I've made out my tentative
schedule for the first weekend. Of course, it all depends on
whether my feeble body can hold out and whether I'm able to get enough
sleep! I arrived in Seattle on Sunday afternoon and immediately
went to get my festival passes. The lines were pretty long, and
for a while only one person was tending it. Apparently they had
just had a computer crash. Well, we'll see if things get better
as the festival continues.
Monday, May
19, 2003
BURNING IN THE WIND
(Italy/Switzerland d. Silvio Soldini
118 min.)
A story
about a depressed Eastern European immigrant in France. He
suffers through a tedious job, a past he's running away from (shown in
well written flashbacks), empty fleeting relationships. The
acting, especially the lead, Ivan Franek, was first rate. Nothing
flashy here, just a meaty goulash of dormant passions unleashed,
presented in a small, intimate film shot in scope for no apparent
reason. Slow and methodical filmmaking (maybe a few too many
shots of buses coming and going); but all in all I found the film
rewarding for its brutal realism and interesting characterizations.
***
UNDER ANOTHER SKY (Algeria/France
d. Gaël Morel 78 min.)
Nicolas
Cazale is magnetic as a Parisian youth of Algerian ancestry who commits
a crime
and must flee to his ancestral homeland where he encounters his
grandfather and cousins under the brightest, most existential sky this
side of Albert Camus. I must admit that the politics
of Algerian terrorism remains a mystery to me; but it must be quite
traumatic since every film I see from Algeria is steeped in the
terrors.
Gaël Morel (so memorable in Téchiné's Wild
Reeds) should stick to acting, in my opinion. His films
have passion; but also an undisciplined, formless mis en scène
which constantly undercuts the drama. Yet, he definitely has
a way with actors and the screen loves his lead actor, whose ripped
body is photographed with loving attention. ** 3/4.
Tuesday, May 20
MARION BRIDGE (Canada d. Wiebke Von
Carolsfeld 90 min.)
Here's
another variation on the
"three sisters" theme which runs from Chekhov through Winterbottom's Wonderland
and Holofcener's Lovely and Amazing. This time
Molly Parker plays the prodigal daughter returned as her mother lay
dying to her small-town Nova Scotia roots from a dissolute life in
Toronto. She's been sober and drug free for over two
months...but we know it isn't going to last, don't we? Parker is
remarkable in the role of Angela, as are all the actors...especially
the one who plays the mother, ravished by time, alcohol and cigarettes,
but still Irish feisty. This very ordinary family has deep
secrets and watching them ooze to the surface is good drama.
Maybe a tad predictable; and the director is much better with
actors than he is with the camera, it feels more like a play than a
film. Still, I cared about the characters...no small achievement.
***
WATTSTAX: 2003 SPECIAL EDITION (US d. Mel Stuart
103 min.)
In 1971,
a soul concert celebrating the Black experience and the recovery from
the Watts riots of 6 years before was held at the L.A. Coliseum.
I vaguely recall it, since I was in L.A. that year; but it really
didn't enter my consciousness as an event. The film which was
made from this concert has been remastered for improved sound; but it
is a
flawed document, in my opinion. Much of the musical footage is
cobbled from other sources (clubs and churches); and a major portion of
the film is devoted to Richard Pryor doing shtick expressly for the
camera in a small room. Not that these diversions are
uninteresting; but the meat of the film, the 7 hour concert, seems to
have been seriously under covered and most of the film feels like
filler added after the fact. I snoozed through some of the
endless middle section. Yet, when they finally got to the good
parts of the concert...namely Rufus's and Isaac Hayes's acts, the film
came to life for me. Too late, unfortunately. **
MY ARCHITECT (US d. Nathaniel
Kahn 116 min.)
Louis
Kahn was a remarkable architect...more for his ideas than his few
literal achievements. After he died in obscurity of a heart
attack in a Pennsylvania Station restroom, it was disclosed that he had
three families that
he juggled in a tangled lifestyle. His only son, from a long time
fitful relationship with one of his mistresses, was 11 when
his father died. 25 years later he decided to document his
search for his father's life and soul, which he achieves in this moving
and informative film. The cinematography is inspired, and
the film benefits greatly from a structure which is especially
effective because the subject was such an enigma and the search so
ultimately fruitful. This was one of the better documentaries
I've seen...intelligent, emotionally resonant, and visually inventive.
*** 1/2
Wednesday, May 21
MUSA THE WARRIOR (S.Korea d. Kim
Sung-su 157 min.)
An
historical epic about a lost delegation of Korean diplomats to the
Chinese court in the 14th Century. Reminiscent of Kurosawa's
historical oeuvre, but not as visually stunning. Still, despite
its slightly overlong (probably one or two too many battle scenes)
duration, the film coheres nicely and is quite effective. Despite
its large cast, the characters were well defined and I cared about
them. Zhang Ziyi did her patented petulant, kidnapped Chinese
princess bit perfectly (though she never showed her martial arts chops
in this film). That can't be said of the major male characters
who shed an incredible amount of blood in the unceasing intimate
battles which make up the story. ***
The first day of the festival was about as
good as it gets. Finally a
sunny, warm day; big crowds, but respectful, quiet and appreciative
ones. And every film started exactly on time, which is
a good sign that the festival organizers are on top of things.
Only Seattle Friday traffic, made worse by detours which are
going to make driving to the festival difficult, marred an
otherwise perfect day.
Friday, May 23, 2003
THE WEATHER UNDERGROUND (US doc.
d. Sam Green 92 min.)
I lived
through the era of the Weathermen, though I was a few years older than
most of them and not particularly politically active at the time (too
busy with career and dropping acid). This documentary interviews
many of the surviving leaders (among them Mark Rudd, Bernadette Dorhn,
and notably David Gilbert who is still in prison serving a life
sentence for armed robbery with fatalities, though he comes off as a
political prisoner after more than 20 years incarcerated.) The
filmmakers managed to structure a pretty darn good snapshot of the era
and get some revealing interviews with these intelligent, committed,
mostly repentant American terrorists. It's especially interesting
to watch this in the new world which was ushered in after 9/11.
The idea of bomb wielding leftist terrorists, no matter how
admirable their original intentions were (in the cold light of history,
they were right about the Viet Nam war and the evils of American
foreign policy...only their means were screwed up) resonates with
additional power. Fascinating recent history, good job. ***
1/4
AUTUMN SPRING (Czechoslovakia d. Vladimir
Michátek 97 min.)
The
Czechs chose to send the unremarkable Wild Bees to the
Academy this year instead of this lovely piece of pure Academy bait
which would have enthralled that audience. I don't know, it was a
little too on the mark for me, unconventional old people, life
affirming, a true crowd pleaser. Still, the performances were
amazing (I especially liked the understated grace of the leading lady,
Stella Zázvorková.) And what's not to like about
such an amiable story? Well, don't be looking for any adventurous
filmmaking style...this is about as
straightforward as they come. ***
THE BLUES (US d. Various 100 min.)
Martin
Scorsese has produced a PBS series about The Blues which will be shown
this fall. He's selected 7 directors, including himself, to make
documentary episodes of different aspects of this quintessential
American music. The current film contains roughly 20 minute
excerpts from five of these episodes; only Clint Eastwood and Scorsese
himself is absent. It is interesting how each of the five
directors has imposed his recognizable style on his resulting piece.
Wim Wenders made an unconventional contribution which featured
cleverly reproduced black and white footage of performers like Blind
Willy Johnson. Richard Pearce's more conventional piece featured
B.B. King on the road, traveling through Mississippi to Memphis.
Charles Burnett, a director who I find absolutely soporific in
his feature work, managed to put me to sleep
again with something about prison blues. The film finally took
flight with an amazing piece by Mike Figgis about how the Brits brought
the blues back to America. Wow! He gathered a great group
including Van Morrison, Eric Clapton, John Lennon and the Stones (in
concert footage) just for starters; and his direction was a good lesson
in how to light and cut this sort of documentary. Outstanding
stuff. Finally, Marc Levin's episode of how hip-hop is basically
an extension of the blues, featuring Public Enemy and especially the
enthusiasm of Marshall Chess as modern rap entrepreneur, closed out the
film on a satisfactory note. Over all, I can only rate this **
3/4; but the last two sequences, especially the Figgis, would rate
about
*** 1/2.
Here it is Sunday and I'm sitting in the Pacific
Place theater with my notebook computer on my lap writing these reviews
for Saturday. Yes, I
overslept (not a bad thing), and had no time to add to this journal.
There's even a wireless web connection available in the
theater (though they're trying to charge for the privilege. )
Very cool.
Saturday, May 24
SECRET FESTIVAL #1
Of course
not a single word to add, except that I enjoyed this film a great
deal...very relevant to my life. But mum's the word. *** 1/2
THE GIFT (US doc. d. Louise Hogarth)
I was
slightly fearful going in, considering that I've had two long-term
partners die on me from the consequences
of AIDS, that this film might be too tough for me to take. For
anybody who doesn't know, the "gift" of the title is the act of
cooperatively giving an HIV- person the AIDS virus. Yes, some
negative people, for whatever reason (guilt, release from worry,
pure ignorance) desire to receive this gift; and some positives are
very happy to grant them their wish. I'm aware of the phenomenon.
In fact, as my lover lay dying I even felt the survivor guilt
described in the film. Yet, anybody who has accompanied a
person with AIDS through the ravages of the illness ought to be aware
that the consequences of the illness are dire beyond comprehension.
This is an important film, and should be required watching for
all young people, especially gays. The young San Francisco
man who was centrally featured, who cannot now undo what was done,
simply
broke my heart. *** 1/2
CAMP (US d. Todd Graff)
An
amiable film about a group of kids who attend a summer camp in New York
state devoted to budding actors and singers. Every two weeks they
take part in a production. If you've seen Fame or Broadway
Damaged or any of the several films of that ilk, you know
exactly what to expect: a potpourri of gay and straight, talented
and
not so talented, attractive and geeky types who strive and survive.
A film like this lives or dies by the casting, and the film was
particularly well served in this regard, I thought. Maybe the
leading "straight" boy, played with a stiff jaw by Daniel Letterle, was
a little too square; but I liked him and would hope he makes it in
movies.
Robin de Jesus was quite good as the inevitable wispy latino
gayboy
(this seems to be the convention in every film like this one).
