This is my fifth SIFF and I tend to be obsessive about seeing as many films as I can. This year the schedule leaves little time for such fripperies as festival journals, since there are usually movies playing from 10AM to midnight every day. Scheduling is often a nightmare taking lots of pre-planning. But fortunately this is such a user-friendly festival for the passholders such as myself that coping with the complexities of scheduling is part of the fun.
I arrived in Seattle after a leisurely drive up the coast on Wednesday, May 22, easily obtained my passes and managed with only about 10 mis-turns to find the venue for the press screening, which was held at a very out-of-the-way museum. What follows are my mini-mini reviews of films seen organized by day. All films are rated on a four star top rating system.
Wednesday, May 22
GIRLS CAN'T SWIM (Dir: Anne-Sophie Birot. France)
Sort of the female equivalent to Nico and
Dani...namely the coming of age story of two 15 year old girls
on vacation and how they adjust to the budding sexuality of one of them.
The film will find its admirers; but I'm not one of them. I just couldn't
get engaged in the plight of the main characters. However I was into
the story enough to be shocked by some of the plot developments. Competent
acting and direction help a rather diffuse script. **
Thursday, May 23
READ MY LIPS (Dir:
Jacques Audiard. France)
This film, by an exciting and original talent, will
certainly be one of the highlights of the festival for me. It's a thriller
combined with an ugly duckling off-center love story. The story held
together beautifully, even though it was totally original and unpredictable.
The actors, Vincent Cassel and Emmanuelle Devos, were truly remarkable,
never better. I really like the directorial style stressing very revealing
close-ups and a top-notch sound design to show the lead characters deafness.
This one is a winner! *** 3/4
BIGGIE AND TUPAK (Dir: Nick Broomfield. U.S./U.K. documentary)
Somehow I've never seen any of Nick Broomfield's
documentaries until now. He has a very filmmaker involved documentary
style where he is a main character interviewing his subjects on camera.
He's also witty and confrontational in a style similar to Michael Moore,
but quite a bit more British and reserved. His topic, two famous rap
singers who were murdered in strangely connected circumstances, was very unsettling...especially
since it turns out that the Notorious B.I.G. was killed within a block of
where I grew up and still quite close to where I live today. Also
the film uncovered a great deal of fascinating information that seems to
be in the process of being suppressed by the Los Angeles Police Department
which may be up to its eyeballs in corruption in this case. Not a
pretty picture for an L.A. resident. The film was very unpleasant
to watch; but an important and fascinating documentary in any case.
***
Friday, May 24
Finally the festival itself starts
after the first two press screenings. Most of the first day's screenings
are well attended, which is a good sign. The festival has down-sized
a bit this year, apparently due to budgetary necessities. But all the
theater venues are the same as they were at last year's festival.
Mostly good theaters with adequate sightlines and sound systems. But
one of these days the main theater, the Egyptian, has to get more comfortable
seats!
THE COCKETTES (dir:
Bill Weber and David Weissman. U.S. documentary)
The Cockettes were a collective of drag/hippie characters
in San Francisco during the early '70s. I actually had some peripheral
connection with some of the people shown in the film, and also attended some
of the events shown (incidentally, with a lot of remarkable footage taken
at the time). The subject was fascinating; but the filmmaking was
somewhat straightforward, mostly the stills and amateur films made at the
time mixed with talking heads of some of the present day survivors (too few
have survived drugs and AIDS, unfortunately.) It had its moments when
the film dragged a bit (both senses of the word). Still, it was fun
to see the remarkable vintage footage and re-live some of the events of
my own past and get an insight into what was really going on. It's also
nice to see John Waters interviewed...he's very perceptive, eloquent, and
amusing. ** 3/4
PARALLEL WORLDS (dir:
Petr Vaclav. Czech Republic)
Film about a breakup of a marriage. Good acting,
but the plot was told in an elliptical, fragmented way which kept taking
me out of the story. Just not my cup of tea, though it was a quality
effort. **
BUNGALOW (dir:
Ulrich Kohler. Germany)
This one was my cup of tea, though I'm sure
I was one of the few in the sparse audience who enjoyed the film. The
story is a slice of life/coming of age about a middle class youth who more
or less deserts from the modern German army and returns home, where his
parents are on vacation in Italy and his older brother and his hot girlfriend
are also visiting. The young man (beautifully played by Lennie Burmeister)
is truly at an existential crisis of depression and self-destruction, avoiding
the army or running away, feeling sexually frustrated and desiring his brother's
girlfriend. It doesn't quite gel as a story, and was directed in a
slow straightforward style. But the lead actor was eye candy for me...in
an early scene he whips it out and jerks off out of boredom; but it is all
part of a mysterious opening montage where one is not quite sure what is
happening or where we are. The pleasures of this film, such as they
are, are limited if one doesn't like the main character. I did despite
his unremitting sullen demeanor; so I found it riveting. Most will think
he's a real jerk and be totally turned off to the film. ***
LAST CALL (dir:
Henry Bromell. U.S.)
This film went straight to Showtime; but it was
good to see it on a big screen. Jeremy Irons, in one of his best performances,
plays F. Scott Fitzgerald at the end of his life when he's struggling with
alcoholism and trying to write The Last Tycoon. Neve Campbell,
in a one-note performance which was one of the movie's weaknesses,
plays a young secretary he hires to help him write the book and whose recollections
were the basis of the movie. Sissy Spacek is wasted as a spectral
Zelda who haunts Fitzgerald's DT episodes. All in all pretty pedestrian
except for Irons' outstanding performance. **
CQ (dir:
Roman Coppola. U.S./France/Italy)
One thing is for sure, Roman hasn't inherited the
filmmaking gene...at least as evidenced from this weirdly self-indulgent
amalgam of home movies and Dolce Vita in-group frolic. Set in
Paris in the late '60s, about a film editor (played by Jeremy Davies as his
usual bemused schlub), the film alternates in tone between a 16mm black &
white film within a film that Davies is making to explain his life without
compromises, and color scenes of the making of a SF exploitation flick vaguely
reminiscent of Barbarella which come off as unfunny comedy.
The film does have some amusing cameos by Gerard Depardieu and Jason Schwartzman
as respectively a washed up auteur director and a totally blitzed out filmmaker
wonderkind and Giancarlo Giannini playing Dino de Laurentis as over-the-top
producer to a tee. But it totally wastes Elodie Bouchez as Davies'
girlfriend. The star of the exploitation flick was played by Angela
Lindvall, who is a sexy and interesting actress and maybe the only good
thing to come out unscathed by this wasted effort. *
Fighting a cold...the first one I've had at a film
festival. Everyone where I'm staying (at my step daughter's home in
Kenmore) seems to have this Seattle cold, so it comes as no surprise that
I do too, even though I haven't run myself down at all. I sure hope
I can kick it quickly. We'll see if I can keep up with the schedule
and do my web page, too. I already decided to skip the 9:30
movie tonight, instead having a good Mongolian Barbeque meal and working
on my festival schedule for the next week.
SWEET DREAMS ARE MADE OF THIS (dir: Saso Podgorsek. Slovenia)
A truely fine coming of age story of a 13 year old
boy from a totally disfunctional Slovenian family in 1973. His grandma
is a religious freak, his mother a schizophrenic, his gym teacher a physical
child molester, his neighbor a dope smoking hippie and he's never known his
father. Egon is something of a nerd; but over the course of the film
he progresses and grows. Nice acting, especially Janco Mandic as Egon.
The film is a fairly straightforward narrative, nothing special. But
it is clearly autobiographical, and the writer-director has a wonderful memory
for novel and amusing details. All in all a well made film which works.
***
A SELF-MADE HERO (dir: Jacques Audiard. France 1996)
I'd seen this one when it came out, and it was one
of my top 10 films that year. Time has only enhanced its charms.
Mathieu Kossovitz, one of my favorite actors, has the role of his career
here, that of a rogue who invents his life. The film is structured
as a mockumentary, one of the first of that breed. Jacques Audiard
is truly one of the "emerging masters", he has a visual flair and a gift
for directing actors. This film is quite special. ****
CHERISH (dir:
Finn Taylor. U.S.)
Taylor is one of the American indie directors who
show some promise, though you wouldn't exactly know it from this film.
Ostensibly a thriller about a young woman who is first stalked and then
carjacked and framed for a drunk driving manslaughter. She spends
the movie in pre-trial home arrest, tethered to 57 feet from a modem that
is connected to a device on her leg. There are some interesting characterizations,
especially Tim Blake Nelson as the uptight technician who tends her ankle
bracelet. Robin Tunney is also fine as the girl in jeopardy.
