2003 AFI Festival and Other Winter Festivals Journal
All film ratings are based on ****
highest (one
for the ages). Foreign films are in red. AFI and Palm Springs festival films are in green.
BON VOYAGE (France d. Jean-Paul
Rappeneau)
France's Academy entry this year is a high budget, scope,
multi-character saga which runs the gamut from drawing room farce to
political thriller. Taking place in the period between the start
of World War II and the collapse of France, it is a throwback to the
classic well made films of Marcel Camus or Réné
Clément, and thus Academy bait of the highest order. I
found it to be hugely entertaining, with especially ingratiating
performances by Virginie Ledoyen and Grégori
Derangère. Isabelle Adjani, however, chews the scenery in
her second role this season (Monsieur Ibrahim
is the other) as movie star monstre sacrée. And Peter
Coyote is amazingly bad as the hiss-worthy villain. In other
words, this film has its negatives. But on balance, I think it
must be considered a favorite for the final 5. *** 1/4
FOREST (Hungary d. Benedek
Fliegauf)
Ugh! The protracted opening scene of people aimlessly
walking through a shopping mall in a dingy, almost colorless digital
transfer accompanied by unnaturally exaggerated sound effects sets the
scene. A man leaves a backpack and the screen goes to white and
we expect a terrorist attack or something monumental. Instead
we're subjected to the ordeal of seven vignettes of unremitting droning
monologues, mostly incoherent. As hard as I tried, my mind just
checked out during almost every one of these scenes, as the camera
wanders around in extremely tight, claustrophobic close-ups of depressed
people telling endless and dull stories from their lives. Then
the film turns around the opening scene and we realize that all these
people we've just seen were brought together in the shopping mall...but
for what purpose? Only the filmmaker knows, and he's not
telling. Ugh. *
DEPENDENCIA SEXUAL (Bolivia d.
Rodrigo
Bellott)
This film has an unusual format. Nicely photographed in 24P
digital, the entire film, with the exception of one scene, is projected
in 1:3.0 ratio, two panel split screen. The two scenes are often
of the same action, sometimes offset timewise, sometimes an entirely
different take of the same action. A gimmick to be sure, and not
an altogether successful one, though it occasionally leads to an
interesting juxtaposition of images. Mostly it is just
unnecessary. Still, despite its format, the film worked for
me. It's an episodic examination of several young people at the
cusp of sexual crisis. The characters cross gender and
socio-economic lines, some are spoiled children of the Bolivian upper
class, some are jocks at an unnamed American university (the film
shifts place and tone midway as if two entirely different filmmakers
were involved). There is significant homoeroticism and sexual
confusion on view, including a graphic rape scene, which is turned into
a poetic performance piece in a deft piece of scripting.
Altogether a powerful and significant film, I think; but not one which
has a chance with this committee. ***
WITNESSES (Croatia d. Vinko
Bresan)
The Croatian Academy submission this year is an ironic, intimate
epic about a war crime incident during the Serbian/Croatian war of
1992. It is very well crafted, with beautifully designed wide
screen compositions, a constantly fluid camera, a throbbing musical
score. The story of the crime is told by repeating the action,
each time from a slightly different point of view while disclosing new
information like the peeling of an onion layer by layer.
Ultimately, I wasn't as moved by the resolution as I should have
been. Maybe the film was just a little bit too overly complex for
its own good. Still, it is a good effort by a fine
director. It has the creds to make the final 5; but I don't think
it will because its stately pacing will turn off more than it
pleases. ***
NICOTINA (Mexico d. Hugo
Rodriguez)
The AFI festival started with a bang for me with this black
comedy about a gang of Mexican and Argentinean cyberthieves who attempt
a caper to trade diamonds for hacked Swiss bank account information
with the Russian mafia which dissolves into a comedy of errors.
The cast was fine, especially notable was Diego Luna as a smart but
bumbling computer hacker and Lucas Crespi, an attractive Argentinean tv
star. There's nothing much original here; but the story develops
well, the pacing is assured; and the use of split screen and stunning
digital camerawork raises the production level well over its modest
$1.8 million budget. This might be this years Nine Queens, a
clever latin caper film which could become a cross-over hit in the U.S.