But
the original music was pretty darn good; and the ensemble of unknown
performers sure beat the hell out of any of the American Idol
casts for talent at belting out songs. I can't say that the
filmmaking was special in any way...the hoary plot creaked with
familiarity and
the direction was straightforward and uninteresting. Yet, this
audience was well pleased...and I liked the film a lot. ** 1/2
objectively. Much better if you're in the mood for a film about
a campy camp, as I was.
THE EDUCATION OF GORE VIDAL
(US doc. d. Deborah Dickson)
In
summary, this film sounds sort of dry: the life of Gore Vidal
through examinations of his books, old
footage of the author's many interactions in the media, and
interviews with the man himself, his longtime companion and a few
famous talking heads. Yet, Vidal himself is intrinsically
fascinating...perhaps the principal liberal voice of the American
century. I've also read almost all his novels; so I had
a personal stake in the subject matter of the film. And I
found it to be an immensely satisfying view into the man's life
and mind, well written and intelligently structured with just the
right emphasis. Nothing flashy here; but it worked for
me. *** 1/2
CAPTURING THE FRIEDMANS (US doc. d. Andrew
Jarecki)
A day
mostly devoted to documentaries...outstanding ones, and this one was
the best of the bunch. Jarecki
literally stumbled onto this story while researching another
idea; and he had the skill and guts to go with it and achieve an
astoundingly effective and important exposé. I was left
with just the right amount of ambiguous feelings about what transpired
in the Friedman child sexual abuse case from the late '80s
in Great Neck, NY, in some ways similar to the McMartin case in my
home town. The filmmaker deftly combined interviews with some
of the family and many of the authorities involved in the case, with
home footage of this extremely normal appearing family. The
results
were a gradually peeling away of a complex family dynamic which led to
ultimate disaster for all involved. A perfect example of a
documentarian striking a satisfying balance between objective
documentation of an
enigmatic event, and the crusading journalistic desire to expose a
possible
miscarriage of justice. One can't make a better documentary than
this. Bravo! ****
Sunday, May 25
ANGELA (Italy d. Roberta Torre)
A rare
example of an Italian woman director bringing a female point of view to
the Italian and Sicilian crime family genre. Based on a true
story of a shoe shop owner and his wife who were heavily involved in
cocaine distribution; and a complex triangle involving the bosses wife
and her affair with a soldier in this mini-Mafia family. Shot in
a slow, dingy, shaky hand-held style which gave the film a look of
austere realism, the film ultimately derailed for me as I never got
involved with the characters and their actions. Still, a
worthwhile effort. ** 1/2
L'AUBERGE ESPAGNOLE (France-Spain
d. )Cedric Klapisch
Entertaining
fluff...a romantic comedy about a 20-something Frenchman (the
attractive Alain Delon-lite actor Romain Duris) who becomes a student
for a year in Barcelona, finds a collective of international "types" to
room with, and grows from the experience. I'm a total sucker for
this type of film, which shamelessly flaunts its attractive young cast
in situations I can identify with. Definitely a guilty pleasure;
but there is also a very French esprit and a directoral flair which
lifts the film out of the realm of pure fluff. Klapisch is onto
something...a bright, modern, youth-oriented film which is also a canny
examination of Euro-internationalism and how cultures are melting
together in the 2000s. ***
MAGDALENE SISTERS (UK d.
Peter Mullan)
No
surprise that this bleak and realistic film won a major festival prize
(Venice). It exposes the frankly horrendous treatment of "fallen
women" victims of the system in Ireland...women virtually imprisoned
for life in nunneries for sins as simple as an orphan being too
attractive, or young girls having babies out of wedlock.
Beautifully acted by a cast of mostly unknowns, directed with a
sensitivity to the actors by a pretty good actor himself (who has a
major cameo role as a cold-hearted father). The filmmaking was so
austere that it actually failed to move me emotionally; but I can
respect the writing, acting and direction anyway. *** 1/4
A SOLDIER'S GIRL (US d. Frank
Pierson)
A
Showtime tv movie, based on a true story, about a soldier in the modern
peace-time American army infantry who, while ostensibly straight,
nevertheless falls in love with a pre-operative transsexual and has an
off-base relationship with her which
is known of by his platoon mates. Troy Garity (is he Jane
Fonda's and Tom Hayden's son?) exhibits true star magnetism in
the role of the sexually confused learning deficit disordered soldier.
And Lee Pace is quite good (though his lip-synching drag
show numbers were poorly performed, in my opinion) as the transsexual
lover who narrates the story. But it was Shawn Hatosy as the
ritalin popping, manipulative roommate who steals the movie with his
complex characterization as evil Svengali whose own psychological
problems become the fulcrum for the inevitable tragedy. Nice job
by all involved...a good script, well directed. *** 1/4.
Monday, May 26
SPRING
SUBWAY (China d. Zhang Yibai)
Sometimes
a film can be an artistic success and fail to work (at least for me).
This film is reminiscent of
Wong's In the Mood for Love, in that it is enigmatic
and beautiful to watch; but narratively opaque. It's the
story of a married couple who have ceased communicating with each other
after 7 years. The husband has been out of work for 3 months
and has spent his days aimlessly wondering the Beijing subway system
(which is fabulously photographed); however, he has been unable to
tell his wife that he lost his job. The focus of the film is on
this attractive couple and their failing marriage; but it is some of
the other characters, all connected by their regularly using the subway
system at about the same time, which add some substance to the film.
I'd say this was a good film, ravishingly well photographed,
which
just wasn't my cup of tea. ** 3/4
VAGABOND (Hungary d. Gyorgy Szomjas)
This film
received a generous round of applause at
the end, and apparently pleased quite a few in the audience. But
not me. I was completely bored and considered it a waste of my
time. It's the story (if there actually is a story) of an aimless
and homeless boy wandering the streets of Budapest, occasionally
joining other teen-age hoodlums in burglarizing homes. He wanders
into a theater where a group is rehearsing a gypsy folk dancing pageant
and the film just stops in its tracks for a series
of incessant dancing sequences which I found boring in the extreme.
The main actor had one expression: passive observer. Maybe
if I found the dancing interesting or even the way it was directed
interesting, I'd feel better about the film. But the photography
and mis en scène were about as boring and uninspired as the
story. I think I'd gnaw off my arm rather than spend another
minute trapped watching this film. *
JEALOUSY IS MY MIDDLE NAME
(Korea d. Park Chan-Ok)
At least
finally we have a story, even though I never could figure out exactly
what was happening as I must have snoozed through some of the first 30
minutes and missed some crucial
exposition. Although I found the film interesting enough
after I came to, I never could figure out quite who was involved with
whom. From what I gather, this 25 year old student working
on his dissertation in English lit has been dumped by his girlfriend
for an older married man who she is dumped by in return. Our
hero (another passive, inexpressive leading man...though he'd have
had to work double time to be as stolid as the lead in Vagabond)
decides to go to work for the older man, who is a magazine editor,
and the two men get into an interesting co-dependency working
relationship,
each again falling for the same girl. I actually enjoyed the
film;
but I don't think it was very well written...sort of an aimless script.
But I suspect it is a pretty fair look at Korean society as it
exists today; and the characters were pretty interesting. ** 1/2
DOING TIME (Japan d. Sai
Yoichi)
This film
is a rather fun look at the current day Japanese prison system from the
point of view of an older prisoner sentenced to a three year term in a
spotlessly clean high-security facility for possession of illegal
firearms. The prison routine
is amazingly regimented by American standards, which may give the film
a degree of comedy which isn't apparent to a Japanese audience.
There isn't much of a story here; the real star of the piece
is the prison itself. Oh, yes, a great deal of the film is
devoted to how good the food is to the sensorially deprived prisoner.
You might never again experience how much rapture a dash of soy
sauce in
a bowl of rice could evoke. The film works because of these
little truthful touches. Prison life has never looked so
pleasant. ***
THE LOVER (Russia d. Valery Todorovsky)
Ah,
finally a great script! This is the spare, but exquisitely
minimal story of a teacher, married to a younger woman for 15 years
with a teen-age son. The wife suddenly dies from a massive heart
attack; and while the man is still in
deep mourning he discovers that his wife has led a double life since
their 2 month anniversary...she's been carrying on a long term affair
with another man who lives 5 tramway stops away. The drama is
about the consequences of this discovery and the strange relationship
that the two men grudgingly embark on. Well written, acted
and directed, the film works on several levels. But it is
mainly a character study of a good man faced with the realization that
his whole life has been based on a lie. That the "lover" is also
a good man makes for an additional level of pathos. *** 1/4
Tuesday, May 27
JULIE WALKING HOME
(Canada/Germany/Poland d. Agnieszka Holland)
This one
is a Canadian tv movie which would fit beautifully on Lifetime Cable's
schedule. Not to say it isn't a darn good film. Miranda
Otto is radiant as a mother whose marriage is in trouble; but even more
pressing one of her twin children becomes critically ill.
Circumstances bring her and her young son to a Russian faith
healer (another great performance by the remarkable actor Lothaire
Bluteau). I'm having trouble with summarizing the plot without
giving too much away. Let it stand that despite some
implausabilities, the film moved me to tears without seeming to be
manipulative. I cared about the characters and their story.
As usual, Agnieszka Holland proves to be an excellent director of
actors. *** 1/4
TO BE AND TO HAVE
(France d. Nicolas Philibert)
A
documentary about a year of life passing in a one-room elementary
school in the rural Auvergne district of France. The teacher is a
wonderful, gentle man on the verge of retirement; and the students are
all cute and somehow well defined.
It's the non-fiction, rural version of Tavernier's Ça
Commence Aujourd'hi, although with little conflict. I was
charmed, and a little bored. Surely life can't be so picture
perfect as this? And has there ever been a child actor with
as winning a personality as Jojo...even though he's a real kid?
***
SUDESTE (Argentina d. Sergio Diego
Bellotti)
A slice
of life picturesque drama about life led in the river world inland from
Buenos Aires. The main character is a young fisherman, and into
his pastoral life drops the real world in the form of a bandit who is
probably dying from a gunshot wound. The film has a rhythm
roughly equal to the torpid flow of these river backwaters, and the
acting is quite amateurish. Yet it ends up a likable and
involving enough story, mostly due to the successful way the river life
is incorporated into the story and the decency of the main character.