But the film falls apart at the end, filled with logical flaws. It
looks good, though, and the director is obviously talented. ** 1/2
KHALED (dir:
Asghar Massombagi. Canada)
A super low-budget digital film from Canada about
a young kid in heavy jeopardy. I'm not even going to hint at the plot,
although chances are nobody is ever going to see it. The story rings
true, although unlikely; and the kid does a very fine job. I wasn't
as involved as usual with this kind of story for some reason. The film
just plodded along for a lot of its length. But all in all a good
effort. ** 1/2
Sunday, May 26
I seem to be coping well with the cold, despite
the fact that the Egyptian Theater has lost its air-conditioning and conditions
there were quite stuffy for 4 of the 5 films I watched today. It
was a good day for films. The weather has remained quite nice...the
forecasted rains never arrived. This festival is shaping up quite
nicely. But the hard drive on this computer is increasingly flaky,
so any moment it's possible that I'll have to curtail this commentary.
SECRET FESTIVAL #1
Not even a hint lest I be drawn and quartered by
the festival powers that be. But it was an oldie that somehow unaccountably
I'd missed when it came out though I remember stories about its production;
and I've always wanted to see it. It has aged quite well, incidentally.
***
LOVELY AND AMAZING (dir: Nicole Holofcener. U.S.)
This one joins the growing genre of meandering slice
of life films about three sisters (e.g.. Wonderland and Happiness),
though it isn't really comparable to those films. Brenda Blethyn
sporting an American accent plays the mater familias, who has adopted a
black crack-baby child who has trouble relating to being black.
And Catherine Keener does her patented sarcastic persona as the eldest
sister whose marriage is on the rocks. Emily Mortimer is also good
as the middle daughter, an actress with self-esteem problems.
Actually, the film has moments where the farce works and we care about the
characters. Nothing special about the direction, except that the acting
is uniformly fine. ** 3/4
THE TRIP (dir:
Miles Swain. U.S.)
A genre gay film about life in the 1973-83 era.
This one is above average, for a heartfelt script which actually has something
to say about gay history (though mostly through the device of changing
hair styles and the use of familiar historical stock footage);
and for a touching love story fairly well acted (Steve Braun was particularly
good, I thought.) Jill St. John, playing Braun's mother, has remained
young at heart and was quite wonderful. I found the film to be affecting,
with moments of comedy and pathos which worked for me. But overall,
the pedestrian direction, a lead actor (Larry Sullivan) whose acting wasn't
able to ping my gaydar, and a somewhat contrived plot, especially
during the set-up, worked against the film breaking through the gay genre
ghetto. ** 3/4
HAPPY TIMES (dir: Zhang Yimou. China)
The director is one of the all-time greats, in my
opinion. But lately, either because of political problems in China
or a mid-career slowdown, his films just don't seem to be as special as they
once were. This one takes place in contemporary China, which might
also be one of the problems. Anyway, it is a heart-tugger comedy about
an older man and a young blind girl (sounds like Academy bait to me), thrown
together by circumstances. I was diverted in spots; but the film seemed
derivative and flat without any visual panache. Not a bad film, but
a disappointment. ** 1/2
OUTPATIENT (dir: Alec Carlin. U.S.)
I almost skipped this film since it sounded so pretentious
and unpromising in the festival catalog. But I'm glad that I went.
Turns out that this is one of those thrillers which really thrill, with a
complex plot which mostly holds together and a payoff worthy of Hitchcock.
Justin Kirk is fine as a mental patient coping with his disorder by writing
a novel and confronting his past. Catherine Kellner, who is one good
role away from movie stardom, is equally up to the task of the therapist
who helps to unravel the mystery of her patient's psychosis. The film
is spectacularly well photographed in digital HD (most likely 24P since it
looked so flawlessly like real film). Shooting in digital allowed the
director to use very different looks for the various levels of reality (past,
present, fantasy), which helped to anchor the viewer and keep all the complex
story threads together. Special kudos must go to the cinematographer,
Andres Garreton, who has mastered the tricks of making digital look great.
I guess I may be overselling the film, which had its hokey moments too,
especially towards the end. But all in all this one deserves wide
distribution and has hit written all over it (though with a no-name cast
the odds are long that it will ever find its audience.)
*** 1/4
Monday, May 27
DOOR TO DOOR (dir: Stephen Schachter. U.S.)
William H. Macy gives the performance of his career
in this modest cable-tv movie (for TNT) shown in video format. Macy
plays a real-life, mildly disabled cerebral palsy victim who is encouraged
to go to work as a traveling salesman by his mother (another great performance
by Helen Mirren with a flawless American accent...are all the Brits going
American now?) This one goes into the "truth is stranger than any
possible fiction" category. The film alternates in tone between uplifting
and moving, and sappy and predictable. But overall, due to an excellent
supporting cast (except for Kyra Sedgwick who has some acting mannerisms
which really annoy me), this one works. ***
The short playing with it, Silent Beats,
out of the USC film school, was one of the most outstanding shorts I've
seen in a while. Done silent, to a tap dance beat, the film shows a
series of racial encounters in a convenience market store. Nicely directed.
LAST WEDDING (dir:
Bruce Sweeney. Canada)
Three friends, young Vancouver yuppie guys, each
in a dysfunctional relationship, though for differing reasons. One
decides to marry his JCP (Jewish Canadian Princess), and this bitter comedy
develops from there as we watch everything fall apart. The script was
good enough to keep one interested in the proceedings. The guys were
all immature and deserved their various fates; but I found myself drawn into
the film, identifying with all the participants. Good acting, competent
direction, this one is well above average. ***
FIREFLY DREAMS (dir: John Williams. Japan)
An achingly slow and for me boring story of a young
girl, coming of age in Japan, who starts out a city rowdy, and then when
banished to the oh so picturesque countryside, and under the spell of an ancient
woman who was an actress in the '30s, progresses. It was a "well made
film." And I wanted it to end with all my might. **
WRITTEN ON THE BODY OF THE NIGHT (dir: Jaime Humberto Hermosillo. Mexico)
Funny, humanistic comedy about the youth of a film
director. It starts out with a draggy film-within-a-film which echoes
the themes which later turn out to have been part of the film director's
life. The plot is somewhat tricky, with most of it being a lengthy
flashback which turns out to be the real story. The film could have
benefited by some pruning of some sequences which went on too long.
It also seemed rather stagy and constrained to a couple of obvious sets.
But the film was charming and well observed. The actors varied all
over the place; but Hermosillo found a boy of extraordinary presence to play
himself (or the film director) as a youth. Despite some obvious flaws,
this one worked for me. ** 3/4, but I enjoyed it more than that.
RAIN (dir: Katherine
Lindberg. U.S.)
This is an example of American Country Gothic, not
my favorite genre. I suppose as far as it goes this one was a well
constructed example of the genre. But I was sort of surprised that I
seemed to be the only one in the audience to laugh out loud at the
ridiculous goings on. Certainly the acting and direction were fine...my
complaint was with the script. To say these characters' motivations
were murky would be understating the facts. **
LOVE IN THE TIME OF MONEY (dir: Peter Mattei. U.S.)
This one was a winner. I quickly deduced that
it was a modern adaptation of Schnitzler's La Ronde, set in
New York with a roundelay of characters so aptly described and played as
to be almost miraculous in such a low budget film shot on digital and transferred
to film. I had the pleasure of chatting with first time director
Mattei, who sat in the audience to watch the next film. Nice guy.
I guess I can understand how such outstanding actors as Steve Buscemi, Michael
Imperioli, Carol Kane and Adrian Grenier (who is going to be a major star)
would choose to do his little film. *** 1/4
YELLOW ASPHALT (dir: Dan Verete. Israel)
Wow! Another winner, this one a powerful depiction
of the interface between the desert Bedouins and the Israelis in modern day
Israel. Using three unconnected incidents (I do wish that the stories
had somehow been more integrated with each other), the film examines the
differences in attitude between the antagonistic cultures as to death, sexism,
justice, and lifestyles. The third story of an Israeli farmer and his
two Bedouin employees take up most of the film; and I got swept up in the
drama of exploitation, infidelity and revenge. It isn't a perfect film;
some of the acting seems amateurish (or maybe just naturalistic). But
overall, this is a fine effort. *** 1/4
BRITNEY BABY, ONE MORE TIME! (dir: Ludi Boeken. U.S.)