***
INFERNAL AFFAIRS
(Hong Kong d. Andrew
Lau and Alan Mak)
THE RETURN (Russia d. Andrei
Zvagintsev)
This is a high quality coming-of-age road picture about two
teen-age brothers who go on a camping trip with their father, who has
been away for 12 years. It builds slowly, with increasing menace
and tension and weaves an almost dreamlike spell. This is
admirable filmmaking, almost perfect in execution. It will
probably be one of my choices for the final 5; but seems to have
polarized the Academy audience (I heard a lot of grumbling about the
elliptical story, which leaves much not spelled out). *** 1/2
HAPPY HOUR (USA d. Mike
Bencivenga)
This American indie production has a lot going for it.
It's a riff on the Leaving
Las Vegas theme of the creative man committing slow suicide by
alcohol. The three leads, Anthony LaPaglia, Eric Stolz and
Caroleen Feeney are perfect, the production values high for a low
budget production shot in New York. Still, the story does feel
derivative and predictable. ** 3/4
AFTERLIFE (Scotland d. Alison
Peebles)
A heartfelt, emotional drama about an ambitious Scottish
journalist (nice turn by Kevin McKidd) who has to choose between career
and family. His sister has Down's Syndrome and his mother is ill;
he's a lousy self involved boyfriend, and he's on the trail of a big
story. With a less finely honed script and less interesting
actors this could have been maudlin and manipulative. But somehow
it comes together as a small gem of an audience pleaser. *** 1/4
CONSPIRACY OF SILENCE (Ireland
d. John
Deery)
An interesting contrast to the previous film. This
wide screen Irish film was made with 10 times the budget and every bit
as much filmmaker passion. Yet it comes off as more anti-Catholic
church polemic than realistic drama. Too bad, because there is
possibly a good film buried here. But it was all too obvious and
message driven to work for me. **
Sorry to say, due to time
constraints this week (a relatively heavy work schedule, a hugely
important tennis match all week on tv, other distractions) I'm going to
be minimalist in my AFI festival comments. I'd just like to add
that the festival so far has been incredibly well run...almost every
film so far has had a Q&A with the director and/or cast present,
and the scheduling is designed to minimize lines in the hall and allow
one to stick around for the Q&A and still not miss the next
film...which is on the same floor of the Arclight in any case.
The theater, once again, is a superb venue for a festival with some of
the best technical facilities in town.
DOLLS (Japan d. Takeshi Kitano)
This film went right over my head. Right from the start, with a
performance by Japanese puppet performers, I was bored. I was
left with only the gorgeous photography to appreciate, as the story, an
extended metaphor about three sets of poor wretches who suffer from
regret for things that might have been, didn't work for me. I
usually enjoy the films of "Beat" Takeshi, and the one sequence that
really worked for me was a traditional Kitano scene of a gangster
massacre. But that stuck out like a sore thumb in a film
otherwise filled with longeurs. **
THE MIRACLE OF BERNE (Germany
d. Sonke
Wortmann)
This is a heartfelt, uplifting crowd-pleaser about a troubled family
swept up in the drama of the German World Cup victory in 1954.
I'm not a soccer fan, but here the game was well portrayed and for the
first time maybe ever I was involved in the game itself. The
family story also worked to some extent. This is solid popular
filmmaking...nothing flashy, but pressing the right buttons. **
3/4
THE BIG EMPTY (USA d. Steve
Anderson)
A genre film which confusingly mixed genres. It starts out as a
standard black comedy noir and develops into a low budget Close Encounters.
It has an interesting cast of oddball character actors, including Jon
Gries, Kelsey Grammer, Bud Cort, Sean Bean, Daryl Hannah, Joey Lauren
Adams and Rachael Lee Cook. And Jon Favreau does his good natured
schlub lead with a certain comic panache which almost carries the
film. But ultimately the entire project is a waste of talent, and
the film is going nowhere in today's market. **
KILL ME TENDER (Spain d. Ramon de
España)
This is a sexy Spanish black comedy by a first time director that
simply works. Reminiscent of another Spanish sexy farce, KM. 0 (and
sharing at least one actor, the superb Alberto San Juan), the film is a
funny, fast moving and clever romp through various social strata in
Catalonia (from the S&M prostitution underground to the bourgeoisie
shopkeepers). Hopefully this entertaining film will find an
appreciative audience. ***
THE COAST GUARD (Korea d. Kim Ki-duk)
Not much to say about this film. The Coast Guard in Korea
literally guards the coast line from incursions by North Korean
spies. These soldiers have shoot-to-kill orders. When one
of the gung-ho soldiers kills an errant drunken townie who was screwing
his girlfriend on the beach (against common sense and explicit
precautions), the soldier goes nuts as does the girlfriend. The
filmmaking pretty straightforward and the acting is embarrassingly
over-the-top. I guess the film was meant to be an indictment of
the Coast Guard's policies, or perhaps a plea for re-unification.