** 3/4
MADAME SATA (Brazil/France d. Karim
Ainouz)
Madame
Sata was a real-life, black, Brazilian drag queen...showman, pederast,
brothel owner, toast of Rio from the '40s on. The film takes
place in the early '30, and is about the genesis of
the young Joao Francisco dos Santos and how he lived as a young man
in the wild Lapa district of Brazil and became fabulous. Shot
with a sepia toned palette which makes the setting appear especially
authentic, and with a wild soundtrack of samba and drums, the film is
edited fast and furiously and filled with steamy, stylized gay sex
scenes. The script and direction makes good use of the period and
some powerfully realistic actors, especially Lazaro Ramos as Joao and
Felippe Marques as his passionate, white hustler lover. This one
is destined for cult status, I think...and it's a surprisingly good
film, to boot. *** 1/4
Wednesday, May 28
SONG FOR
A RAGGY BOY (Ireland/US d. Aisling Walsh)
This is
the flip side of the Magdalene Sisters film, in this
case about the Irish work-house schools run by the Catholic church for
convicted wayward boys. The institutions were apparently rife
with physical and sexual abuse, and were closed in 1984 (the Magdalene
institutions for fallen women were closed in 1994). This story
takes place in 1939, and is centered around the first lay teacher this
particular borstal has hired: a Spanish civil war veteran (guess
which side...) played with typical sensitivity by Aiden Quinn.
The film is a little reminiscent of last year's Borstal Boy,
but much harder hitting. The sadistic prior, whose attitude was
that all these boys are all inhuman monsters, was somewhat overdone for
dramatic purposes. That's just about
the only misstep of the film (the Spanish war flashbacks were also a
little out of place, I thought). But I was completely involved,
much
moreso here than with the Magdalene film, which was
possibly
a better film formally, at least less obviously manipulative...but
didn't
have nearly the visceral, emotional effect that this film had for me.
*** 1/4
BUFFALO SOLDIERS (US d. Gregor
Jordan)
This may
be the best American film never to see the light of day. It's a
pedal to the metal screwball satire about corruption in the American
army stationed in Germany in peacetime 1989. In the post-9/11
American environment, the
release of such a scathingly un-politically correct look at the U.S.
army simply won't fly. Too bad. Some nice performances
(especially Joaquin Phoenix as the battalion clerk who runs all the
rackets on base, Ed Harris as the naive colonel he consistently
bamboozles, and Scott Glenn as his top sergeant nemesis) go to waste.
The satire is pretty broad; but the script and direction were
first rate. My rating of this film may be more indicative of my
political leanings than the inherent merit of the film. But it
has been a long time since I've found a Hollywood film to be so
satisfying at every level. *** 1/2
H (S. Korea d. Lee Jeong-hyuk 107 min.)
If you've
seen Kurosawa's Cure, then you've
just about seen this film. It's a stylish policier melodrama
about
a serial killer and his copycats. The film features an imprisoned
killer who is as creepy in his own way as Hannibal Lector. In
fact, this film should have been called: The Revenge of the
Fetus (an in joke which will become clear when and if you see
the film.) I guessed the denouement much too early, and wasn't
surprised enough by the outcome to find this a very satisfactory
mystery. But the filmmaking was quite good, the action gory
enough for any masochistic blood-loving audience, the characters all
vivid and well acted. I just felt I'd seen it all before.
** 3/4
ROBERT CAPA: IN LOVE AND WAR (US
doc. d. Anne Makepeace 90 min.)
Capa was
probably a fascinating character...certainly he was a special
photo-journalist whose work speaks for itself. But this
straightforward telling of his life story through mostly still pictures
and a few talking heads was pretty ordinary. It was diverting
enough; and the treatment of Capa's photos was well done (re-shooting
documentary photos in motion is what I do for a living, and I had to
respect the job of the person who did it in this film...I couldn't have
done much better.) But the standard
for documentaries at this festival has been set quite high; and this
one
was just not special in any way. ** 1/2
PORN THEATER (France d. Jacques
Nolot 88 min.)
Jacques
Nolot is an actor who occasionally makes interesting gay-themed films
as a writer-director. This film is about a night in a Parisian
straight porno theater, the audience of horny men and drag queens eager
to service them. The film actually is borderline gay porn, the
sex is surprisingly explicit. There are a lot of characters in
this audience, and each has his turn to shine. Nolot himself
plays one of them, a long-time HIV survivor whose interest in sex has
waned, but who writes poetry about the dingy porno theater milieu which
he reads to the middle aged
ticket taker woman and the attractive straight young projectionist.
There's a lot happening in this film, mostly under the surface,
acting by gesture and subtle interplay. It certainly isn't going
to be to everybody's taste; but I found it unique, well observed and
something of a turn-on. *** 1/4
Thursday, May 29
AMERICAN
SPLENDOR (US d. Shari Springer Berman, Robert Pulcini)
Could you
even dream of a better combination than Ghost World with
the documentary Crumb? There you have it.
This is roughly underground comix author Harvey Pekar's life as
he led it in the pages of his comic books and novels. Featuring
incredibly good performances from Paul Giamatti
and Hope Davis (has she ever been more chameleon like than in this
role where I hardly recognized her?), along with accompanying
documentary footage of the real people interacting with their filmic
doppelgangers. It starts with perhaps the greatest opening credit
sequence
of recent years and never lets up in inventiveness and acute
observation (much of which can be traced to Pekar's eye and ear for
fascinating
quotidian life in all its extraordinary ordinariness. I only wish
I had been aware of his comix...though I had stopped reading the
underground
comic books by the time he started writing.) A
delight...certainly destined to be one of the most acclaimed indies of
the year. ***
3/4
WAR (Russia d. Aleksei Balabanov)
I enjoyed
this film about as much as any at the festival so far; but I'm aware of
its problems. In a way, it's as much a satire as Buffalo
Soldiers, though less obviously so. The "war" is the
Russian-Chechan undeclared police action. The film is about a
ruthless Chechan warlord who has captured for ransom a couple of
English actors who were doing Hamlet in Georgia, an injured Russian
captain and various others, including a Russian sergeant, Ivan (played
magnificently by the magnetic and attractive
Alexei Chadov, who I predict will become a major star), who becomes
the fulcrum of a revenge and rescue plot. The characters are
pretty
black and white: Chechans evil, Russians corrupt, English naive.
The action becomes more and more unlikely as the film progresses;
and plenty of sanitized blood is spilled. But despite its flaws,
the film is a corker of a good adventure, and the production values are
incredibly high. A fix of straight testosterone, and I loved it.
*** 1/4
THREE MARIAS (Brazil/Italy d.
Aluizio Abranches)
Abranches
is a director to watch. His compositions and the way he handles
the camera indicate a huge talent. Unfortunately this film has a
fairy tale like plot of vengeance and destiny
thwarted which adds up to little. Beautiful imagery, though,
so worth the trip. ** 1/2
MINIMAL STORIES (Argentina d.
Carlos Sorin)
This film
is a kind of road picture about ordinary people living ordinary lives
in rural Argentina. Nothing much
of consequence happens, though the film is full of interesting
and well drawn characters having an extraordinary 36 hours in their own
terms. A warm smile of a film, without much conflict or irony;
but effortlessly uplifting, too. Nothing flashy here,
lots of extreme close-ups. But no doubt about it, this is a
skilled filmmaker at work to make something so effortlessly simple
so satisfying. *** 1/4
Friday,
May 30
THE EYE (Thailand d. Danny &
Oxide Pang)
A horror
movie which wasn't all that terrifying about a woman, blind from the
age of 2, whose sight is restored through a cornea transplant and who
starts to "see dead people". The film was diverting enough, with
some interesting special effects.
But the plot development was predictable; and the film
lacked
a focal point which interested or involved me. Don't miss the
very beginning of the film, though, where the filmmaker starts to play
with the viewer's head. Too bad the rest of the film wasn't so
original. ** 3/4
ANIMATRIX (US/JAPAN d. Various)
Nine
examples of Japanese anime from stories based on the Matrix world.
Mahiro Maeda's "Second Renaissance - Parts 1 and 2" was
interesting, mainly because it filled in so much of the back-story of
the series. But the animation was rather ordinary. The
three sequences which were written
by the Wachowski brothers were the best, I thought. "Kid's Story"
had the best plot, and "Final Flight of the Osiris" (which was a
trailer with the feature Daredevil earlier this year)
had some
spectacular 3-D character animation by Andy Jones. But all
in all, I guess I'm not a big anime fan as much of this left me cold.
Overall: ** 3/4
BAD GUY (S. Korea d. Kim Ki-duk)
I can't
even begin to describe the plot of this film, which was circular and
opaque...and may only be possible to understand if the entire film is
taken as some sort of supernatural allegory. Certainly it didn't make
any sense in a strictly narrative sense. What we have here is a
drama about a petty pimp who falls for a nice, college girl and entraps
her in a degrading lifestyle of prostitution and desperation.
Then it really gets weird. I like my
films to have more coherent narratives; but this one had enough
atmosphere to sustain my interest, at least. ** 1/2
DIRT (US d. Nancy Savoca)
This was
a surprisingly effective drama about an undocumented Salvadoran family,
mainly centered on the wife and mother who
is a cleaning woman for several posh New York apartment dwellers.
The characters are sympathetic, and this is a true crowd pleaser
which had an emotional impact without seeming to be manipulative.
It was projected in digital video (I guess it will be a Showtime
movie eventually), which degraded the look of the film. But it is good
proof that if the story works, one can overlook technical deficiencies.
***
YOSSI & JAGGER (Israel d.
Eytan Fox 65 min.)
Another
film which looked dingy, possibly shot on video and transferred to
film; but one which worked because of some
well defined characters and a good, tight script. The film
is about a gay affair between two officers in the Israeli army on
duty in the snowy Golan Heights. There's some good stuff on
what it means to be gay in such a closeted milieu. The film
earned my tears honestly; and Yhuda Levi is really wonderful and quite
attractive in the role of Jagger. *** 1/4
Saturday,
May 31
SECRET FESTIVAL #2
All I'll
say is that it was a genre comedy which strived for a particular effect
and fell short of achieving it. **
1/4
A LITTLE MONK (S. Korea
d. Joo Kyung-jun)
The
little monk in the title is a cute 8 year old boy whose mother had
abandoned him when he was younger in a small
Buddhist monastery. The film looks beautiful, the photography
makes fine use of the rural, forested setting. But I thought
the middle section dragged; and the film, despite the effective use
of its adorable protagonist, tried too hard to tug at the heartstrings
and mostly failed. ** 1/2
THE DAY A PIG FELL INTO THE WELL (S.