Funny and fun, this one is a mockumentary which
both gently mocks the American pop culture and says a lot about celebrity,
sexuality, media, schlock news etc. seemingly effortlessly. Britney
Spears is never shown...this one was about an ad hoc news crew (made up of
the jokers from American Movie, certainly an inspired bit of
casting!) following a transvestite Britney look-alike winner around on tour
pretending she's the real thing in order to bilk the network news out of
money to make the film crew's dream movie project (if this seems unlikely:
run, don't walk, to see the aforementioned original documentary about these
guys, a wonderful film which is fully evoked by the current film.)
Robert Stephens, a real-life Britney look- and sound- alike, is wonderfully
authentic and personable in the lead role. But some of the minor characters,
especially the ones playing the real Britney's entourage, were lousy actors.
This movie is a real crowd pleaser...but for me it was slightly marred by
a series of jarring miscuts in the middle which took me out of the film,
a very strange technical glitch which I hope the filmmaker solves before release.
** 3/4
Wednesday, May 29
One theory of heavy duty festival going is that
the quality of the film can be measured by how far into the film one gets
before one looks at one's watch. By that test, this was a great festival
day since I didn't look at my watch once during any of the films until 3/4
of the way through the last film of the evening. Nary a boring moment.
TADPOLE (dir:
Gary Winick. U.S.)
Coming of age comedy with a vengeance. Actually,
15 year old Oscar (formerly Tadpole), is the most mature 15 year old in the
history of movies. As portrayed by newcomer with a future Aaron Stanford,
he's also appealing and cool, with a thing for older women including his
step mother (a strangely unappealing Sigourney Weaver) and his step-mother's
best friend played by Bebe Neuwirth, who just about steals the movie.
The characterizations are spot on as is most of the dialog. This one
was a pure pleasure to watch, though it had a couple of flaws: Oscar's
French accent was abysmal for a boy who was half French and spends time with
his mother in Paris. And the digital video photography was unattractive
and occasionally disrupted the reality of the piece. Nevertheless,
this crowd pleaser pleased me greatly. *** 1/4
LIBERTY STANDS STILL (dir: Kari Skogland. U.S.)
A claustrophobic thriller about a rogue CIA terrorist/sniper/bomber/assassin
loose in downtown L.A. Fairly good acting, and the tension keeps
ratcheting up, which would normally make for a good thriller. But
somehow the film loses steam with its lengthy expository speeches and absurd
story line. Still, it was never boring. ** 1/4
13 CONVERSATIONS ABOUT ONE THING (dir: Jill Sprecher. U.S.)
Like the film Love in the Time of Money screened
yesterday, this is a roundelay of various interconnected stories, though
this one plays mind games with a non-linear timeline. This film, too,
has an excellent cast and a wealth of detail and interesting character development.
Alan Arkin was especially good as a sour mid-management functionary who connects
most of the stories together. And even the often maligned it-boy of
years past, Matthew McConaughey, is good here. It's hard to imagine
a more satisfying script for this kind of film: adult, unpredictable,
ironic, relevant. A truly bravura first film. *** 1/2
QUITTING (dir:
Zhang Yang. China)
This film has a unique premise: a real actor
who was a movie star 10 years ago but has fallen on bad times (mainly drug
addiction psychosis) and his real father, mother, sister and friends are
brought together to stage a replay of the actor's redemption. It works
quite well, even though the film is at pains at times to break the fourth
wall and make sure that the audience knows that this is staged. I thought
it went on a little too long, and was a little too unremittingly bleak for
most of its length. But the acting was so realistic (it ought to have
been since it was a replaying of real events), and the direction so assured
that it somehow overcomes the problems. Unfortunately, this one was
a step down from the director's previous effort, Shower.
** 3/4.
Thursday, May 30
SECRET BALLOT (dir: Babak Payami. Iran)
By the looking at watch test, this one failed big
time. I probably checked out the time on four occasions...the film
was that slow and boring. The film followed a woman election agent,
accompanied by a stolid soldier, around a rural island on election day as
she collected votes from the peasant inhabitants. The incidents themselves
were interesting and occasionally genuinely amusing; and the mystery of Iranian
culture continues to amaze this filmgoer (these characters might be Martians,
for all I can understand their actions and interactions.) But the film
was flawed by intolerably lengthy long-shots and sequences which have a great
set-up and then peter out with no resolution. **
LAWLESS HEART (dir: Tom Hunsinger. Great Britain)
I loved this film. It follows an extended
family in, I believe, one of the Channel Islands, as they mourn the accidental
death of gay restaurateur Stuart. It starts at the funeral, following
one character, and then twice more starts at the same point focusing on different
characters through a slightly extended period of time. This structure
leads to a gradual disclosure of the undercurrents of the various relationships,
rather like peeling an onion and finding a deeper level of meaning each
time. The characters are interesting, especially for me Stuart's committed
lover Nick (a complex portrayal of grief and goodness under trying circumstances
by Tom Hollander). I got into these characters' heads and hearts,
a tribute to the maturity and excellence of the script and direction.
*** 1/2
PUMPKIN (dir:
Tony Abrams, Adam Larson Broder. U.S.)
This one is a rather audacious comedy and satire,
sort of this year's Ghost World, though a lot less tasteful
and subtle. It stars Christina Ricci as a gung ho sorority girl at
a fictitious L.A. campus who spurns her handsome and athletic boyfriend and
unforgivably falls for a "retard" in a wheelchair (well played by Hank Harris
with just the right amount of gimpiness and enthusiasm). The satire
is rather overbroad, the entire film seems to constantly be on the brink
of lurching out of control into tasteless anarchy. But somehow it keeps
its focus and ends up a satisfying and wildly amusing film. ***
MALUNDE (dir:
Stefanie Sycholt. Germany/South Africa)
A straightforward film about an 11 year old black
street kid who is thrown by circumstances into a road trip movie with an
older white guy whose life is a mess. It sounds like such a cliché:
Kolya with racial overtones. Yet the film, done in
splendid wide screen with particularly high production values, somehow overcomes
its inherent sappiness. Both actors are good, the chemistry genuine.
It went on a bit too long (one look at the watch about an hour into it);
but all in all this worked a lot better than I expected, and I ended up feeling
that I had an illuminating and realistic experience of modern day South
Africa. ** 3/4
AGITATOR (dir:
Miike Takashi. Japan)
I once said that after Audition, which freaked
me out for its ultra violence, that I'd never watch another Miike.
Yet, even with Audition, Miike showed an ability to amaze
on film, which isn't a quality to be taken lightly. Agitator
is a much more straight ahead film, a 2 1/2 hour gangster epic about a rogue
Yakuza action cell in a gang war where the chiefs are fighting to dominate
the syndicate. He wasn't in the film; but this could easily have
been a Beat Takashi against the Godfathers movie, or a remake of a Hong
Kong movie called The Mission which I saw a couple years ago.
In other words, it seemed overly familiar ground. It was slightly
too long and repetitative; but at least the violence was traditional and
something I could deal with. Miike is a prolific filmmaker, and he
doesn't stick to any one genre, so I imagine I'll watch his films in the
future. ** 3/4
TURNING PAIGE (dir: Robert Cuffley. Canada)
Maybe it was the start of the food poisoning episode;
but I slept through about 20 minutes of exposition in this turgid family
drama from Canada. Actually, when I did awake, the drama took hold and
I did get involved...especially with the acting of the guy who plays Paige's
brother, who was quite good. Life in the Maritimes in mid-winter
has never looked bleaker. **
THE INHERITANCE (dir: Daniel Filho. Brazil)
I had trouble concentrating on this trifle about
4 sisters who get together to divide up their recently deceased mother's
property. Occasionally humorous and entertaining, it was also completely
predictable. The audience seemed to be enjoying it...I could easily
imagine the Hollywood remake. **
Saturday, June 1
THE WAY WE LAUGHED (dir: Gianni Amelio. Italy)
Amelio is one of my favorite directors, and his
star, Enrico Lo Verso one of my favorite actors. In addition, the
film introduces an extremely attractive young actor, Francesco Giuffrida,
who is one to watch. But the film was butchered by a poor projectionist
at this performance (which may be the only one here), as we were treated
to a repeat of one 20 minute reel and the skipping of another, which made
the story (which was fragmented to begin with) absolutly opaque to understanding.
Crucial explanatory elements seemed to be left out and nothing made sense.