In either case the film simply doesn't work for a foreign
audience. * 3/4
IN THE CITY (Spain d. Cesc Gay)
I really liked this filmmakers previous film, Krampack, so
this was one of the must sees of the week. Unfortunately there is
very little here of the youthful vigor and high spirits which made that
film so fun to watch. This is an ensemble piece about a group of
Barcelona friends, couples, all of whom are having marital fidelity
issues. None of the characters was particularly engaging, so for
the first half of the film I was bored. Then, and I'm not exactly
sure why, the characters suddenly clicked for me...I got interested in
them and their problems. But, from talking to others, I may be
the only person in the audience who felt that way. Anyway, a
pretty average low energy film for a promising filmmaker. ** 1/2
CONDOR:
AXIS OF EVIL (France, documentary d. Rodrigo Vazquez)
Because the film I was originally scheduled to see in this slot
was canceled, I had no easy replacement which would allow me to catch
the final screening of the next film. So, against my better
judgment, I watched this politically charged French documentary.
The film documents Operation Condor, a cooperative effort by repressive
regimes in Chile, Argentina, Paraguay, Uruguay and Brazil to control
the leftist terrorism of the '70s through "disappearances". The
film makes a great effort to show how Dr. Kissinger, then the U.S.
secretary of state, was a party to this operation...but frankly if
there was a "smoking gun" there I missed it. As a documentary it
was all over the place; but poorly structured to make any points.
Frankly, I think the filmmakers blew it, even though they had documents
which added up to good ammunition. But the presentation was so
scattered and confusing that it failed to make its point. **
SPIN (USA d.
James Redford)
The day was redeemed by this really fine first film by Robert
Redford's son, who wrote the screenplay and directed the film with a
good eye, a great cast, and the instincts of a future "auteur".
Basically this is a coming-of-age story set in the '50s, about a boy
whose parents were killed in a private plane accident and who is raised
by a Mexican family on his absentee uncle's Arizona ranch. Ryan
Merriman fulfills his promise from his tv work (including one of the
most convincing roles in Taken.) And I
was very impressed by the young Paula Garces as his Mexicana love
interest. There is some extraordinary flight footage...in fact
the look and feel of the film is quite special for a low budget
indie. Getting the '50s right is more than haircuts and vintage
automobiles. And the young Redford nails it. This is the
kind of film which brings the excitement of discovery back to the
festival. *** 1/4
TWO FRIENDS (Italy d. Spiro Scimone,
Francesco Sframeli)
The two friends are roommates, one a secret mafia hit man
neat freak, the other an ordinary joe who has developed an industrial
lung disease from his factory job. The film is a slice of their
more or less boring, ordinary lives, done in an annoyingly slow and
droning style. I suppose the film works as a weird character
study; but I was never engaged by the characters or their activities,
and bored. **
ANGST
(Germany d. Oskar Roehler)
A difficult film to watch. A drama about a married couple tearing
each
other apart from their individual neuroses. I was so turned off
by the
shrieking and fighting that my attention wandered and I checked out of
the film (but didn't walk out, for some unknown reason). Then,
with maybe 1/2 hour to go I got sucked into these characters' lives and
started to relate to the film. I'm glad I stayed, because a
couple of really remarkable performances gradually unfolded. It
still is a difficult film, rather like watching a train wreck, and I
feel creepy and somehow sullied having watched these characters live
out their angst on screen. ** 1/2
AN ALMOST ORDINARY STORY
(Serbia/Montenegro d. Milos Petricic)
A pleasant enough romantic comedy about a young couple who meet
cute, enter a relationship and then have it stall awaiting mutual
commitment. The film is steeped in American cultural references,
though the sub-titles were the worst I've ever seen (every title had a
misspelling, which was distracting). The actors were attractive
and interesting, and the film did manage to create a spell similar to
the comedies of Nora Ephron, which this film shamelessly japed.
** 3/4
GOODBYE DRAGON INN (Taiwan d.