Korea d. Hong Sang-soo)
I was
looking forward to this film, since Hong is a well respected director
and I sort of liked The Turning Gate, despite its
narrative longeurs and opacity. However, this
film from 1996 was a total waste of time, in my opinion. I
was never able to differentiate the two Korean female characters
(admittedly, they really looked alike here; but this is a cultural
difficulty that I personally have with many Asian films, that the women
especially often look too similar to each other for me to keep them
straight.)
I got totally lost in the narrative twists, which seemed so
random
and weirdly motivated that I thought the reels might be screening out
of order. Apparently this film was about jealousy and failed
relationships; and I stayed awake for the entire film and still have no
idea what
actually transpired. 1/2*
WHALE RIDER (New Zealand/Germany d. Niki
Caro)
A film
steeped in Maori legend about a young girl in present day New Zealand
who is destined to lead her people despite the cultural sexism which
makes it impossible for her grandfather, the tribal chief, to recognize
this. This film got two rounds
of huge applause; and its record of winning audience awards at festival
after festival speaks volumes about the current state of art films.
Maybe because it is so definitely a girls picture and that's not
my particular interest; but I thought the film was pretty obvious and
predictable. Still, it was remarkably well made, shot in
beautiful wide screen with a cast
of unknowns who deliver fine performances. I predict it will win
the Golden Space Needle here; but it didn't win over my cold, skeptical
heart. ***
GARAGE DAYS (Australia d. Alex Proyas)
Proyas is
a good enough director, and his visual inventiveness acute enough that
I actually enjoyed this film, although it wasn't very good. We've
seen this plot a million times, garage band trying to break through to
rock stardom. Only the setting,
Sidney in the present day, was different. But the characters
were engaging enough, although each was a predictable type.
The first reel was ruined by a sound system which was unaccountably
missing a track and was set at too low a volume. But once
they fixed the technical problem, at least the music was ok.
I'm returning to the theme of "predictable" with my reviews of film
after film, which might just be an artifact of the festival setting
where too many diverse films are being watched too rapidly. But
it is true, I long for a film with an original and non-predictable
story...and this one certainly wasn't it. ** 1/4
Sunday,
June 1
MIRANDA (Great Britain d. Mark Munden)
John Simm
is the best thing about this movie. He plays a schlub clerk who
falls for a femme fatale (Christina Ricci, slightly miscast but good
anyway) con artist. Something between a crime caper film and a
romantic comedy, it's the kind of movie
that I enjoy far more than its meager assets deserve. I just
found Simm's Frank to be such a sympathetic and identifiable character
that the absurd story and overacting by Kyle MacLachlan and John Hurt
didn't matter to me. ** 3/4
THE BLESSING BELL (Japan d.
Sabu)
I think
this film would please the formalists and cineasts far more than it did
me. It's a one-day journey in the life of a man who starts out by
losing his job in a general plant closure and then wanders off into a
series of occurrences which unfold slooooooowly. Honestly, I
snoozed through a portion of the film, and I didn't miss much.
There's hardly any dialog; in fact we never see the main
character speak. But the film is beautifully photographed
and interestingly structured. One of those films which are quite
good, but simply not my kind of movie. ***
TOGETHER (China/S. Korea d. Chen
Kaije)
An
altogether successful film about a young violin prodigy from the
countryside, who ventures to Beijing with his
father and copes with his talent and the corrupt Chinese artistic
scene. It's a moving story, beautifully photographed and
directed. It's emotionally manipulative, to be sure, yet easy to
forgive
since it works. The boy is very convincing (he was chosen more
for his talent with the violin rather than his acting prowess...but
he's certainly adequate to the role.) Also a stand-out is the
actor who plays his father and the director himself in the role of a
stern
music teacher. *** 1/4
PUBLIC ENEMY (S. Korea
d. Kang Woo-suk)
Finally a
Korean film winner...a policier about a slovenly, unconventional
homicide detective (another amazing performance
by Sol Kyung-gu, so outstanding in Oasis.) He's
always on the brink of blowing it...the Internal Affairs people are
constantly on his back. He's set on solving a particularly
dastardly set of murders. No mystery here about who the perp
was, a slimy, but clever businessman. The tale is how he is
finally
caught. Well written, nicely paced, I had a good time watching
it. *** 1/4
Monday, June 2
THE SECRET LIFE OF DENTISTS
(U.S. d. Alan Rudolph)
Alan
Rudolph has had an interesting career outside of the Hollywood
mainstream. This is another of his intimate character studies,
and for my money one of his very best. It's the story of two
dentists who met in college, married, had three adorable little girls,
and then find themselves in a relationship crisis before their 10th
anniversary. Campbell Scott is wonderful here as dentist, husband
and father, about as far removed from Roger Dodger as a character can
be. And Hope Davis is equally good in a role more suited to her
than in American Splendor. Only Denis Leary
strikes a false note as an obstreperous patient who becomes sort of
Greek chorus observer and commentator...Scott's fantasy id. His
role is a narrative device which seems a little forced; but Leary does
the best he can with it. This is a tough movie to watch, one
which is unsparing in its examination of modern marriage. I think
the audience reaction was mixed; but it is hard to imagine a better
character based drama being produced this year. *** 3/4
YMCA BASEBALL TEAM (S. Korea
d. Kim Hyeun-seok)
A
pleasant enough trifle about the establishment of baseball in Korea in
the early 20th century. The story of the first and finest Korean
team and how it fits in with the history of Korea and its struggle for
independence from Japan, was interesting enough. And this
production, in wide screen and with high production values in its
historical recreation, is a fine entertainment in
the realm of the Indian film Lagan, which had a similar
theme
in regards to a Western sport as metaphor for a country's emerging
hopes.
But the story here was too predictable, and the pacing too
laconic
for my tastes. A solid effort which didn't do it for me. **
3/4
HARD GOODBYES: MY FATHER
(Greece/Germany d. Penny Panayotopoulou)
The story
of a young boy who is unable to accept his father's death in an auto
accident. The kid is marvellous, and the story occasionally
involving; but it lacked something for me. Maybe it was because
the other characters were sketchily written. Certainly the
director gave it a good effort; some of the imagery was quite
fine (a scene where the boy was silhouetted in a tent while his mother
reads him a story from outside the tent in full lighting was
particularly well composed.) Maybe it was just my mood. I
wasn't engaged enough, so the film dragged intolerably. ** 1/4
JAIL BREAKERS (S. Korea d. Kim
Sang-jin)
A
delightful wide screen comedy about a couple of jail breakers who end
up trying to break back into prison. Ultimately it was too broad
slapstick for my tastes, and maybe a trifle too long; but this is one
director who is a master at handling simultaneous action sequences by
inventive cross cutting. It features another great performance by
Sol Kyung-gu, the actor of the festival as far as I'm concerned.
***
Tuesday, June 3
POWER TRIP (U.S. doc. d.
Paul Devlin)
This is a
documentary about the former Soviet state of Georgia...how in 1999 the
government sold its electrical utility to an American company, and what
transpired. It sounds like an
unlikely hook for a fascinating film; but the filmmaker succeeded in
bringing the subject to life with his broad coverage and intelligent
editing. We see how ruined the Georgian infrastructure had been
left at the end of the Soviet era, how corrupt the present government
is, how the very notion of capitalism is a poor fit for a populace
brainwashed from birth to believe that private ownership is inherently
evil. The film left me despairing for a country and a people in
trouble, and also hopeful that there are American capitalists who do
care about doing the right thing by these people, though the task may
ultimately be impossible, and chances are they will fail. *** 1/2
LIFE AFTER WAR (U.S. doc.
d. Brian Knappenberger)
To be
honest, I walked out of this film after a half-hour when I found my
mind wandering. The documentary followed former NPR correspondent
Sarah Chayes as she quit her job and took on another...helping to
rebuild a small Afghani village near Kandahar, which had been
destroyed by American forces in the final fight against the Al Qaida
forces who had barricaded themselves there. My problem with
the film was that it started to look like it was going to be a
manufactured
propaganda film...sort of the building of a Potemkin village in aid
of an agenda that we're actually doing some good in post-Taliban
Afghanistan. Maybe this was an unfair judgment to make so
quickly; but I fled
the theater and spent the rest of the afternoon on the internet looking
for new lodgings for next week (I'm losing my present place to stay
here in Seattle prematurely and this extra expense worries me.)
Sorry,
Sarah. W/O
LOVE FORBIDDEN (France d. Rodolphe
Marconi)
This one
is hard to review, as it is a dark look at an aspect of life familiar
to me...I feel I almost lived this story 40 years ago. Anyway,
the director himself plays a young filmmaker attending a seminar in
Rome who becomes fascinated by a mostly straight Italian man and, after
a long, slow, frustrating courtship finally sleeps with him...and then
stalks him as he gets involved with an American girl who has a
fascination for serial killers. The film is shot mostly in
darkness, with long close-ups of the lead actor/director usually
observing rather than interacting. It's all very arty
and even occasionally looks like a film made by a pretentious college
student (in fact, my college thesis film at the UCLA film school, long
lost and hopefully never to be found again, was something like this
film!)
Still, I do feel that Marconi is a talented filmmaker and an
interesting
screen presence, and I'd like to see more of his films. ***
THE GIRL FROM PARIS (France
d. Christian Carion) +
I saw
this film last year at another festival, and
I wouldn't have watched it again if it weren't a replacement for the
film Brats, canceled at the last minute due shipping
problems. I remembered it as a wonderful film, and it didn't
disappoint the second time. Mathilde Seigner is luminous as a
30ish Parisianne who forsakes city life and a career as an internet
instructor for two
years of learning agriculture and then buying an old dairy goat farm
in the Rhône-Alps from a grizzled old farmer, played with sly
humor
by the superb actor Michel Serrault. It's a lovely film,
beautifully photographed, making full use of the spectacular mountain
scenery; heartwarming without being obviously manipulative. Worth
an upgrade to *** 1/2.
SOMEWHERE OVER THE DREAMLAND
(Taiwan d. Cheng Wen-tang)
Another
mystery Asian film...I'm not at all sure what it was all about.
It starts out as the story of a Formosan
native who recovers a wallet lost when he had a work accident 10 years
earlier which cost him a leg. The wallet contains a picture
of him and a woman from his past whom he then searches for. At
that point he disappears and another boy, who works days as a sushi
chef
in a Japanese restaurant and nights as a gigolo for lonely women takes
over the film along with a girl who works as a ticket seller at a
carnival
carousel. They are somehow connected as the girl telephones the
boy
and tells him a story which connects somehow back to the original man.