In any case, it was a bleak and darkly photographed story stretching over
7 years of two brothers, one a manual laborer who moves from Sicily to join
his scholarly younger brother in abject poverty in Northern Italy in
the late '50s. I'm not sure I would have liked this film even if it
were projected in the right order...but this film was not meant to
be Momento...and I don't know of many films which would have
worked under similar conditions. ** 1/2
EMPEROR'S NEW CLOTHES (dir: Alan Taylor. Great Britain/Germany)
Ian Holms plays the real Napoleon who escapes from
prison on St. Helena, replaced by an imposter who then doesn't relinquish
his role leaving the former Emperor stranded in Paris. Pretty ordinary
film, though it did look authentic. ** 1/4
Sunday, June 2
Back in the swing of things,
the effects of the food poisoning mostly gone. The day was marred by
some vandals in downtown Seattle who tore off my radio aerial (but I guess
it could have been worse). On the other hand, the Lakers beat the
Kings in an exciting game which I mostly watched at a restaurant in place
of the 6:30 film. My waiter had recently moved up to Seattle from
L.A., so we rooted together for the Lakers, screaming with every point.
After all that, my dinner companion, Susan, and I missed out on the 9:30
screening as we went to the wrong theater! Two heads are definitely
not better than one.
SECRET FESTIVAL #2
Not even a hint. But this French film was
one of my 5 top films that I wished for at this festival and was disappointed
that it wasn't scheduled. Not fabulous, but I was glad to see it! ***
Wild Bees (dir: Bohdan Slama. Czech Republic)
This Czech film falls in the earthy small town comedy
genre, with lots of interactions between a diverse set of characters including
one fellow with a huge Michael Jackson hangup (who actually does a pretty
fair imitation...but, why bother?) It centers on two brothers and their
search for love and/or sex. Sort of pointless and aimless; but like
many Czech films of this type, an amiable and fun experience to watch.
** 3/4
MAP OF SEX AND LOVE (dir: Evans Chan. Hong Kong)
This was an overlong, but extremely interesting (at least to me) video
blown up to 1:33 aspect film which takes place in Hong Kong and Macao (a
lovely former Portugese island which isn't filmed enough.) It's the
story of a young, gay, native-Chinese New Yorker who returns to his homeland
for a visit the year after his mother died. In Hong Kong he picks up
a long-hair dancer who cruises him on the street, and they become a vacation
romance. He also befriends a girl who he's been corresponding with in
a computer chat room. They form an odd threesome, and the film meanders
around as each does his or her thing. The videography was quite nice,
with some unique effects and a lot of pretty, but extraneous shots of the
locales. This one isn't going to be popular, even for the gay crowd,
despite some steamy and artfully composed sex scenes. Still, I
found it charming and quite involving. ***
Monday, June 3
DANGEROUS LIVES OF ALTER BOY (dir: Peter Care. U.S.)
Something of a disappointment, as I expected to
like this film, based on the cast and the original novel. The story
of two mischievous 14 year old Catholic school boys and their feud against
their nun teacher (a miscast Jody Foster) works up to a point, since the
observations are acute and the events interesting. Kieran Culkin did
his usual fine underplaying of the odd, lost kid, and newcomer Emile Hirsch
had presence as the more normal kid. It also had some very fine original
super-hero animation to illustrate the characters' obsession with that medium.
But the total didn't add up to a satisfying film, and this strange, R-rated
teen flick isn't going to go far. **
HAPPINESS OF THE KATAKURIS (dir: Miike Takashi. Japan)
Miike is one of the worlds most uneven directors.
This was his attempt at a Bollywood musical about a family guesthouse and
some gruesome occurrences which happen there. Done partly with claymation
and not a little fantasy, the film was too weird for me. I slept
through parts of it and disliked it thoroughly. But I'm sure the film
will have its admirers, though it's hard to imagine why. * 1/2
Note written June 11th: This film had its
first public screening yesterday, and apparently got a rousing reception...roaring
laughter etc. In other words, a hit. I must have left my funny
bone at home when I watched it. I have this problem with most films
which end up playing as midnight movie classics, which is undoubtedly this
film's fate. I must have a low tolerance for silliness.
NO NEWS FROM GOD (dir: Agustin Diaz-Yanes. Spain)
Another disappointment for somebody who likes Spanish
films in general. This was an over bloated heaven and hell allegory
about two angels (Victoria Abril playing a character named Lola for the umpteenth
time, and a ballsy Penelope Cruz) fighting over the soul of a useless boxer.
Even Gael Garcia Bernal, an actor I really like, was totally miscast as
the devil. * 1/2
HERENCIA (dir:
Paula Hernandez. Argentina)
On the other hand, here was a little gem of a movie
from Argentina...sort of similar to another Argentinian film this year called
Son of the Bride. Like that film it was about a restaurateur
in a mid-life crisis...only in this case it was an Italian lady of a certain
age who had immigrated years ago and started a neighborhood trattoria, and
now was nearing retirement and longed to return to Italy. Into her
life drops a 24 year old East German boy, naive, romantic: he's
searching for the girl he had a short affair with in Germany...but he's arrive
almost penniless and then immediately gets ripped off of what he has.
The odd couple bond, and it's fun to watch. Rita Cortez was wonderful
as the Italian mama mia. And Adrian Witzke, slightly cross-eyed behind
glasses, had a nerdy, appealing presence. Maybe this film was particularly
welcome after 3 straight bombs...but I would have liked this film any time.
***
THE SAFETY OF OBJECTS (dir: Rose Troche. U.S.)
I'm not even going to attempt to summarize the plot
of this complex drama about 4 suburban American families, coping with life
size problems. I was totally absorbed by all the stories. The
fine acting and high production values make this a winner, despite a script
which occasionally went off the rails and somehow ended up not being as moving
as it could have been. ***
Tues, June 4
HER MAJESTY (dir:
Mark J. Gordon. New Zealand)
A kid's movie about a 13 year old girl in the 1950's
who worships Queen Liz II and wants to meet her during her visit to New Zealand.
I wouldn't even recommend that my 12 and 13 year old step-daughters see
this one it is so predictable, clichéd and retro. * 1/2
LA ROUTE (dir:
Darezhan Omirbaev. France/Kazakhstan/Japan)
I walked out of this (first time at this festival)
after 40 minutes of interminable nothingness. I sincerely doubt I
missed anything. W/O
GREEN DRAGON (dir:
Timothy Linh Bui. U.S.)
Bui tries his hand at a more traditional Hollywood
movie after the arty and gorgeously composed Three Seasons.
It's basically the story of the Camp Pendleton camp set up for the South
Vietnamese refugees in April of 1975 as Saigon was falling. Featuring
some good performances by unknown Vietnamese actors along with American
actors such as Forest Whitaker and Patrick Swayze (looking like a dead ringer
for Robert Heinlein in the '50s and curiously subdued here). Overlong
and sentimentalized, the film still managed to move me in the end.
** 3/4
GOOD HANDS
(dir: Peeter Simm. Estonia)
An interesting film which shifts in tone constantly
from crime caper to road movie to madcap comedy to ironic social commentary
and back again. Ostensibly about a woman thief on the run, a Latvian
escaped to a small town in Estonia who is tamed by the extraordinary mixture
of oddball types she encounters, including a warped policeman who falls
for her and an intelligent kid whom she just about adopts. Rezija Kalnina
is quite a find as the thief, a waif of an actress with a comic touch reminiscent
of a slavic Carol Lombard. ***
ME WITHOUT YOU (dir:
Sandra Goldbacher. U.K.)
I'm still processing this film. It's either
the best romantic comedy I've ever seen, or I need some distance to put
it in perspective. In any case I was blown away by the sheer scope,
bravura style, and clever resolution of this film; and also Michelle
Williams' mostly spot-on British accent (whether she can pass as a Jewish
character who must range from age 17 to around 42 is another matter entirely).
Also completely outstanding were Anna Friel as the double dealing shiksa
best friend and Oliver Milburn, playing Friel's older brother and Williams'
life long love interest whose timing is never quite right (reminiscent
of my previous favorite romance film of this type, And Now My Love.)
Any film which can use the line "If God had meant for Jews to do gardening,
then he wouldn't have invented gentiles" is my kind of film. ***
3/4
Wed. June 5
A short day of films since I'm going to my step-grandaughter's
birthday party tonight.
THE REUNION (dir:
Mans Hemgren, Hannes Holm. Sweden)
A film which brings back all the universal, neurotic
memories of high school. Magnus is facing a mid-life crisis as he's
invited to his 20th reunion. The film is done in flashback and present
day, using the younger ghostly version of Magnus as a character in today's
story. All in all a very well done and inventive comic drama, with
a particularly good performance by Bjorn Kjellman as Magnus. ***
WHO THE HELL IS BOBBY ROOS (dir: John Feldman. U.S.)
