrialist in northern Italy, a
poor southerner who married into wealth and is now involved in a
looming corruption scandal; and two boys...one of whom is his spoiled
and troubled 16 year old son. The other is a boy he meets
on a visit home, an embittered, stubborn southerner, orphaned and
troubled, but obviously intelligent and worthy, whom
the older man determines to take under his wing and help to get a leg
up
in life. It's a story which pits opposites in
conflict
in modern Italy: northern vs. southern; rich vs. poor; religious
vs.
unbelievers; left vs. right. But it is also a story about mostly
good
people under incredible social pressure. I found it deeply
affecting,
and the two boys played by Michele Raso and Paolo Cirio were
wonderful.
*** 1/2
DORA-HEITA
(Kon Ichikawa - Japan)
I'm not a big
fan of samurai movies; but this one was very well made, if overly talky
through most of its length. Koji Yakusho made a fitting hero; the
swordsmanship was fast paced and well shot, although I've seen
better. I just couldn't get interested in this movie, despite its
fine production values.
** 1/4
KISSES FOR
EVERYONE
(Jaime Chavarri - Spain)
On the other
hand, it's hard to imagine a more engaging film than this one.
It's
the story of three medical students in 1965 Franco's Spain, who rent a
house for serious study and then proceed to get sidetracked by getting
involved with some cabaret prostitutes. The lead was played by
Eloy Azorin, the son in Almodovar's All About My Mother,
whose 'way too early
departure from that film was a sore point for me. Here he plays a
studious,
religious boy who comes of age spectacularly as he progresses to
knowing
sexual sophisticate. His two friends, initially more knowing,
also
develop in interesting and non-cliche ways. Even the women
are fascinating creatures with a rare inner life. This is
another glowing, remarkably entertaining Spanish film. ***
1/2
TOGETHER (Tillsammans)
(Lukas Moodysson - Sweden)
Just when I
began to think that nothing can possibly top the films that I've
already seen in this festival, one does. This follow-up to the
director's wonderful Show Me Love (Fucking Amal) is an
entirely different kind of
film: the story of a commune of leftists in 1975 Sweden.
The
film has the look and feel of Dogme 95...but it breaks too many rules
to
get a certificate. But like the best of those films, it creates
an
illusion of reality through hand held camera, jump cutting and
naturalistic performances. This one is simply one of my
all-time favorite films, both entertaining and illuminating, and a
serious character study which includes all sorts of people and left me
feeling wonderful about the human race. This despite some
hard-hitting scenes of child and wife abuse reminiscent of Happiness.
It's hard to describe the cumulative effect of this film...but I'm
rooting for it to win the Golden Space Needle here. ****
6/14 Thu. Seattle is the only city where one might see an official road sign sporting the words: "BE NICE". Every day on my way to the festival I've passed that sign at the foot of Capital Hill (where most of the venues are); and yesterday I noticed it for the first time. And you know, Seattleites follow that sign to a large extent. Strangers, even in restaurants and on busses, notice the full-series pass I wear around my neck all day and engage me in conversation about movies. The fairly large group of pass holders, often queued up together in our own line awaiting preferential seating, end up nodding aquaintances, and in some cases real friends. I've made several film buddies by this process, among them Howard, Derek, James, Debby, Susan, John and Dave. However, occasionally somebody will be a pill. I happened to be lined up in front of Michael Medved, whom I hadn't recognized at first, for one screening and casually made some remark to him about hurrying up only to wait in line in the rain for a late start...and he rather haughtily cut me cold, not deigning a reply. I guess that's proof that he's not a real Seattleite yet.
COME UNDONE
[Presque rien] (Sébastien Lifshitz - France)
A serious gay
film with very authentic appearing sex and two enormously attractive
actors (Jeremie Elkaom, new to me; and Stephane Rideau, so memorable in
Wild Reeds and Sitcom). Yet the film
failed for me as anything more than a feast for the eyes. First
of all, the structure was messy and confusing...sort of a zig-zag
mixture of story and flashbacks with no clear deliniation and seemingly
random linearity (as if reels were constantly being shifted out of
order). And then, the story is frankly depressing...with most of
the characters depressed and ennervated and uncommunicative between
themselves. Finally, there's that awful translation of the
title. I suppose this is a realistic gay film; but it does seem
like a throwback to an earlier age when gays were expected to be
unhappy. **
OUT OF THE
CLOSET:
THE WILLIAM HAINES STORY (Fenton Bailey/Randy Barbado -
USA
Doc.)