If this makes no sense, then it's because the movie made no sense
to me. Still, as a mood piece it kept my interest well enough.
**
3/4
Wednesday, June 4
INFERNAL AFFAIRS (Hong Kong
d. Andrew Lau, Alan Mak)
A highly
touted policier which more or less delivers the goods. Andy Lau
and Tony Leung play Hong Kong cops in a complex story of long-term
undercover moles seeking to break up a powerful underworld gang (it's a
challenge to figure out who is playing on which team in just one
viewing.) The action never flags, the wide screen cinematography
and direction are about as good as it gets for this
kind of film. But really, what takes this film out of the
ordinary
are the powerful performances of the two lead actors. Tony Leung,
especially, conveys the burnout of his years of duplicity with a
subtlety
rarely seen on screen. *** 1/4
THE HOUSEKEEPER (France d. Claude
Berri)
Berri
changes gears here, presenting a wry romantic comedy about an older man
depressed that his wife (so that's what Catherine Breillat looks like!)
has left him for another man, who hires
a ripe young housekeeper and falls into an affair with her. Jean-Pierre
Bacri delivers another solid mid-life crisis performance; but it is
Emile Dequenne, whom I don't believe I've seen before, who lights up
the screen here with a fresh and amazingly innocent presence, a
character totally lacking in irony...contrasting with Bacri's
embittered cuckold whose every breath is ironic detachment. A
mature, fun, sexy film, the kind that only the French make. ***
EL BONAERENSE (Argentina/Chile
d. Pablo Trapero)
El
Bonaerense is the nickname of the Buenos Aires police
force, apparently famous for its corruption. This film is the
story of Zapa, a naive country bumpkin who almost inadvertently commits
a crime and allows his uncle, an ex-Bonaerense bigwig, to recommend him
for admission to the force in the big city. The film is shot in
a dingy, high contrast wide screen format, which gives it a unique,
ugly
look. But it is the central performance of Jorge Roman, his
convincing
transition from guileless innocent to knowledgeable insider resisting
the corruption around him, which lifts the film out of the ordinary.
**3/4.
SEASIDE (France d. Julie Lopes-Curval)
A
multi-character drama about a small resort beach town with a
combination of townies and long-term summer vacationers. Several
families are in the throes of various personal crises too numerous to
describe here. Just let's say that I became involved with the
well defined characters as they play out a year in their lives in long,
static medium shots which make them part of the larger landscape.
Good performances here (an especially subtle one by Jonathan
Zaccaï, as a young, stolid townie whose girlfriend, played by
lovely Hélène Fillières, yearns to escape the stultifying small
town and its metaphorically apropos pebble industry.) This is one
of
those films whose rich tapestry of characterizations exist mostly under
the
surface. When it is well done, as it is here, it become an
especially
rewarding experience. *** 1/4
I may not be able to continue
updating this web page every day after the weekend, as I'm going
to be moving to a B&B which doesn't have a direct connection to
my service provider, attbi.com. I've been staying with my
step-daughter
in Kenmore for the past 4 years of SIFF; but she is in the midst of
moving back to Los Angeles after her husband was laid off at Boeing.
I did find a reasonably priced place to stay for a week on
Capitol
Hill near Volunteer Park...one so reasonable that I may consider
staying
there for next year's festival if things work out. In any case,
I'll continue to write my journal and upload it sporadically when I
have
access to the web.
I haven't written very much this festival about my personal experiences
here. I'm sorry to have disappointed my vast, silent readership
:-) for the lack of amusing incidents this year. So far I've
managed to stay healthy, I've eaten well, and I've organized my time so
that I haven't been late to or shut out of a screening yet (knock on
wood.) I've made several good friends among my fellow
pass-holders over the years; and even though I miss Howard Wood, who
was my best bud for the past couple of festivals (he moved to Brazil
with
his family, and didn't make it here this year), I've hardly ever dined
alone
or stood in a pass-holder line without someone to chat with about the
films.
What makes this month of the festival especially fun for me is
handling
the processes of the festival: scheduling, writing my web
notes, immersing myself so deeply in the festival that it becomes a
vacation
from life. Some people find it odd that one can watch 4-5 films
every
day for a full month without burning out; but I revel in the
experience.
As long as my health and funds hold out, I think I'll continue to
come
to SIFF. I love the city, the festival is very user friendly, the
programming
simpatico with my interests (though I wish they'd quit this
over-emphasis
on Asian films and do more Euro-American indie stuff...probably a
forlorn
hope). I always consider Vancouver, Toronto or Montreal for
future
festival going...maybe after I'm fully retired. But next year I'm
thinking
SIFF again.
Thursday,
June 5
NORTHFORK (U.S. d. Michael Polish)
Who keeps
giving these guys (the Polish brothers) money to continue making these
opaque, boring, inscrutably allegorical films? Sure, they look
great. I imagine that somebody, somewhere, actually loves their
films. Maybe their mother. Not I.
Even my fave, Ben Foster, was totally wasted in a non-speaking
role. Three strikes (Twin Falls, Idaho...Jackpot
and now this) and you're out! Ugh. *
11'9''01 (France doc.
d. various)
11 short
films from an interesting group of international directors, all with a
theme roughly based on 9/11. The project was organized by the
French, so it is not altogether surprising that there's a faint
whiff of anti-Americanism which pervades a few of the films. I
found the quality of the various films to vary greatly. The
Makhmalbaf was, in the Iranian style, mostly about cute kids, and I
liked it (***). The Lelouch was, in the French style, a serious
drama with romantic overtones about a deaf French woman in New York
that day (***). Youssef Chahine's Egyptian film was
worthless pro-Arab tripe featuring a ludicrously dyed blond Egyptian
actor playing an American marine. Not even visually interesting
(1/2*). I'm sorry to say that I don't remember the Bosnian trifle
from Danis Tanovic. But the contribution from Burkina-Faso by
Idrissa
Ouedraogo was a light comedy about a couple of children convinced that
Bin Laden was in their town and they were going to get the $25 million
reward for him (** 1/2). Ken Loach took the opportunity to make
a documentary excoriating America for the September 11th massacre which
killed Salvator Alliende in Chile and other war crimes which made it
seem that the U.S. people deserved what it got on 9/11. Now this
is not a message that is easy to take, and might be considered
inappropriate,
or at the very least unsympathetic; but honestly the film was probably
the best of the bunch in pure filmic terms (*** 1/4). Alejandro
Gonzalez
Iñarritú made a pretentiously arty film which mostly
featured
a black screen with little video snippets of people jumping from the
burning
towers...along with a sound track of weird massed voices (* 1/2).
Amos
Gatai's film contrasted the "live" footage of a car bombing in
Jerusalem
which occurred the same time as 9/11 in New York. The idea was
that
a video crew was on the scene, and even though their footage was
riveting,
nobody was interested in putting it on the air live when events in New
York
were so much more newsworthy. Nicely ironic, and a well-done
piece
of filmmaking, though the shrill woman announcer at the scene of the
car-bombing
got on my nerves, as I think she was supposed to. ***.
Mira
Nair's piece from India/Pakistan about a Pakistani woman who lost her
son
at the World Trade Center, was well made, and emotionally impactful
(***
1/4). But Sean Penn's American contribution was simply terrible,
a
one-scene acting tour de force by Ernest Borgnine which was
embarrassing to everybody involved (*). And Shohei Imamura's
weirdly metaphorical piece did have a point; but I thought maybe
strayed a little too far off topic (**). Anyway, in total, not a
complete waste of time; but certainly something of a waste of
celluloid. ** 1/2.
IN JULY (Germany d. Fairth Akin)
This is a
road picture about a feckless school teacher (played with true
movie-star magnetism by Moritz Bleibtreu who is certainly on his way to
Hollywood and a huge career) who chases his
dream woman from Hamburg to Turkey and along the way suffers through
some hilarious adventures. There is nothing special in the way
of filmmaking here, though the production values were so high that it
might as well have been a high-budget Hollywood film. It's a true
audience pleaser; the script never wavering into the mundane, the
actors
spectacularly attractive, the direction assured. ***
THE HARD WORD (Australia/Great Britain
d. Scott Roberts)
A
delightful caper film which, until the end where
the scriptwriter seemed to run out of inventiveness, was just about
perfect. Guy Pearce, almost unrecognizably scruffy here, was
wonderful as the "smart" brother...one of a trio of skilled bank
robbers who
even managed to pull off jobs while in prison. All the
characters other than the central three were more or less corrupt, even
to the
point of ridiculousness. In reflection the day after, I guess the
film doesn't hold together as well as such similar films here as
Public Enemy, Jail Breakers or especially Infernal
Affairs. But, maybe only because it was
in Australian English and thus easier to follow, I actually enjoyed
this film more than any of the others. ***
Friday, June 6
MISS ENTEBBE (Israel d. Omri
Levy)
This film
seemed to stir up some unwarranted antagonism among the audience at the
press screening. It's the story of three young Israeli kids who
run wild during the Entebbe air hijacking of June, 1976. I saw it
as an above average, rather edgy afterschool tv special, with a lesson
for all about tolerance and the unexpected effects that large
outworld events have on kids. The acting, especially by the
children, was well above average. Not a great film; but certainly
a worthwhile effort which had an emotional impact on me. ***
THE BUTTERFLY (France d.
Philippe Muyl)
This
film, on the other hand, was 'way too cutsey for
my tastes. It's a Kolya type of heart-warming
drama
about an older man (Michel Serrault, doing the same character as in The
Girl From Paris, only more urbane) who becomes surrogate
grandfather
to a little nine-year old latchkey girl who is cuter than any little
girl could possibly be in the real world. Somehow they both go
on a butterfly hunt in the lovely Rhône-Alps (the best thing
about
the film is the incredible scenery) and the girl learns valuable life
lessons from the man and visa versa. I'll admit that this is an
audience
film, and probably even a very good film for kids to see. But for
me it was just annoying, although reasonably diverting. ** 1/4
ONCE UPON A TIME IN THE
MIDLANDS (Great Britain d.
Shane Meadows)
A rather
ugly film, a kind of British lower middle-class romantic comedy done
much better by other filmmakers like Mike Leigh and Danny Boyle.