An absolutely unexpected delight. Screened
as a video, this is a mockumentary satire about a stand-up comedian/mimic
whose characterizations have taken over his own personality, a la Andy Kaufman,
only more benign. Roger Kabler as Bobby Roos is truly phenomenal.
His impersonations of Robert De Niro, Robin Williams, and Peter Falk, among
others, are some of the finest pieces of facial and vocal makeover that
you'll ever see. He truly does become these characters. Watching
his act as the various alter-egos take over his body and talk to each other
is uncannily like watching a split personality crazy person in action.
And the film's premise is brilliant: that this is a true story; and
that there was a video crew documenting this washed up comedian as he self-destructs.
*** 1/2
MARIAGES (dir:
Catherine Martin. Canada/Quebec)
Dark, sloooooow, dramatic film about a traditional,
but screwed up 19th Century rural matriarchy in Quebec and how the youngest
daughter falls in love with her younger niece's arranged betrothed against
her family's wishes. Languorous, lugubrious, overwrought...the film
still has enough beautiful images to keep one awake, almost. ** 1/2
Thurs. June 6
THE ANARCHIST COOKBOOK (dir: Jorday Susman. U.S.)
A highly enjoyable lark of a movie about a cell
of generally ineffective anarchists/hippie throwbacks led by an old line
hippie (played by a very well preserved John Savage) and through the eyes
of a wannabe rebel (played by one of my favorite young actors, Devon Gummersall,
who was Brian Krakow on "My So Called Life".) The story changes to
a black comedy when a real activist criminal, Johnny Black, played with menacing
charisma by Dylan Bruno, takes over the group. The film pegs the Texas
right wing anarchy factions pretty well, I thought. Only a relatively
weak people story kept this one from being one of the hits of the festival.
***
THE GREY ZONE (dir:
Tim Blake Nelson. U.S.)
A powerhouse Holocaust drama about the Sonderkommandos,
in this case a group of Hungarian Jews who were given special privileges
to cooperate with the Nazi death machine at Auchwitz and then automatically
exterminated after four months. Told from the reminiscences of a Jewish
doctor who assisted Josef Mengele in his experiments and lived to write
about it. The film is very graphic...makes the viewer feel that he's
actually in Auchwitz experiencing all the horrific experiences of the showers
and crematoria. It is mostly a directoral tour de force...this is the
film Nelson should win the best director award for. He's incorporated
a few big-name actors in his cast (David Arquette was particularly good;
but Harvey Keitel's weird German accent is one of the few false notes of
the film.) But it is his mis-en-scene: the dark claustrophobic
interiors, the dead bodies used as props, the utter hellishness of the world
he creates, which is so strikingly well done here. An amazing achievement.
****
PIPE DREAM (dir: John Walsh. U.S.)
This one was a pleasant enough romantic comedy/farce
about a plumber who cooks up a scheme to get pretty girls by pretending
to be a film director. First it was Woody Allen who speculates that
a blind man can direct a film in Hollywood Ending. Now
this film where an everyman (played with restraint by Martin Donovan) can
do it with the aid of a smart, ambitious screenwriter wannabe (played winningly
and without her usual neurotic shtick by Mary-Louise Parker.) The
film works brilliantly and hilariously up to a point, then fizzles out with
a poor resolution. But the trip was fun. ** 3/4
WILD FLOWERS (dir: F.A. Brabec. Czech Republic)
A gorgeously mounted series of fairy tales which
bored the ass off me. This kind of film just isn't my thing.
** 1/2
DADDY & PAPA (dir: Johnny Symons. U.S. documentary)
Funny, warm, important, informing, this documentary
about various single men and couples who are raising children was the best
documentary I've seen this year. *** 1/2
TEMPTATIONS (dir: Zoltan Kamondi. Hungary)
A forgettable film about a young man on the make
who buys a young gypsy girl and rips off ATMs. There is more to it;
but I wasn't much engaged by the film, even though Marcell Miklos was one
of the more attractive actors in the films this year. * 1/2
Also today I had my first indication that people are actually reading this web page. Two guys introduced themselves to me out of the blue, Dan and Garth, and told me they're reading and enjoying these reviews. What a high that gave me. I think what distinguishes this festival more than anything is the camaraderie of the passholders. I keep getting into film oriented discussions with strangers while standing in queues or walking to other venues. And festival friends from years past, Susan, Howard, a second Bill (whom I met here in either 1991 or 1994), and John are around regularly to talk about film or accompany for a quick meal. It's no wonder I'm nowhere near ready for this festival to end, even though unfortunate events in my personal life in L.A. are forcing me to think outside of the festival box.
DARK WATER (dir: Hideo Nakata. Japan)
Why is it that the Japanese make so many of these
depressing horror thrillers? Is it possible that there is some sort
of psychic malaise in their society that so many of their films are focused
on alienation and terror? Or is it just that the films that are exported
are mostly like that. Anyway, this director reminds me of the
Kiyoshi Kurosawa of Seance and Cure, only with
a more straightforward narrative style. This film is about a recent
divorcee with a 7 year old daughter who moves into an apartment with a
growing water leak in the ceiling. At first I thought it was going
to be a replay of Ming-liang Tsai's The Hole; but the film
develops in an entirely different and more serious direction. Like
the aforementioned Kurosawa, the director makes masterful use of sound...here
a chillingly effective musical and effects track. Still, my reaction
to this sort of film is usually more of laughter at the ridiculous goings
on than of nail biting terror. At least with this film I could tell
what was going on throughout, even if I remained skeptical and felt that
it was all pretty predictable. ***
TWO TOWNS OF JASPER (dir: Whitney Dow, Marco Williams. U.S.
documentary)
I had a couple of free hours to fill, and my friend
Howard happened to be passing by while I was getting a haircut on Broadway
to remind me that this film was playing. It's a documentary about the
town of Jasper, Texas, and the repercussions of the horrible murder of a
black man by three whites who dragged him for miles behind their pick-up truck.
The film was shot by two separate crews, one for the white areas of town
and another for the black sections. Still, it is apparently easier
to make a film of this type when the filmmaker is exposing some sort of failure
of the justice system. When the criminals on trial are obviously guilty
there isn't as much of a story there. Still, the film managed to find
interesting people to interview (though very little about the three trials
was shown.) The film was well constructed; but I just didn't find that
it had all that much of interest to say. ** 1/2
BROTHER (dir:
Yan Yan Mak. Hong Kong)
This is one of those voyage to self discovery films,
a rather aimless road film about a young Hong Kong man who travels into the
interior of China to find his brother who has been out of touch for three
years. He arrives at the town where the final postcard from his brother
had been sent, and he gradually discovers traces of the life his brother
led there through the people he had known. The film had a certain charming
naivety of style, although the video photography wasn't very good.
All in all, it was a step up from the similar La Route, since
at least the main character was engaging and the scenery was interesting and
novel. But the film dragged and amounted to little. **
13 MOONS (dir:
Alexandre Rockwell. U.S.)
How bad can a movie be? Let me count the ways.
This one contained every possible sin of digital video...messy hand held
camera, bad sound, undirected actors (some good ones, too) allowed to wing
entire scenes...all in all an apparently impossible task to bring together
in post and this editor didn't manage to do it. Nobody comes out unscathed
from this disaster of a film, even Steve Buscemi who has survived other indie
lows. In fact, this film made me re-assess my previous low point of
the festival, Happiness of the Katakuris, since at least that
film was competently made, and even if its absurdist attitude didn't touch
me, I can recognize that a good filmmaker was involved. 13 Moons
was a comedy where every joke fell flat (the audience silence was eerie),
the direction was non-existant, and it's hard to fathom what in god's name
the people are doing up there on the screen. 0*
MEN WITH BROOMS (dir:
Paul Gross. Canada)
What a pleasure after the previous disaster to see
a simple little movie comedy which provides real laughs, with recognizably
real characters and more than competent filmmaking skills (including a
disciplined camera.) The story is about a team of curlers (an old
Scottish game where a round, smooth stone is thrown on ice and sweepers
clear the path to affect its travel towards a bulls eye on the ice.)
The personal stories are pretty well observed, and actor-director Paul Gross
is charming as usual in the lead. It's a minor triumph, but a good
comedy is hard to come by at this festival...and this one is that.