Tsai
Ming-Liang)
I've always admired Tsai for his mordant wit, despite his
tendency to occasionally go over the top with 5 minute crying
jags. However in this movie he definitely goes under the bottom
to create a formal exercise in obfuscation and audience bashing (though
a remarkable number of the Academy audience stuck it out to the end and
were rewarded by...well, nothing much in the way of payoff.) I'm
not sure what I was watching, just that the film was a series of
endless, stationary camera takes of unitary action (or a screen
entirely absent of action) about a seedy movie theater playing an old
Chinese epic to a very strange audience. At times I was reminded
of the recent Porn
Theater, the theater as gay cruising space, though I'm not at
all sure that was the intention of the filmmaker, since typically,
nothing happens. Then I thought it might be a straightforward
ghost story about a haunted movie theater. I guess narrative is
beside the point in this film. The weird thing is that I was
never bored watching the film, even though it broke all my rules.
Tsai has managed to create images and a soundscape of such beauty and
strangeness that they carried me through the longeurs of inactivity
within the frame. Of course most committee members were not in
the mood to enjoy the joke. I heard more than one grumble to the
effect that the submission of this film was an insult to the
Academy. Oh, well. ***
SLEEPLESS NIGHTS (Egypt d.
Hany
Khalifa)
A film which proves that Egypt has whiny yuppies just like the
developed countries. It's a fluffy, romantic comedy cum soap
opera about four bourgeois couples, three married, one not, and their
simultaneous relationship problems. It's nice enough as far as it
goes. The actors are attractive, the story works, even though it
is all very predictable. Altogether pretty light stuff, and not
original enough or good enough to merit a nomination. ** 1/2
THE RAGE IN PLACID LAKE
(Australia d.
Tony McNamara)
Ben Lee (a singer/songwriter currently living in New York) plays
a boy raised unconventionally by free-thinking parents (mom is the
great Miranda Richardson) who desires more than anything to conform to
contemporary Australian morés. This is a witty, bitingly
satiric coming-of-age story in the same vein as Rushmore, with
a lead character fully as strange and engaging as in that film.
There's nothing particularly groundbreaking here, the film develops
fairly predictably. It's just a solid entertainment and a
breakthrough for Mr. Lee (the song he wrote and sang over the end
credits proves him to be a major talent to watch.) *** 1/4
PUPENDO (Czech Republic d. Jan Hrebejk)
This digitally shot film is a light hearted drama of life in
Czechoslovakia during the '80s when the Communist regime was still in
power and feared, but was failing to engage the intelligencia. It
centers around an out-of-favor sculptor, his family and the family of a
low-level Communist high school principal. It is one of those
sprawling, amiable slice-of-life films which create an interesting
world of characters without a strong narrative thread. ** 3/4
A LITTLE BIT OF FREEDOM
(Germany d.
Yueksel Yavuz)
An absolute gem, my favorite film of the festival so far.
It's a stunningly well played and well directed (with a documentarian
eye) story about a 19 or so Turkish Kurd boy, orphaned by events during
the recent terrors, who is residing without papers in the St. Pauli
area of Hamburg. The boy may be gay...in any case he befriends
another illegal boy, an African refugee who definitely is gay.
Their passage through the times of the film reminded me of The 400 Blows in
terms of its style and impact. Which puts this film in rare
company for me...one of my all-time favorites. There have been a
spate of films recently about the plight of illegal refugees around the
world. This is one of the best of them! *** 3/4
ROSENSTRASSE (Germany d. Margarethe
von Trotta)
I'm something of a Holocaust film fan. I don't think it
has anything to do with being Jewish and of a certain age.
Rather, the dramas engendered by this social trauma usually involve and
move me emotionally...something I actively seek in films. This
film is about the real event in 1943 where Jewish spouses of Aryan
Germans, who had formerly been spared from arrest and deportation, were
rounded up and secluded in a former synagogue on Rosenstrasse in
Berlin. The film centers on the Aryan spouses, mostly wives, who
sat vigil outside of the makeshift prison for days on end. As
long as the film centers on this story it works. But there is an
additional modern-day story of a survivor of this era, who had
been an 8 year old orphaned girl at the time and is now an embittered
elderly lady living in New York. Her daughter visits Berlin and
learns about things about which her mother has stayed silent all these
years. This plot device is labored and for me, at least, didn't
work. The two unequal strands just don't cohere; and there are a
lot of loose ends and no emotional payoff. Too bad. ** 1/2
THINK IT OVER (Greece d.