Robert Carlyle is particularly grungy here, with a Scottish
accent so marked that I could only decipher every third word or so.
Only Rhys Ifans, in a departure for him as romantic hero, comes
out ahead here. And what was with all that Morricone type music
which reminded me of Once Upon a Time in the West?
If this was supposed to be a spaghetti western homage, I couldn't
see it. (written later) I think I now see the
analogy to the western. The strong bad guy returns to town and
the weaker good guy has raise himself a level to protect his turf and
his woman...an essential western plot. **
DUMMY (U.S. d. Greg Pritikin)
Some
films are so unexpectedly wonderful, so resonant and well honed, that
it takes the entire film festival experience to another level.
You can tell by the rapt tingle as you watch and the roar of
approval that the audience lets out at the end. This was
such a film: a little miracle, untouted but destined to be the
hit
of the festival, I think. Adrien Brody, who completed this film
just
before he left for Europe to do his Oscar winning turn for Polanski, is
nothing short of breathtakingly good as a young schlubb Jewish guy,
still
living with his eccentric family, approaching 30, who decides to throw
off the traces and chase his dream to become a ventriloquist, letting
his
dummy become the assertive character which leads to his growth.
Everybody involved here has a career best. Milla Jovovich
is great as a hyperactive punk wannabe who takes up kletzmer music.
Illeana Douglas is less annoying than ever as Brody's sarcastic
and repressed sister. And even Jared Harris does fine work as
Douglas's psycho ex-boyfriend. This is one romantic comedy which
is truly funny, laugh-out-loud funny based on good characters
saying and doing witty things. Kudos to Greg Pritikin for a fine
script, executed as well as possible under the budget constraints he
worked with, and especially to the casting director who
gathered such an outstanding cast. *** 1/2
I also need to give kudos to the short playing with Dummy,
WHAT ARE YOU HAVING, directed by Benjamin Meyers. It's a
well observed, high-gloss, wide screen comic snippet about a shy boy
and girl dining across from each other at a busy restaurant, who have
mutual sparks and this one chance to possibly meet before their lives
diverge. The actors were quite attractive and the writing
inventive.
Simply a satisfying, wry short film. *** 1/4
Saturday, June 7
SECRET FESTIVAL #3
I'm not
going to give any clues; but this was a pay tv movie which was better
than average with a good cast. ** 3/4
THE LAST GREAT WILDERNESS (Great
Britain d. David Mackenzie)
A film which shamelessly mixes genres and delivers them in a murky
digital film transfer. It starts out like a road movie through
Scotland, with two mis-matched guys...one heading towards revenge, the
other running away from something. They run out of gas, and are
invited to stay in one of those houses straight out of
Rocky
Horror Show, even with a soupçon of transvestitism.
Alistaire Mackenzie is an attractive, if bland, actor; and the
film does develop fairly interestingly. But all in all, not a
very satisfying film. ** 1/4
23
(Germany d. Hans-Christian Schmid)
August
Diehl, so memorable in last year's AFI festival hits Love the
Hard Way and Tattoo, gives a haunting
performance as a young "Illuminati" obsessed hacker/coke
addict in this true-story thriller from 1998. It's basically
a German version of The Falcon and the Snowman, where
two
young, naive computer pioneers get involved in spying for the Russians.
The stranger than fiction plot gets rather complex, and the film
is too talky, and like life itself has a terrible payoff. But
along
the way, it's an enjoyable enough film. ***
I CAPTURE THE CASTLE (United
Kingdom d. Tim Fywell)
Let's
just say I'm a sucker for this sort of high class British period weeper
romance. In this case, I thought the script was very
good...inventive and not entirely predictable. The
characters were interesting and the acting fine all around. Shot
in lush wide screen, it recalls the best of Merchant/Ivory, with an
authentic
period (1930's) feel and a psychological realism which was just right
for
viewing old fashioned romance through a modern lens. Ramola Garai
was especially captivating as the younger daughter torn between love
and
loyalty; and Bill Nighy was equally interesting as her talented, but
terminally
blocked author father. And special mention must be made of Henry
Cavill in the role of the faithful, brotherly ward, Stephen, who is a
preternaturally beautiful actor whom I'd like to see more of. ***
1/4
Sunday, June 8
DISTANT LIGHTS (Germany d.
Hans-Christian Schmidt)
A slice
of life film about 24 hours in the lives of many people, including a
group of desperate refugees from the Ukraine trying to get to Germany
(the distant lights) after getting ripped off and deserted by crooked
smugglers near a bustling Polish border town. Other major
characters: a German businessman who is on the
ropes financially (getting to Germany is not all it is cracked up to
be); a Polish taxi driver desperate to get money for his daughter's
first
communion dress; a group of corrupt architects who are providing Polish
prostitutes to their prospective clients; a kindly Russian/German
translator
woman who feels compassion for the refugees; a group of kids involved
in a cigarette smuggling ring. All have their stories which are
intricately
intercut and shot in a hand-held jumpy style which simulates a
documentary
look. It's hard to figure out how these stories all connect...and
some of them don't. But all are about the way that a rich
country/poor
country border tends to corrupt the people and processes. Schmidt
sure knows how to pick good looking men for his casts. A director
to watch for. *** 1/4
TRILOGY:
ON THE RUN (France/Belgium
d. Lucas Belvaux)
Belvaux
has pulled off an amazing coup, at least from the sample of these two
film (I'll watch the third film Wednesday). This first film is a
complex and supercharged thriller noir about an escaped prisoner,
apparently a terrorist bomber from a Bader-Minhoff type 80's
leftist terrorist cell, played with Bogart like anti-hero magnetism by
the director. He's smart, competent, well financed and supported.
The
prison escape, a mad ride through city and countryside, breaking
through
roadblocks, is a tour de force which starts the film off with a bang.
For
my money it never lets up from there. It's as if Jean-Pierre
Melville
had directed Humphrey Bogart in High Sierra. Truly
violent
and shocking, this isn't a film for the squeemish. But I ate it
up.
*** 1/2
TRILOGY:
AN AMAZING COUPLE
(France/Belgium d. Lucas Belvaux 100)
Number
two of the trilogy is taking place simultaneously to the first in the
same town (Grenoble, a beautiful place to shoot a film). Some of
the characters from the first are featured in their own story, which
hardly crosses with the action stuff of the first film (but little
snippets start to explain some of the mysterious goings on of the first
film). This is a romantic comedy in the French farce style about
a middle age couple...he's a successful lawyer, she's one of the town
socialites...and their idée fixe that the other is having
an affair. It's really a lot more complex than that, and
sometimes the story threatens to go off the rail into ridiculousness.
Although enjoyable, it wasn't nearly the film that the first one
was, at least for me. ***
GAY AS A GOOSE (Shorts. d.
various)
None of
these six films were outstanding. One of the most interesting, a
comedy short called Gaydar (**), was outrageously
overacted camp. The one drama, called Quintessence
(**), was a well acted, but pretentious story of two people involved in
the care of a final-stage AIDS patient who has disappeared. Seventy
(** 3/4) had an interesting concept, and I suppose was the best
executed of the bunch; but I found its one-gag story to be somewhat
offensive (my own hang-ups, I guess). Straight, No Chaser
(**) was poorly directed and wasted Bronson Pinchot in the lead role.
Burl's (* 3/4) was an unsettling story played for
comedy about a family where the only child is a pretty boy with gender
problems starting to
establish themselves. One Fine Morning (**
3/4)
actually was a pretty good film about an 80's high-school Goth boy who
has a strong crush on his good looking buddy. The director added
some interesting computer generated special effects which indicated
actual potential talent in that field. But, like all of the other
five, the film lacked something to raise it out of the ordinary.
A
disappointing group, all considered.
Monday, June 9
WESTENDER (U.S. d. Bruce
Morse)
This has
to be one of the strangest films of the festival. It is a
shot-on-DV serious effort to do an unironic mideval quest movie
entirely
in Oregon and on a limited budget. In some ways it ends up
looking
like a wildly overblown filmschool effort...cleverly designed, but
cheap looking costumes, bad make-up, plodding and predictable script,
terrible acting for the most part. As if Lord of the Rings
had been made for $1.50. Yet the digital video transfered to film
looked very classy...the scenery was lushly photographed and the
exteriors,
especially, were beautifully composed (the director must have spent a
lot of effort waiting for the exact moment when the sun or moon was in
the
right place to make many of his artfully composed shots.) There's
a germ of a good film here; only in the present form it just comes off
as a ludicrously over-ambitious effort. * 3/4
LIMELIGHT (U.S. d. Terry Lukemire)
This is
what happens when a mocumentary goes wrong. It's a film in the
style of Christopher Guest (i.e. This
is Spinal Tap, or A Mighty Wind) about a group
of
weirdos whose thing is competitive karaoke. Unfortunately, the
early episodes of American Idol, have recently
pre-empted
this subject...where they mainly feature horrendously bad singers
auditioning
without a clue as to how bad they are. The cast of Limelight,
is entirely made up of these losers...and the result is sort of like
shooting ducks in a barrel, the joke wears out very quickly and we're
left with a boring, obvious, uninventive, unfunny mess. Guest
would
probably have done it with better actors and a lighter touch, and it
still
would have been an iffy proposition. This group didn't have a
chance
in hell of making a good film. *
I MURDER SERIOUSLY (Mex.
d. Antonio Urrutia)
After the
previous two films, I had temporarily lowered my threashhold for bad
films. I vowed that if I wasn't engaged
by this film I'd walk out and go read my e-mail at an internet
café. I gave this satirical serial killer policier a half
hour of my
life and didn't feel at all engaged, so I split. Maybe that
wasn't
entirely fair, as it did seem like a credible midnight sort of movie,
about an inventive serial killer who murders prostitutes by making
their
intense female orgasms deadly. But to say the least, it wasn't my
cup of tea. W/O
THE MUDGE BOY (U.S. d. Michael
Burke 94 min.)
On the
other hand, this film was exactly the tonic I needed to restore my
interest in the festival, one which affected
me emotionally, and even was a little bit of a turn-on for me.
Duncan Mudge (nicely, if stolidly, played by Emile Hirsch) is a
sexually
confused teenager, coping with the recent death of his mother, an
attraction
to a hunky neighborhood boy, and a general weirdness which included
an obsession with his pet chicken and wearing his mother's clothes.