** 3/4
Sat. June 8
SPOOKY HOUSE (dir: Willian Sachs. Canada)
A children's movie which isn't all that bad for
an adult viewer. Ben Kingsley plays the Great Zamboni, a magician
who lost his wife in a disappearing act which went all too well. Eleven
years later he's a reclusive ex-magician inhabiting this weird, spooky witches
house somewhere in Canada. Some good towns kids get involved with him
when they break into his house on some pretext or other. The villains
are a trio of older bullies led by a Fagan type boss played with a very strange
accent by Mercedes Ruehl (who was rather wasted in this small role.)
The super cute kid in this film was a 10 year old named Matt Weinberg, who
has a future in films. Silly, but kids should like it. **
THE LAST KISS (dir: Gabriele Muccino. Italy)
This film was vaguely reminiscent of an earlier
Canadian film at this festival called The Last Wedding, in
that it was the story of a group of late-20 something guys who are having
trouble growing up and coping with adult life and relationships. Stefano
Accorsi (so good in last year's Ignorant Fairies) was especially
attractive as the main character who is thrown into a state of panic by
his girlfriend's pregnancy to the point that he embarks on an affair with
an 18 year old girl. The film also tells the story of the girlfriend's
mother (in a superb performance by a dumpy Stefania Sandrelli) who
is having a life crisis of her own about staying in an affectionless 30
year relationship with her psychiatrist husband. The film is
fast paced and extremely well edited...combining stories in a clever pattern
of intercuts and resolving quite satisfactorily. It's soapy; but smartly
so. *** 1/4
THE ORPHAN (dir: Sun-fung Lee. Hong Kong, 1960)
The previous movie went so far overtime in a short
segment, that this movie was half over by the time I arrived to watch it.
The venue manager let me into the theater anyway. What I saw was a
very early Bruce Lee film, made when he was 19 and still living in Hong Kong.
No martial arts, here. Instead, Lee is playing a juvenile delinquent
orphan, somewhat similar to the James Dean character in Rebel Without
a Cause. I had the feeling that Lee had seen Dean's portrayal,
or in any case was the Asian equivalent to the American actor. He was
very attractive and charismatic, even at that age. This film still
looks good; but from what I was able to gather from the last half, the story
was sort of dated. **
SEX AND LUCIA (dir: Julio Medem. Spain)
I finally broke down and decided that I simply had
to see this film again on the big screen. It was every bit as good,
or even better, than it had been at its first screening in L.A. last March.
Actually, the second viewing helped to resolve some of the time confusion
of the first cold viewing. This is the sexiest (to the point of porn,
if erect penises define that genre) film that has come down the art film
pike in years. It's also one of the best films of the decade so far,
a complex multiple character study and examination of the way fiction and
life intertwine. Paz Vega was stunning as Lucia; and Tristan Ulloa (a
dead ringer for David Duchovny) was equally good as the author who gets his
life and his fiction confused. Ultimately, it is the brashly original
story and the brilliant photography and direction which make this a stand-out
film for our age. ****
Sun. June 9
After a spate of cloudy, drizzly days, this was
an absolutely perfect day weatherwise in Seattle...sunny, clear and crisp.
I overslept, over 9 hours of sleep; but I had no trouble making the festival
in time. I feel great. It helped that the Lakers won a close
NBA final game (I skipped the 6:30 movie in order to have a leisurely dinner
and watch the 2nd half of the basketball game.)
SECRET FESTIVAL #3
No hints. This time for real. If I even
hinted at the genre somebody would guess correctly. Wonderful film,
though. I suspect it will be an Academy award nominee come next year. *** 1/2
THE ZOOKEEPER (dir: Ralph Ziman. Czech Republic etc.)
A story of a functionary in some unspecified Eastern
European country during an episode of ethnic fighting. Sam Neill played
the ex-Communist who has become a lowly animal keeper at the municipal zoo.
He wants to stay out of the fray; but a young boy who narrowly escaped a
firing squad where his father was brutally killed, shows up half dead and
the two bond (along with the boy's mother, played by Gina McKee, from Wonderland.)
I wish the country would have been specified, as the main flaw of the film was believing in the reality of the story.
Were it specified that it was Chechnia, for instance, that would have grounded
the film in a reality which I needed. In any case, it was an intense
film, and well made. Javor Loznica, who played the young boy scarred
by war, was particularly good. ***
HUSH! (dir:
Ryosuke Hashiguchi. Japan)
An overly ambitious film with too many themes.
One, a gay love story, another a crazy girl fixated on a gay man, another
(the main story) a wanton girl who wants to have a child with the gay couple.
And complicating all this, the families of the two men are also involved
in side plots. The characters and stories were hard to differentiate
at first; but after a while it clicked and the story was involving enough
to carry for its 2 1/4 hour length. The gay couple were attractive
and remarkably normal. ** 1/2
LAN YU (dir.
Stanley Kwan. China/Hong Kong)
Another gay film, this one as perfectly plotted
as the previous one was messy. The story of a 30-something Beijing
businessman who hires a virgin student for an evening of sex...and the young
man turns out to be passionate and gay and they commence a beautiful love
affair which spans several years (with some obvious hiccoughs which threaten
to turn it into a gay Back Street type of melodrama,
a fate which the script nimbly avoids.) Shot and acted beautifully,
with subtlety and quiet dignity, the film overcomes the obvious pitfalls
to become a truly moving drama. The two leads are phenomenal, underplaying
beautifully, and completely convincing as a sexy and loving couple. The film
is destined to become one of the classics of the gay genre. ***
1/2
Monday, June 10
SYMPATHY FOR MR. VENGEANCE (dir: Park Chan-wook. South Korea)
Finally a film which puts me at a loss for words.
The film is a Grand Guignol gore fest of which the complex plot (about
illegal transplants, deafness, a kidnapping, unfeeling capitalism, bumbling
cops, and horrible vengeance) defies summary. It would probably take
two viewings to sort it out. But this director is so good, his visual
sense so original, his use of sound and music so amazingly spot on, that
the film simply worked for me. I couldn't predict what was coming next,
and just watched the entire enterprise unfold with mouth agape. Definitely
not a film for the squeamish; but a rewarding film for anybody else.
*** 1/2
BLUE GATE CROSSING (dir: Chih-yen Yi. Taiwan)
Two high-school girls...one shyly has a crush on
a boy, the other may or may not have a crush on her girlfriend...but she's
not shy about approaching the boy in aid of her friend. The kids are
good, the boy especially, I thought. But I didn't connect with the film,
although it was well made. ** 1/2
AMERICAN GUN (dir: Alan Jacobs. U.S.)
James Coburn has a great role as a father trying
to find out about the murder of his daughter by tracing the ownership of
the hand-gun which killed her. The film was a lot better than I thought
it would be, due to a nicely crafted script and some good performances.
But it's pretty straightforward and filmmically flat. ** 3/4
MOSTLY MARTHA (dir: Sandra Nettelbeck. Germany et.al)
This was one of my favorite films of the festival.
It's the story of Martha, a 30-something super-chef at a 3-star Hamburg
restaurant, who has to raise her pre-teen niece when her sister dies in an
auto accident. Not a film to see when hungry...the food is a big part
of the film, and it is to die for, probably the best foodie film since Babette's
Feast or Big Night. This is a director to watch.
*** 1/2
I'M GOING HOME (dir: Manoel di Oliveira. France/Portugal)
From the director's other recent works, all snorefests
for me, I was prepared to hate this one; but I'd heard good things so I
went. And I was pleasantly surprised at how much I liked the film.
The film was about an aging French stage actor (beautifully played by Michel
Piccoli in one of the best roles of his career) who is cast at the last minute
in a film of Ulysses in English (directed by John Malkovich
in a very subtle performance where the entire film depends on his expression
in a lengthy close-up. Bravo!) It could have been much
shorter, as the director spent far too much time on the Ionesco play-within-a-play
at the start. But as a character and mood study it is well observed
and well done. ***
HI, TERESKA (dir: Robert Glinski. Poland)
Another one of those films which engender mixed
feelings. This study of a teenage girl who starts out sweet and religious
and somehow goes bad is manifestly not my cup of tea. Yet the film
was so well done, the black and white photography so bleakly fitting, the
acting so good, the scenario so unsparing and realistic, that one can't help
but admire it as a film while hating what the film was saying. ***
Tues., June 11
ASOKA (dir:
Santosh Sivan. India)
This 3 hour film (the intermission was cut out)
is one of those Bollywood historical epics about an emperor who succeeded
in uniting much of India in the 200 BC time period. However it is
also an intimate love story about doomed lovers (which comprise most of
the obligatory musical numbers). The film was truly wide screen epic
in scope, and it was great to be able to watch it on one of the world's
great movie theater screens at the Cinerama, where every aspect of the presentation
is state of the art. All I can say is that if you cut out the musical
numbers (my big objection to Indian films in that they invariably stop the
action while adding little that isn't obvious), probably only 20 minutes
of screen time, then what would be left is a better historical epic than
just about anything Hollywood has done in recent years. Shah Rukh Khan
has amazing presence as Asoka. ***
TOKYO NOISE (dir: Kristian Petri, Jan Roed, Johan Soderberg.