Katerina
Evangelakou)
This is a story of a mother with three daughters and a number of
fluid relationships which occur over several years. It is told in
multiple flashbacks which are extremely confusing since the filmmaker
makes no attempt to separate the various time-lines and the audience is
disoriented most of the film. The story is faintly reminiscent of
Checkov lite, however it is so poorly written and structured that it is
hard to care about anything that happens. *
LAST LIFE IN
THE UNIVERSE (Thailand d.
Pen-ek Ratanaruang)
I disliked Monrak
Transistor, the director's previous effort, so I had low
expectations for this film and was prepared to leave early to catch an
important tennis match on tv. But right from the start this film
sucked me into its absurdist world; and nothing could have budged me
from my seat. This is a thriller black comedy about a suicidal
young Japanese man living in Bangkok, who probably has ties with the
Yakusa, who gets involved in a gang war and escapes to the country with
a Thai B-girl. Trying to keep spoiler free with this movie is
difficult, as the plot hinges on a number of clever developments.
But as intricate as it is, it all worked for me. Brilliant
filmmaking, too, with a dynamite musical score and some gorgeous
photography. One scene especially stands out, a rapturous fantasy
of cleaning house which literally made my heart soar it was so
brilliantly conceived. I doubt I'll see a more satisfying film in
this competition. *** 1/2
UM FILME FALADO (Portugal d. Manoel
de
Oliveira)
Oliveira's previous Academy submission I'm Going Home was
a beautifully done meditation on aging. But the current film is
more a talky travelogue than narrative film. While it was never
boring, it also never quite worked as a film, either. It's the
story of a high-school history teacher who is taking her young daughter
on a cruise through the Mediterranean from Portugal to India.
They visit various ports of call and the mother tells stories about
each place to her daughter. So far so good. Then the film
devolves into a meditation on language and feminism as the ship's
captain (played by John Malkovich) has at Captain's table three
extraordinary women all from different countries (Irene Papas,
Stephania Sandrelli and Catherine Deneuve) and they talk endlessly each
in their own language. The film simply comes to a crashing halt
at this point and never recovers. **
KING OF
THIEVES (Slovakia d. Ivan
Fila)
This is a high energy, exciting film about a Fagan type circus
owner in Berlin who buys kids from their Eastern Euro parents and turns
them into thieves and prostitutes. The eponymous "king" is a 10
year old boy recruited in the Ukraine, a highly skilled acrobat (where
did they find this
incredibly talented kid?). The drama is propulsive, occasionally
over-the-top, but in a good way. The film has fine production
values, and cannot be discounted for the finals, though it remains a
long shot. *** 1/4
BUDDY
(Norway d. Marten Tyldum)
Three zany, neurotic roommates, one of whom is a compulsive
video maker. Their antics, a video journal, are made part of a
local tv show. It's a solidly entertaining buddy comedy.
The lead actor, Nicolai Cleve Broch has an attractive and interesting
persona. ***
WOLFSBURG
(Germany d. Christian
Petzold)
Benno Fürmann does a star turn in this drama about a man who makes
a fatal error and tries to cover it up. It's a fine script with a
good deal of suspense, though ultimately a downer. ***
INHERITANCE
(Denmark d. Per Fly)
This is a drama about a wealthy family (steel fabrication) where
the father commits suicide having covered up losses, and the prodigal
son who has gone to Sweden to do his own thing is forced by family
dynamics to return and take over the business and become the innately
ruthless businessman that he had tried so hard to escape. It's an
intimate portrait of a man torn between fate and happiness, and the
ubiquitous Danish actor Ulrich Tomsen (who played a similar role in Festen,) is
again superb here. *** 1/4
TWO DAYS
(USA d. Sean McGinly)
Paul Rudd plays a 30-something actor who has stopped getting casting
calls and decides to have friends produce a documentary video of him
actually committing suicide. The film has a fine cast of familiar
faces (though few real name actors), and is shot half as a mocumentary
and half with an omniscient camera showing things that the documentary
couldn't show. This is an iffy way to make a film; but here it
works because the script is really clever and the casting throughout is
just about perfect. I can't see much commercial potential for
this film, which is too bad as it is a really entertaining and clever
film. *** 1/4
KITCHEN STORIES (Norway d. Brent Hamer)
This film is a gentle and wry satire about a Swedish scientific
efficiency study of the kitchen habits of single men in a Norwegian
village circa the '60s or '70s. It's a minimalist effort,
centering around one gruff elderly gentleman and how his supposedly
non-involved studier inevitably gets involved in his life. I have
a feeling that there is more than a little making fun of the Swedes
here that goes over the head of an American audience. Still, the
story was a diverting enough affirmation of human nature, though it
lacks the gravitas to make the final 5. ** 3/4
SPRING, SUMMER, FALL, WINTER...AND
SPRING (Korea d. Kim Ki-duk)
This is an example of a film which ought to be in the running, Korea's second outstanding film in a row (like last year's Oasis).