Thomas
Guiry played the hunky straight boy with just the right touch of animal
magnitism, kindness, concern and cruelty. And Richard Jenkins is
also fine as Duncan's concerned, if inept, father, emotionally confused
himself by the death of his wife. The film has a slow, quiet,
menacing
tone which contrasts well with the pastoral Vermont farm country.
Certainly not to everyone's tastes, but a rewarding film.
***
CHINESE ODYSSEY: 2002 (Hong
Kong d. Jeff Lau)
Jeff Lau
has performed the difficult task of making a spot on satire of a
Chinese martial arts, Emperor's court film (cf. Crouching Tiger
or Hero) shamelessly mixing modern film conventions, a
Molière style romantic farce, and
outlandish martial arts effects together in a delightful and frothy
soufflé. It's all done in good fun, and due to its
flawless cast and clever writing it all works like a charm. ***
1/4
I've moved into a pleasant enough B&B
(without the second B, actually, which makes it quite reasonably
priced) in an old Victorian house on Capitol Hill. Unfortunately,
the only thing I lack is access to uploading my web page; but I do have
an internet friend who has attbi.com broadband...so here I am finally
updating this page before my Wednesday moviegoing starts. I'll
try to make it here every second morning from now on to add to this
page. I sometimes wonder if anybody is actually reading this
stuff, since I don't really get much feedback. Oh, well; I'm
basically writing it for myself as an exercise in self-discipline.
A festival of this length could become one big blur if I didn't
keep the films in mind at least for a day and do the kind of cursory
analysis I practice here. Anyway, for a change, a bunch of
interesting films on Tuesday. My only regret is that in 5 days
I'll have to get back to the real (as opposed to the reel) world.
I wish this festival were year-round!
Tuesday, June 10
CRUDE (Turkey d. Paxton Winters)
A cheaply
made digital video travelogue style road picture
about two American young guys on the make in Turkey. They hook
up with a young Istanbul scion of a wealthy family who has too much
time on his hands, and the three set off in search of terrorists in
Southeast
Turkey and the fame and fortune to be made by making a film about them.
Paul Schneider (an attractive actor reprising his personable but
emotionally
removed characterizations from the David Gordon Green films he's
previously
been known for like All the Real Girls) and David
Connolly
(also attractive, with weirdly green eyes and an assured future in
dumb-and-dumber
type films) play the footloose Americans as they stumble through their
misadventures. The film was not well received by many in this
audience;
but I thought it was good fun; and the documentary style of the
director/photographer
worked for me. ** 3/4
MILWAUKEE, MINNESOTA (U.S. d. Allan
Mandel)
Troy
Garity, who was truly outstanding in Soldier's Girl
earlier in the festival, gives an equally mesmerizing performance here
as a mildly retarded guy who is a world champion ice-fisherman and
makes big bucks in contests throughout Wisconsin. He's under his
mother's thumb, though; and when his mother is murdered in a plotted
auto
accident a collection of weirdos and grifters gather to try to separate
Garity's character from his money. Excellent actors as diverse
as Bruce Dern, Randy Quaid, Debra Monk and the boy who played Pumpkin
in last year's eponymous film lend their experience and talent to the
film. It's one of those small, intimate, quirky mood films like
the Coen brothers make. Quite well photographed in high-def
video,
and with a last scene as memorably and uniquely visual in its own way
as
the last scene in Respiro. I really loved this
little
gem of a film. *** 1/4
KING OF THE ANTS (U.S. d. Stuart
Gordon)
This one
is not easy to describe without giving away too much. It's a
gruesome midnight-movie style noir about a young man (Chris McKenna, a
young actor with much presence) who gets involved in a murder-for-hire
and then, after being tortured in a stomach turning scene, turns into a
revenge killer. Several interesting character actors,
including a great turn by George Wendt going against type as a bad guy;
and a gross, jowly Daniel Baldwin overacting as the boss bad guy.
Great make-up, by the way. Very over-the-top, with some pretty
realistic
and gory murders shot for maximum shock value. I'm not sure why
this all works so much better than some other ridiculously overdone
schlocky
shock films I've watched in the past (such as the all time low for
films
of this type: The Dark Backward); but this one has
just
the right tone of mayhem done with a humorous touch that it works.
***
LAST SCENE (Japan/S. Korea
d. Hideo Nakata)
A slow,
nostalgic look at a '50s Japanese romantic film
star whose career hits the skids when his costar retires, his wife
dies,
and he hits the bottle. 35 years later he has a chance to return
to the same studio to do one last role as an old, dying man. It's
a realistic elegy to the film industry and the people who make movies.
But the middle section literally put me to sleep; and I just
wasn't interested enough in the main character to enjoy the emotional
carthasis that the film was attempting to provide. ** 1/2
DEMONLOVER (France d.
Olivier Assayas)
A
hypnotic, wide screen cyber-epic of industrial skullduggery among the
rich and ambitious international net-set. I'm not even sure what
transpires in this complex plot. I fear that even a 2nd viewing
might leave me mystified. It's all a wild trip through a bunch of
double and triple crosses as we're gradually let in on the realistic
internet torture sites which are the point of all the industrial
espionage. It is filmically inventive with lots of huge
close-ups, quick cuts and whip pans which are effective in disorienting
the viewer. Some fine actors (Charles Berling, Chloe Sevigny and
especially Connie Nielsen) give cold hearted, intense performances.
Assayas proves once again
that he is a master of the medium...his films have a unique visual
panache.
*** 1/4
Wednesday, June 11
THE EVENT (Canada d. Thom
Fitzgerald)
It's
difficult for me to be objective about this film since it hits close to
my life and I found the film to be emotionally shattering. Parker
Posey plays an cold-hearted assistant D.A. in New York in 2001 who is
investigating an AIDS hospice/support facility for a series of
suspicious deaths which may be assisted suicides. Her case
focuses on the Shapiro family:
mother played by Olympia Dukakis in an above average for her
compassionate
portrait, ill son played with extraordinary modulation and sympathy by
Don
McKellar (who, unfortunately, looks too robust for the role though he's
up to the task as an actor), younger sister played by Sarah Polley, who
has one big scene, an hysterically funny t.v. commercial (which in
context
has true pathos). The film develops along familiar lines...an
AIDS
drama tradition stretching from Parting Glances through It's
My Party. Yet, for me this film surpasses all those in
sheer
emotional impact...and despite its digital look and its slow pace,
becomes
an important and moving document of our times. Even 9/11 is
handled
with extraordinary feeling and subtlety here. I know that not
everyone
will react as strongly as I did...after all, not everyone has been the
primary
care giver to a person dying of AIDS over a long period of time as I
have.
I've lived through the issues in this film, and couldn't ask for
them
to be presented better. I'm giving the film a *** 3/4; but that's
probably overdoing it from personal bias.
NATE DOGG (U.S. d. Thomas Farone)
One of
those cheap and dirty digital films which are only played at festivals.
In this case, Nate Dogg is Nathan Hale, a 10th grade high-school
dropout, trailer trash, and victim of severe ADHD. He's a
potentially fine comic artist, but his life is screwed up by the
learning disability which prevents him from progressing. He gets
involved with a bad bunch of violent coke dealers. It's a bleak
slice of life film, shot in
shaky hand-held video. The eponymous lead is actually played by
Hale
himself, which makes this a sort of fictionalized documentary...though
the
story could not possibly be entirely from his real-life experiences.
I was not edified in any way by this film, and in fact wished I
had never seen it. Yet, there is some talented filmmaking here,
though too raw and hyper-violent for my tastes. **
TRILOGY:
AFTER LIFE (France/Belgium
d. Lucas Belvaux)
The third
film in Belvaux's trilogy is a pure melodrama which follows another
group of characters in a story paralleling, and occasionally
intersecting and explicating the action of the previous two films.
This time
we're involved with one of the policemen trying to find the terrorist,
and his morphine addicted wife (an extraordinary, chillingly realistic
performance by Dominique Blanc). For me, it wasn't quite as
involving
a story as the first film...but better than the middle film, which was
too trifling for my tastes. But this work has to be judged by its
entirety, as it is the unique structure of the three parallel films,
the
bravura achievement of telling one story in three different modes of
the
French film tradition, which is the overarching factor here. As a
stand-alone film I'd give this one a *** 1/4. The trilogy as a
whole
deserves **** as the whole is much greater than the sum of the parts.
BLUE MOON (Austria d. Andrea Maria Dusi)
This is a
light hearted road picture about an Austrian man who encounters a
Ukranian prostitute in a mysterious fashion and then loses her.
He spends the rest of the film finding her, losing her, finding
her again. It's an amiable enough film, with interesting
characters and a satisfying story arc. But after the depths of
the Belvaux, it was just too trifling to care about. ** 1/2
Thursday, June 12
LOVE AT 7-11 (Taiwan d. Teng
Yung-shing)
A slow
reverie on the nature of love, I suppose. The story, what there
is of it: a filmmaker who is making a documentary (which we see
scenes from as he edits it on his computer) about a geisha, spends some
time every day at the neighborhood 7-11 where he purchases the same
item from a salesgirl there and carries on a silent, unacted upon
affair with her. Another character is a student who has a gentle
affair with a Japanese woman who is teaching him that language.
The film presents most of its scenes unspoken, in distancing long
shots; but this director is no Edward Yang, filling
the frame in levels. For me, there was nothing interesting enough
about
what transpires to carry a film. Nor was the film visually
inventive
enough to support its thin plot. **
OVERNIGHT (U.S. doc. d. Mark
Brian Smith)
This is
one of the best documentaries about making it and losing it in
Hollywood that I've ever seen. Troy Duffy was an overnight
sensation: a bartender and struggling rock band singer who wrote
a hot movie script and became a legendary success when he sold the
script to Miramax in a
multi-million dollar deal. The film is an in-depth look at
Duffy's
triumph, and then his problems getting the film made, his fights with
the
off-screen Harvey Weinstein, struggles with his band members and
hangers-on.
Duffy comes off as a megalomaniac and as the film progresses,
even
the process of the making of the documentary (by a couple of guys who
were
Duffy's friends and part of of his support group from the start of the
roller
coaster ride) becomes part of the documentary in a particularly ironic
bit
of meta. The film was expertly culled from 350 hours of digiBeta
shot
over several years and doesn't shirk from showing the inside skinny,
burning
all bridges. It cried out for a Q&A, which there wasn't time
for. Fascinating stuff. *** 1/2
YES NURSE, NO NURSE (Netherlands d.