Sweden doc.)
Nice sound track. Some insights into the Japanese
society. But I was bored and kept looking hopefully at my watch.
**
TEKNOLUST (dir:
Lynn Hershman-Leeson. U.S.)
Tilda Swinton plays four roles in this technological
mishmash about a woman biogeneticist who creates three clones of herself
which become "self-replicating automatons" that need male sperm to
survive. One of the clones (Tilda as Ruby, color coordinated all in
red) becomes a sexual predator who seduces men to steal their semen and transmits
a computer virus to them. If that isn't weird enough, then this film
finds more ways to be strange and illogical. Shot and projected on
the big screen in 24P Hidef video, the results are mixed...colors and fidelity
are great; but the film shows its pixels in long shots. Even 24P isn't
quite up to film on the huge Cinerama screen. Even though the goings
on are absolutely ridiculous, the film still has some pleasures. Jeremy
Davies refines his dreamy schlub character, and Josh Kornbluth almost steals
the film as one of the unlikely seduced victims. The art direction
is also first rate, as are the computer simulations. If only the story
worked...** 1/2
GOD IS GREAT, I'M NOT (dir: Pascale Bailly. France)
Typical French romantic comedy. This one is
about a Catholic girl (winningly played by Audrey Tautou in a much more
real fashion than her acting in Amelie) who falls for a secular Jewish guy
(Edouard Baer) and is determined to become more religiously Jewish than
thou to keep him. I enjoyed it; but the film was overlong and peters
out when it simply runs out of new things to say. Still, the actors'
charms were enough to carry the film for me. ** 3/4
Wed. June 12
ALL ABOUT LILY CHOU CHOU (dir: Shunji Iwai. Japan)
I guess that all of my 60 years are showing as this
tone poem to Japanese teenage disaffection, horrendous schoolyard bullying,
and obsessive musical fandom went almost completely over my head. Sure,
it is a ravishingly beautiful film with an original and unique visual schema;
and the music is hypnotic and pretty amazing. I can even tell
already that many of my cineast acquaintances are going to jizz their pants
in adoration of this film. But for me it was a narrative mess with
characters I had trouble differentiating (the frequent resorting to internet
chat room banter to show the inner life of the characters didn't work for
me), and whose motivations I found inscrutable. I found myself longing
for the lucid narratives of such similar Japanese teenage angst movies as
Isao Yukisada's Go or Shinji Aoyama's Eureka.
Lily Chou Chou wasn't at all boring, I'll say that for it.
I recognize many of its virtues while remaining totally uninvolved and unmoved
by what was up there on the screen. **
RISOTTO (dir: Olga Malea. Greece)
Battle of the sexes, Greek style. Two couples,
each comprised of two working professionals with children. The men
were traditional Chauvinist pigs and of course the women were expected to
subsume their careers and be nurturing partners (risotto, comfort food par
excellence, being the metaphor here.) The film devolves to a
gentle farce when the women leave their husbands and take up living together
in a half-hearted lesbian relationship. The film is intermittently
entertaining, but something of a trifle. ** 1/2
MONKEY LOVE (dir: Mark Stratton. U.S.)
Shot in Pal-DV and shown somehow in an NTSC digital
projection on the big Cinerama screen, this one looked terrible, soft focus
with little detail in the long shots. But it's a good example of
how, when a film is working narratively, it hardly matters what it looks
like. The story of a college age girl and how sleeping with her two
best guy friends to get out of a lifestyle rut just doesn't make it.
The film looks like pure amateurville. But the three main actors were
good, showing genuine chemistry; and the story was a refreshing bit of romantic
fluff. This film demonstrates the value of super low budget DV, in
that some entertaining films which never would have seen the light of day
heretofore are now capable of being shown theatrically. ** 3/4
WALKING ON WATER
(dir: Tony Ayres. Australia)
The day was saved by this extraordinary drama out
of Australia. It is the story of Gavin, father figure of an extended
gay family in Sidney, who is dying of AIDS related lymphoma, and how his
family (both his real one of mother and straight brother, and his gay one
of lover, sex buddies, and fag hag business partner) cope with his death
and the varieties of grieving. I can't remember a film which affected
me more deeply, which clicked into my personal reality so closely, and that
I found every aspect of which to be so perfectly right on. Some will
find it depressing and dark. For me it was so unsparingly truthful
that it was ultimately uplifting. ****
Thurs. June 13
Only two films today. Am I movied out?
By no means. No more press screenings and a film I'd already seen
at the one afternoon screening, so I had time to catch up with life:
do my laundry, fill out the Fool Serious ballot, visit a great bookstore
on my route into town (Third Place Bookstore), do a leisurely shopping and
lunch at Pike Place Market. It was also 91 degrees in Seattle today,
a rarity I'm told. Too much like L.A. in midsummer for my taste!
And since the Q&A went so long after THE FLATS, I didn't have time to
get to my next venue, so I enjoyed a nice sit down meal at a Korean restaurant
near where my car was parked.
SUPPLEMENT (dir: Krzysztof Zanussi. Poland)
This one was particularly interesting for me as
I had the eerie feeling that I'd seen it before, even though I knew darn
well that I hadn't. Turns out that this is a parallel story to another
film that I watched and admired a couple of years ago: Life
as a Fatal Sexually Transmitted Disease, taking place simultaneously
and following different characters with a different point of view of the
same events, sort of a "supplement" to the original film (which explains
the title). Talk about deja vu! Anyway, this is the story of
Filip, a medical student in the midst of an existential crisis, who was only
slightly touched on in the previous film (which was about the dying of his
mentor, Dr. Berg). Filip is played moodily by the devastatingly attractive
Pawel Okraska. Even though I could hardly personally relate to Filip's
religious, career and relationship problems, the film resonated for me and
overcame its slow and deliberate pacing by the depth of meaning of
the character's inner lives. Zanussi is one of the more interesting
directors making films...his At Full Gallop remains my
favorite of his; but the two films which make up this story combine together
to a fully rounded experience. ***
THE FLATS (dir:
Kelly and Tyler Requa. U.S.)
At the last minute I decided to try this local indie
film, since its description in the catalog (which I finally read) made it
seem like a likely winner. I had no idea what a treat I had in store.
This is the story of Harper, a screwed up, self-destructive Skagit Valley
boy and how he and his life-long best friend Luke fall out over a girl and
grow up. Harper is played by Chad Lindberg, who I'd put down on my
list as an actor to watch based on his memorable second banana friend roles
in such films as October Sky and The Fast and the Furious.
I had no idea that he was potentially a movie star leading man, and this
film looks like a breakout role for him...he lights up the screen with enormous
likability and magnetism in every scene he's in (and since he plays most
of the film realistically drunk, he turns out to be a fine actor, too.)
The film looked good, too...projected in DV on the big Cinerama screen, the
imagery held up quite well...fine cinematography and direction helped. This
is the sleeper hit of the festival, in my opinion, and deserves a wide release.
*** 1/4
Fri. June 14
Sick again...another spot of food poisoning?
I think I'm going to have to be more careful where I eat! Also, today
I met another internet film bud, James Callan, and enjoyed rapping film
with him. One of the best things about the Seattle festival is how
friendly people are in line and in the theaters. I'm constantly getting
into film discussions, which certainly helps to pass the time while waiting
for the next film to start.
THE SMITH FAMILY (dir: Tasha Oldham. U.S. documentary)
One of the best documentaries of the year by any
metric. About a Mormon family where the dad, a closet gay, transmitted
HIV to the mom...and how the people involved (grandparents, two sons, twin
brother, the Church) mostly coped. Very well made...the structure and
editing were particularly fine. The filmmaker stayed out of the film
and let the family do all the talking and acting; and these people were interesting,
smart, articulate, and sympathetic...and very brave to tell their story with
such truthfulness. It was difficult watching Steve waste away on film.