Essentially it is a mildly supernatural fable about a young Buddhist
monk who grows to manhood, the sole acolyte of an elderly holy
man living on a floating temple on a remote mountain lake. It's
more than a coming of age story, however, as it shows an entire life
cycle from beginning to end to renewal. The photography is
phenomenally beautiful, the acting superb, the filmmaking rising to
greatness in the simplicity of the mis-en-scene. I just have the
feeling that the film failed to connect with the committee as it should
have...I hope I'm wrong and that this film is a serious
contender. *** 1/2
PAPER DOVE (Peru d. Fabrizio
Aguilar)
Taking advantage of its gorgeous Andean setting, Paper Dove
looks great. Like last year's Algerian film, it is ultimately the
story of how terrorism devastates a small rural village, only this time
we're seeing it happen through the eyes of an 11 year old boy, Juan
(excellent, natural actor Antonio Callirgos), whose life is changed
when he's kidnapped by a Communist cell and forced by threat to his
mother's life, to train as a terrorist. The film's politics did
seem a tad naïve, and even somewhat annoying in the comfort of a
Beverly Hills theater. But there was a lot of truth here, and I
found the film to be moving and life affirming. I doubt the
committee shares my view, I heard lots of disparaging remarks. ***
FREE RADICALS (Austria d.
Barbara Albert)
I'm somewhat at a loss as to how to categorize this film. It is
ostensibly a year in the life of a group of mostly unsympathetic
characters, loosely connected by tenuous strands of relationship, whose
lives seem to be ruled by capricious fate. The writing and
editing were confusing...it seemed as if most scenes (with the
exception of several interminable sex scenes) were cut off short of
their resolution. The film seemed to be going someplace and never
arrived. Yet...yet...the film was very well directed, the visuals
and characters haunting to a surprising degree. And the film
featured worldwide familiar, totemic songs (for example "Take On Me")
which affected me in a strangely powerful way. The film didn't
seem to go over well with the committee; but for my money, as
unsatisfying as
the story was, the film was still the work of a director whose best
work is ahead of her. ** 3/4
THE BARBARIAN INVASIONS (Canada
d. Denys Arcand)
I watched this for a second time at a studio screening, and the film
was definitely worth a second look. There is something immensely
satisfying about this sequel to The Decline of the American Empire,
even if my memory of that film has faded a bit. Maybe it is just
that I am of a similar age to these characters; but I do feel a
relationship to them somehow. I'm almost certain that this film
will make the final five. It is literate, moving, relevant,
beautiful...all the earmarks of success with this committee.
Anyway, one can only hope... *** 1/2
THE PROFESSIONAL (Yugoslavia d. Dusan
Kovacevic)
I'm not exactly sure why, but the Balkan politics just don't interest
me very much. This film tells the story of a former Serbian
secret policeman who has for years had an obsession with observing the
life of a radical academic, a revolutionary who is now a powerful
industrialist. The film is a semi-farcial encounter of the two of
them where the secret policeman discloses to his prey what has been
real for the past 15 years or so. Sometimes amusing, sometimes
informative, the film still failed to engage me since the politics went
over my head. ** 1/4
DIVINE INTERVENTION (Palestine d. Elia
Suleiman)
This film is a mess of metaphors, a few too many. I guess it is a
black comedy of sorts, though remarkably unfunny. Ostensibly
about a Palestinian man whose life is torn between an unconsummated
affair and a weird family situation, honestly I couldn't understand or
relate to much of what happens. The film has some visually
interesting fantasy sequences with, I suppose, political implications;
but I simply wasn't engaged enough to try to figure out what was
happening. **
SEA OF SILENCE (Belgium d. Stijn
Coninx)
A straightforward narrative about a dysfunctional Flemish farming
family, from the point of view of the middle daughter of 5 kids with
one on the way. The father is a binge drinker, and the drama
revolves around the family coping with that problem. The film is
pretty average, though the acting and scenario are realistic and
somewhat involving. ** 1/2
I ALWAYS WANTED TO BE A SAINT
(Luxembourg d. Genevieve Mersch)
Marie Kramer is outstanding as a girl approaching womanhood whose
mother had deserted her family when she was quite young, and who needs
to find out why or wig out. This is a pretty well done coming of
age story, and I think the committee overall was impressed.