Pieter Kramer)
Apparently
there's a world-wide revival of the movie musical going on. This
Dutch confection is a zany, campy musical vaguely in the style of Singing
in the Rain as conceived by Busby Berkeley. The story is
pretty thin, about a rest-home whose inhabitants are annoying the
wicked, closeted gay landlord. Oh, there's lots more to it
actually; but the
story is mere pretext for the musical numbers which are pretty
wonderful...visual bon bons intricately shot on a big sound stage.
The production design and choreography are first class here, the
stars of the show. It's all very audience pleasing; but pretty
thin storywise. ***
AND NOW...LADIES AND GENTLEMEN (France
d. Claude Lelouch)
Lelouch
knows how to make movies. This is a lush, wide screen romantic
film about a clever jewel thief (Jeremy Irons' in his best role in
years) who is suffering blackouts and dreaming about returning all the
loot to his victims. There is a parallel story of a jazz singer
(played by the French chanteuse Patricia Kaas who really delivers in
the singing department) who also is suffering from blackouts, phasing
out and wandering off in the midst of songs. The film brings them
together
in Morocco, where they play an off-center, bittersweet romance to a
great
Michel Legrande score. It's not a classic weepie like previous
Lelouch
films (his And Now My Love is easily one of my all-time
favorite
films). It sort of reminded me of The English Patient thematically
and visually. And people who hated that film will probably hate
this one. Myself, I love films like this far more than I should.
***
Friday,
June 13
DIRTY PRETTY THINGS (Great
Britain d. Stephen Frears)
Frears,
who for my money is one of the most reliable contemporary directors,
has made a fine film about this year's number one recurrent theme:
the plight of international refugees and/or illegal immigrants.
Chiwetal Ejiofor is a major find, an actor of rare sensitivity
and presence in the Denzel Washington mode. He plays a Nigerian
doctor, a political refugee on the run in London. Audrey Tautou,
who is fast establishing herself as an international star, plays a
Turkish illegal who is struggling to live despite being hounded by the
immigration police and not allowed to work under their rules. And
Sergi Lopez is an especially slimy villain, a hotel head concierge who
exploits illegals in a particularly horrifying way in
return for providing high quality fake passports to them. Good
cast;
propulsive, well written script...sort of a romantic thriller with
comic
touches and trenchent social commentary. This one has it all.
***
1/4
THE HEART OF ME (Great
Britain/Germany
d. Thaddeus O'Sullivan)
A high
tone romantic film about an upper class family: two very different
sisters and haughty mother (Eleanor Bron: doyenne of haut), in England
between the
wars. The eldest sister (played with ice queen strength by Olivia
Williams) is married to handsome, successful, but weak at the core Paul
Bettany (he should become a big star one of these days...a fine actor
and he looks great here) who is having a passionate affair with the
younger sister played with her accustomed wild insouciance by Helena
Bonham Carter. It's all vedy vedy restrained and civilized, and
the film tries hard to become an old fashioned weeper...someone called
it a smaltzy woman's picture;
but I guess I'm a woman at heart, because this kind of film just eats
me
up. The production values, the acting all were first rate.
And
the story had just enough originality that I cared a great deal about
what
was going to happen. Of course, I realize that many others will
find
this passé, oversentimentalized clap-trap. ***
THE NAKED PROOF (U.S. d. Jamie
Hook)
People
here are constantly putting down the "made in Seattle" films which
appear here. And from my experience they're usually right.
This was an amaterville production about a blocked PhD (in
phliosophy, no less) candidate,
who has a memorable two weeks to finish his dissertation or...out.
The
sole redeeming quality of the film was getting to see some of the
character
actors who play off-the-wall secondary roles (Peter Prinz was one I
particularly noted as a zoned out desk clerk; but whoever played the
faculty advisor
was also wonderful). And the film had a particularly original and
haunting musical score by Amy Denio. But August Wilson was
a
complete waste as an on-screen narrator/commentator, a bad idea poorly
executed.
Actually, for all the bad filmmaking, I still got moderately
involved
with the characters and the story...which just goes to show that I have
no taste at all. * 3/4
IN THIS WORLD (U.S. d. Michael
Winterbottom)
Another
world-class filmmaker, Winterbottom has made some of my favorite
films...but this one, though a novel idea well done, wasn't one of
them. The
film is a fictionalized documentary about a couple of Afghanistani
refugees
in Pakistan making the arduous trip over land and sea to London...the
promised land. It's all done in quick, seemingly stolen shots on
digital video (which looks pretty good blown up to wide screen on the
huge Cinerama screen). This is bravura filmmaking on an important
subject; but I never felt that I got to know or relate with the two
main characters, who were amateur actors who simply didn't project
their personalities on film. So,
at the core it was uninvolving. Yet it was a great concept, and
there
are scenes of incredible subtlety and affect. I've never
appreciated
my American passport more than from watching films like this at this
festival. ** 3/4.
P.T.U. (Hong Kong d. Johnny To)
This one
is a highly stylized policier/comedy about a memorable night in Hong
Kong where all the various police forces (the CID, the constabulary,
and the Police Tactical Unit: a para-military street force) are
in action as a big heist has occured and a gang-war is on the brink of
breaking out. Gorgeously photographed in wide screen by a
director who really knows how to compose for that medium, the film is a
real hoot. I almost missed it, since I was feeling movied out by
this time; but I'm glad that I didn't. ***
Saturday,
June 14
SECRET FESTIVAL #4
No hints;
but for my money the best written and acted film of the entire
festival.
It's scheduled for Telluride and its official North American
debut
at Toronto...and should be pretty well anticipated there, I think.
I
left the theater emotionally devastated and almost decided to skip the
rest
of the days films rather than break the spell cast by this film.
In
retrospect I probably should have. *** 3/4
I'M THE FATHER (Germany d. Dani
Levi)
Comparisons
to Kramer vs. Kramer are inevitable with this film
about a married couple with a six year old son. He's a work
obsessed architect on the make, she's feeling ignored, and the kid is
sickly (probably in response to his parents troubles.) She leaves
him and things get messy in the bitter divorce stuff which follows.
Sebastian Blomberg and Maria Schrader (from Aimée
and Jaguar) are quite good here. This is on the whole a
pretty somber and slow paced film; but somehow by the end quite a
satisfactory one. I must be very emotionally fragile these days,
because two films in a row brought me to honest tears. ***
SECRET THINGS (France d.
Jean-Claude Brisseau)
Well,
that mood was quickly broken by this horrifying waste of celluloid.
I wanted to leave the theater after 10 minutes, and I should
have. Brisseau has made a gorgeous piece of soft-core lesbo-porno
trash, like a turd set in diamonds. That said, I'm sure the film
will have its admirers, since it is designed to titillate straight men,
I think. It's the story of two ambitious, attractive women who
use sex (and are used by sex) to rise in a corporate environment where
the boss's son (played by the too handsome Fabrice Deville) is a
libertine of colossal proportions. It's all
pretty absurd and over-the-top. Yet there are set pieces here
which
are vaguely Kubrickian (in Eyes Wide Shut ritual sex
mode);
but more like Gore Vidal's decades old, butchered Caligula
in execution. In a discussion with fellow pass holders in line
for the next film, some guy who obviously admired the film told me I
would have liked it if I were 20 years younger. That has to be
one of the most offensive thing ever said to me...but I must laugh.
*
THEY'VE GOT KNUT (Germany d.
Stefan Krohmer)
An overlong, tedious film about a group of leftist German activists
vacationing in a ski chateau in the Austrian Tyrol in the early '80s.
Too many characters who never completely differentiated
themselves as they mixed and matched couples, sort of a boring version
of Lukas Moodysson's
Tillsammans. At least the
film was coherent enough to keep me awake; and some of the characters
were interesting. **
I
NOT STUPID (Singapore d. Jack Neo)
An
amiable trifle about three boys, junior-high age students who were
placed in a school class for slow learners in Singapore. They
come from a variety of ethnic and class groups; and the story is also
about the conflicts and troubles of the parents, and a social
commentary about the Singapore people's inherently obedient nature.
This confection comes wrapped in bittersweet comedy guise.
It's hard not to like the kids, who come off as real boys.
But maybe its a cultural thing, the film just seemed a little
silly to me. One minor character, an advertising executive, was a
dead ringer for a cineaste acquaintance of mine, Muse Malade (inside
joke). ** 1/2
I'm finally updating my web page this Sunday morning,
thanks to my soc.motss bud Daddy Doug and his attbi.com internet
connection; but I probably won't have another chance to do so until I
get back to L.A.
in a few days. I'll miss Seattle, let me say. Where else
could
I plop down at a fine restaurant at midnight and have a great meal
while
accessing the internet from a wireless node at the free internet
café next door? Seattle has to be one of the most urbane
and fun cities
I've ever visited. And the people here are real movie
aficionados. Another great festival! And I managed to stay
healthy, get
plenty of rest, eat well...just a perfect escape from real life, which
alas,
now ends after tonight. I'll finish this journal when I get back
to
L.A. on Wednesday.
Sunday, June 15
THE WILD DOGS (Canade d.
Thom Fitzgerald)
BLACK ICE (Russia d. Mikhail
Brashinsky)
MY RUSSIA (Austria d. Barbara Gräftner)
JET LAG (France d. Daniele Thompson)
FILMS ALREADY SEEN (with links to mini-reviews if I did one):
ABOUNA
**
THE
ARCHANGEL'S FEATHER ** 3/4
BUBBA HO-TEP ** 3/4
THE
BEST OF TIMES *** 1/2
CHAOS ** 1/2
CHICAGO *** 1/2
THE CUCKOO ***
DEVDAS
* 3/4
EDI
***
GIRL FROM PARIS *** 1/4
HOUSE
OF FOOLS ** 1/2
HUKKLE
** 3/4
I'M
TARANA, 15 ***
INVISIBLE
CHILDREN ** 1/2
THE
LAST TRAIN ** 3/4
LE CIRCLE ROUGE *** 1/4
MINE ALONE ***
MONDAYS
IN THE SUN *** 1/4
OASIS
*** 3/4
THE OTHER SIDE OF THE BED ***
OWNING MAHOWNY ***
RESPIRO *** 1/4
THE
SEA *** 1/2
SWEET 16 *** 1/2
THE TURNING GATE ***
WHEN THE CAT'S AWAY *** 1/4
800 BULLETS *** 1/2