The contrast with his healthy straight identical twin brother was amazing
to see documented: Steve's limbs were literally half the size of his
brother. But ultimately the strength of faith and love of the family
was uplifting and moving. ****
THE RULE OF THE GAME (dir: Ho Ping. Taiwan)
The film starts out of the blue with two guys carrying
a body through a forest to bury it. Then it blithely goes into three
other seemingly unconnected stories. I had trouble comprehending what
was going on, so my mind involuntarily shut off and I slept through the middle
of the film, finally waking up when the violence started. I think
the filmmaker drew all the plots together by the end; but nobody I talked
to seemed to understand what went on either. Some of the scenes were
interesting; but ultimately a complete waste of time for me. * 1/2
NO REGRETS (dir: Benjamin Quabeck. Germany)
Just yesterday I saw a film The Flats
with an eerily similar scenario. I don't know what that proves, maybe
that there really are only 7 plots. This one, too, worked...mainly
because the main character, played winningly by Daniel Bruhl, led such a
quirky inner life of post-adolescent turmoil. Not a great film by any
means, it looked dark and monochromatic and the technique of narration breaking
the fourth wall was overused; but there was a wealth of original and amusing
details which kept my interest. ** 3/4
LJUBLJANA (dir:
Igor Sterk. Slovenia)
Named after a city in Slovenia, this was a rather
aimless look at the various youthful denizens of that city as they live
lives of alienation and anomie, going to ecstasy enhanced raves, dropping
out of school, variously coming to not much. The film looked GREAT...arguably
the best cinematography of the entire festival (and what a treat to see
a movie actually shot on film, something of a rarity here this year!)
And the musical score, which comprised loud, driving techno-rock for the
several raves intercut with cello symphonic music (one of the characters
was a serious cellist), was superb in all aspects. If only there was
a story that drew all these elements together. Alas, if there was one,
it wasn't apparent to me. Still, if only as a slice of life, it was
a strong effort. ***
Sat. June 15
SASS (dir:
Carlo Rola. Germany)
One of the pleasant surprises of the festival, as
this film didn't have nearly the buzz it deserves. The Sass brothers
were safe-cracker burglars in Weimar Germany who became something of folk
heroes. The production is as sumptuous as foreign films get, at least
it looked like a big money film with huge sets which filled the wide screen
and an accurate period feeling. Only some schlocky special effects
(a CGI zeppelin comes to mind) mar the look. The musical score was
particularly evocative of Morricone's score for Once Upon a Time in
America (to the point that it almost seemed like a blatant rip-off.)
But, maybe because of the music, the film resonated for me with some of the
same feelings engendered by the Leone masterpiece. The film was apparently
based on two real characters, and was somewhat predictable. Yet the
plot did hold together...even the policemen were not caricatures (though
the Nazi villains were.) An entertainment which worked for me.
***
BUTTERFLY SMILE (dir: He Jianjun. China)
Yet another interminable and boring Asian film...however
at least this one had a plot which made sense and I managed to stay awake
for the entire length. An amateur photographer obsesses over a beautiful
woman model/designer and witnesses her commit a hit and run automobile
accident. The plot thickens from there. But it takes so much
time to get through each repetitive incident that I couldn't get engaged.
I should have known better and gone to see the screening of Sweet
Smell of Success playing at the same time. I hope that next
year the festival won't be so top-heavy with Asian films. We're getting
far too many run of the mill potboilers (or maybe I'm just missing the good
ones.) * 1/2
JUST A KISS (dir: Fisher Stevens. U.S.)
A clever bit of fluff about a group of New Yorkers
whose various relationship permutations run riot. Sort of a black
romantic comedy, its success depends on the skill of the actors, which varied
here (Ron Eldard, Patrick Breen and Marisa Tomei were particularly good;
while Kyra Sedgwick, Taye Diggs and Marley Shelton didn't hold up their
ends.) I found the use of rotoscoped animation a la Waking Life
to highlight details and transition between scenes to be mostly annoying
rather than useful. And the writing, though original and occasionally
funny, failed to hold together for the entire film...the peculiar playing
with the time line and some of the unlikely happenings stretched this watcher's
credulity past the breaking point. Still, it's an interesting effort
and I enjoyed the film. ** 1/2
24 HOUR PARTY PEOPLE (dir: Michael Winterbottom. Great Britain)
A sui generis film from this always interesting
director...is it a mockumentary? a Manchester travelogue? a
punk group biopic? a personal puff piece? Actually, it's a clever
re-creation of an era of musical history through the eyes of Tony Wilson
(wonderfully reproduced by Steve Coogan), legendary club owner, record label
entrepreneur, and schlock tv journalist in the Manchester punk scene.
It's a fascinating roller coaster ride through an important, but obscure,
part of '70s and '80s pop music history. I found it riveting; but
it is certain to be controversial. I never liked the music of these
punk bands (Sex Pistols, Joy Division, Happy Mondays) when they happened.
But for some reason, now it all looks interesting and sounds great.
I wish the sound system at the Egyptian theater were up to snuff. A
lot of dialog was lost to the muddy acoustics, which has marred other films
at that venue. Too bad it wasn't played at the Cinerama.
*** 1/2
IGBY GOES DOWN (dir: Burr Steers. U.S.)
I'd heard bad things about this film and didn't
expect much. But I was pleasantly surprised by how much I liked the
film and how affected I was by the character of Igby (well played by Kieran
Culkin...much better here than in Alter Boys which also played
in this festival.) This is a coming of age story of a kid who as his
mother (wonderful Susan Sarandon) says "was conceived in spite...so
no wonder he lives that way". It's also a black comedy about
a certain type of rich Waspy family that could have been conceived by Whit
Stillman (though the writing here is not nearly as clever as Metropolitan,
for instance). The acting throughout was spot on, and the film
just worked for me. The only thing is that I wanted to know more about
what happens to Igby...it seems like the film ends too soon. ***
Sun. June 16
The festival ended well, with a good, popular closing
night feature and a balls to the wall dinner party gala at the beautiful
new Hyatt. I chatted with several people, made some friends here at
the festival, and hope to be back for the entire thing again next year.
Thank you SIFF, and thank you Seattle for being such a great city.
SECRET FESTIVAL #4
Two documentaries in the secret festival are two too many.
No more hints...but I suppose I'll do it again next year despite the fact
that I was a little disappointed by the group of films this year. ** 1/4
SEE YOU OFF TO THE EDGE OF TOWN (dir: Ching C. Ip. China)
A Chinese family touring the California desert prior
to the younger daughter's graduation from college. A sort of road movie
combined with a family saga, told with a light touch. The film had
heart, and was occasionally moving and funny. ** 3/4
BANG BANG YOU'RE DEAD (dir: Guy Ferland. U.S.)
Ben Foster, along with Ryan Gosling, is the best
actor of his generation just approaching their 20s. If you don't believe
me, just watch one of the episodes of Freaks and Geeks where
he plays Eli the crippled spastic and contrast it to this film where he plays
an alienated high-schooler proto-bomber in the mode of Kip Kunkel (Oregon
schoolboy mass murderer). The script is a brilliant amalgam of an Internet
play within a play and a drama of modern high schools where the bullies
are the jocks and soches, and there is an aura of repressed and acted out
violence despite the school's attempts at zero tolerance and metal detectors
at every entrance. This film is one of the best of the festival, great
script, superb acting throughout, and a feral strength and relevance.
It's going to be on Showtime in October, and it's worth subscribing to that
pay-tv channel just to see this film! *** 3/4
PASSIONADA (dir: Dan Ireland. U.S.)
The final film was a lush romance taking place in
New Bedford, MA among the Portuguese fishermen of that village. It's
the story of a ne'er do well card counter who falls in love with a lovely
widow, who is a Fado singer at a popular restaurant in town. Sofia
Milos is spectacular as the 40-something mother of a teenager who still is
one hot tamale. And this was another film with food to die for (this
time I *was* hungry, not having been forewarned, and the Portuguese dishes
shown were too delicious looking to ignore.) I also thought Jason Isaacs
had enormous appeal as the gambler. The film lives or dies on its casting,
since the story was pretty standard boy meets girl/boy loses girl etc. plot.
And this casting was perfect, and the film left a very nice feeling to end
this festival with. *** 1/4
The sum of it was that this year wasn't quite as good as last year in terms of percentage of good to excellent films. Too many clunker Asian films for my taste. I'm sorry I missed some of the winners, but 104 films beat last year's total by two. My choices for best picture (Sex & Lucia), actor (William Macy), actress (Isabell Hupert) and director (Julio Medem) either won, or came close to winning the major prizes here. The only surprise was that one of the films I thought was pretty awful, Her Majesty, came in 2nd for the Golden Space Needle (can't argue with the winner, Elling, which I saw at the Academy in January.) Now it's back to the grind in L.A. I'll miss Seattle! See you next year.