A sort of by
the numbers TV documentary (with obvious places for commercial
breaks). The subject, perhaps the only unabashedly gay number one
male Hollywood
actor ever, was inherently interesting. But the execution of the
documentary was far too dependent on narration for my tastes. I
didn't stick around for the 77 minute version of the 1930 camp classic
western starring Haines, chosing to have a leisurely dinner with my
film bud James instead. ** 1/2
FUGITIVAS
(Miguel Hermoso - Spain)
A last minute
change of plans...I've decided that I can't pass up any Spanish films
since I seem to always like them so much. This one is the story
of a robbery gone wrong, a falling out among the thieves with two of
them chasing two of the others who had made off with the loot. It
gets very complicated, involving a little girl trying to get reunited
with her useless father after being cast off by her prostitute
mother. It didn't sound promising in the catalog; but on
screen it comes alive and is quite entertaining. ***
PEACHES
(Nick Grosso - Ireland)
A London based
slacker romantic comedy. Three gen-Y guys who have nothing much
to
do except scout for "peaches" (a previous generation called them
"birds".) Not particularly funny and the characters progress
little if at all. Yet the lead actor, Matthew Rhys (whom I had
previously noted with interest as the older brother in the much
superior Welsh kid's film Testimony of Jones)
has looks and charm to spare...watch for him to become a star. **
1/4
6/15 Fri. This will be my
final update to this journal until I return to L.A. (making a mad dash
down the coast on Sunday and Monday.)
PARSLEY DAYS
(Andrea Dorfman - Canada)
This
film exemplifies exactly why I love film festivals. I'd never in
a million years have a chance of seeing a little film like this any
other way. Shot on super-16 (and blown up rather poorly to 35mm)
in Halifax, N.S., with amateur actors (who act like it), and
without benefit of accomplished direction, this film nevertheless
delivers the goods. It proves, if any proof is needed, that
a compelling story with empathetic characterizations can surmount all
obstacles. But even at a festival devoted to finding little gems,
this one was sparsely attended. Those who did attend were treated
to a fresh look at a committed relationship where one partner (the boy,
sympathetically and well played by Michael LeBlanc) is more in love
than the other (a problematic performance by amateur actress Megan
Dulop which
was the weakest link in the film.) By the end of the film, I was
profoundly
moved and felt that I'd experienced something of an epiphany. ***
1/4
MANHOOD
AND OTHER MODERN DILEMMAS (Ronan Girre - France)
A fascinating
contrast between this and Parsley Days, which
immediately preceded
it. This film also centers on a relationship...battle of
the
sexes style. It's French, and the film is a lot more
sophisticated than the Canadian film. But it also is a
pretentious pile of crap (in my humble opinion), filled with narrative
tricks which don't work and inhabited by characters more annoying than
interesting. Bruno Putzulu, whom
I loved playing gay in Pourquoi pas moi, is totally
wasted here.
*
RENNIE'S
LANDING (Marc Fusco - USA)
This American
indie is a strange fusion of slacker comedy and heist flick. Its
cast includes some of my favorite young actors among them Ethan Embry
and Scott Foley. It has an interesting, tricky script
which almost works. Almost any description of the film
would give away spoilers, so I'll stick to my impressions.
I'm not at all sure if this film will find an audience...it's not very
well directed, though the actors try hard. But it does have some
originality going for it and is probably worth renting the video.
** 1/4
VIVA LAS
NOWHERE (Jason Bloom - USA)
On the other
hand, this black comedy is well worth a look. Starring Daniel
Stern
in his biggest role as a Kansas motel owner who aspires to be a C&W
songwriter, it also has a number of quirky supporting performances,
including
James Caan as the baddy. The script is filled with surprising
turns...the film is constantly changing tone and just gets weirder and
funnier as it goes along. It's another tough sell; I'm not sure
that it'll reach an
appreciative audience. It's going to be too strange for
some people;
but I really enjoyed it. ***
6/16 Sat. For the first time I actually was shut out of a film that I'm not going to be able to watch on the second screening. I decided to try to grab a bite on the way to the Harvard Exit to see Jala! Jala! (dir. Josef Fares - Sweden); and even though I got to the theater 5 minutes beforehand they had closed the doors and wouldn't let me in. I turned in my "fool serious" ballot and left. What is "fool serious" you ask? It's a non-official group made up of most of the pass holders who rate on a scale of 1-9 all the movies they watch up to the penultimate night; and then by noon of the last day all interested parties are delivered the results including a list of the three other people with whom the computer finds one's tastes most compatible. Hopefully I'll be able to get my computer read-out tomorrow. Supposedly a more serious enumeration is available on a web page someplace; and I hope to find out that URL on Sunday.
DISCO PIGS (Kirsten
Sheridan - Ireland/UK)
One of the
most interesting movies of the festival. It starts out with a
voice over by a fetus reposing in a womb; then presents a birth
scene reminiscent of the opening scene of The Tin Drum;
and then proceeds to get seriously strange. Two babies are born
in that hospital at the exact
same minute and they grow up as next door neighbors and inseparable
twins.
By the time they're teenagers the boy (played with ferocity by Cillian Murphy) has become seriously psychotic
with
his burgeoning sexuality and possessiveness. And the girl follows
him
dreamily into their own private world with its own language and
uncontrollable obsessions. It's a film drenched in strange
emotionality...with eerily effective music, outstanding acting and
direction. The film creeped me out, however. It's
bound to be a cult classic eventually, I think. *** 1/4
FINDERS FEE
(Jeff Probst - USA) [Golden Space Needle
award: best picture]
Yes that Jeff
Probst, host of Survivor. However this one-set film was written
(Probst claims 20 rewrites) and greenlighted before he became
famous. With several excellent performances (especially from
James Earl Jones, Erik Palladino who was cast against type, and Matthew
Lillard mugging shamelessly but winningly), this film avoids most of
the pitfalls of its claustrophobic setting with extremely skillful
editing, a story with plenty of conflict and nearly flawless
ensemble acting. The film does tend to be somewhat theatrical
and/or TV in concept and execution Yet it works as a film, which
is a tribute to Probst as a promising first-time director. ***
6/17 Sun.
Secret Festival #4
This is
another recent film by a famous and controversial international
director which can't be mentioned because the producers are afraid that
one of the big festivals will not be interested if it had premiered at
Seattle. The film is pretty darn great. Enjoy,
TIFFers. *** 1/4
BURNT MONEY
(Marcelo Piñeyro - Argentina)
My final film
at this fest, and what a way to go! This is an authentic and top
flight film noir, set in the '60s and based on a true story.
Above all, the two main characters are gay...which sets it apart from
other noirs of that era. With two searing performances from
Eduardo Noriega (of Open Your Eyes) and Leonardo
Sbaraglia (who is headed for international stardom), this is probably
my ultimate favorite film of the festival. It's hard hitting,
bloody as hell, authentic in every detail, beautifully shot and
directed. And without being overtly sexual, it manages to be very
romantic, turning the conventions of noir neatly around. Think Clyde
and Clyde. A lovely piece of filmmaking and a strong
*** 1/2.
FILMS ALREADY SEEN(Ratings out of 4.0 Stars)
MARSHALL TITO'S
SPIRIT 2.5
DIVIDED WE FALL
3.5
THE BIG ANIMAL 1.5
SKYHOOK
2.5
GLAMOUR
2.75
EVERYBODY'S FAMOUS
3.25
6IXTY9
2.0
ALI ZAOUA 3.0
101 REYKJAVIK
3.25
NO PLACE TO GO
1.5
PLENILUNIO
2.75
IF...
3.75
ODD LITTLE MAN 3.0
BEFORE THE STORM
3.5
VERTICAL RAY OF THE
SUN 2.5
LITTLE SENEGAL
2.5
A RUN FOR MONEY
3.25
ANITA TAKES A CHANCE
3.0
CORONATION
3.0
ANGELS OF THE
UNIVERSE 3.5
A PLACE NEARBY
2.75
SUN ALLEY
3.0
BETTY BLUE
3.5
INNOCENCE
3.5
LITTLE CRUMB
1.5
THE CLOSET
2.5
DIVA
3.5
WILD HORSES 3.25
BREAKING THE SILENCE
3.0
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