Probably not enough to break through to the final five; but this one
has a chance. ** 3/4
DISTANT (Turkey d. Nuri Bilge Ceylan)
Two men from a small village room together in Istanbul. One is
established with a well paying job as a technical photographer; the
younger man is newly arrived in the big city trying to find a
job. They have an odd couple relationship, sort of reminiscent of
Felix and Oscar, only without Neil Simon's comic spin. This is an
excellent film which was probably too subtle and introspective for this
crowd. Too bad, because there was a lot to admire here,
especially the long, subtly revealing takes and the way the director
splits the screen, playing with focus, with foreground and background
separated, reminiscent of the style of another master with the camera,
Hou hsaio-hsien. ***
THE STORY OF THE WEEPING CAMEL
(Mongolia d. Byambasuren Davaa)
It is hard to figure out whether this is a documentary about an
adorable family of Mongolian herdsmen with a "found" story line (of a
baby camel rejected by its mother), or a scripted film. That is
indication enough of how well the film works. Either way, I think
the Academy audience ate it up, and there is some history of films like
this getting nominated (Himalaya from 2000 springs to mind.) However, the committee has also passed on similar and arguably better rustic efforts (e.g. The Fast Runner),
so it is hard to say if this one has the legs to make the final
5. In any case, much love was given to the film, and it has to be
considered in the running. ***
NINA'S TRAGEDIES (Israel d. Savi
Gavison)
Once again, I really liked an Israeli film which failed to engage most
of the committee to the same extent. This film is a coming-of-age
story of a 14 year old boy from a dysfunctional family who is obsessed
by his pretty aunt to the point of becoming a peeping tom. His
diary, which provides the narrative framework for the film, falls into
unsympathetic hands. I empathized with the boy, which made
a difference, I guess. No chance for a nomination; but this film,
which is part farce, part well-observed family dynamic, worked for
me. ***
SANGRADOR (Venezuela d. Leonardo
Henriquez)
The less said about this Macbeth adaptation among Andean bandits the
better. Despite some beautiful B&W images which occasionally
brought pale comparison to Kurosawa's Throne of Blood, this poorly scripted and dismally over-acted film failed on every level. * 1/2
I'M NOT SCARED (Italy d. Gabriele
Salvatores)
Gloriously photographed among scenes of lush southern Italian wheat
fields, this intimate wide-screen film is the story of a 10 year old
boy who stumbles onto a 1978 kidnapping plot by his family and
neighbors. The naturalistic acting was superb, especially the two
youths who played discoverer and victim. This was definitely an
easy film to watch and identify with. Still, I suspect that the
simple story will not set this film apart enought to qualify it for the
final 5. But it is in contention. ***
Watched again in March, 2010. It took a couple of scenes for me
to recall that I'd seen this film before. However, maybe with the
passage of time this film looks even more stunning to me and plays more
emotionally resonant than it did back in 2003. In the context of
the four Salvatores films I've seen at the Italian film festival this
year, I must raise my previous rating upward at least 1/4 star and it
probably deserves a rating of *** 1/2.
VALENTIN (Argentina d. Alejandro
Agresti)
Valentin is an enormously charming 8 year old boy who is old and
wise for his age. He lives with is grandmother (the always
luminous Carmen Maura) because his father is an irresponsible lothario
and his mother has been forced for reasons beyond his knowledge to
desert him. He is the narrator and writer's voice of the film;
and as played by slightly cross-eyed actor Rodrigo Noya he is one of
the best kid characterizations in cinema. This is no Kolya,
where the cute kid plays on the audience's sympathy by being better
than the adults. Rather there is a certain transformative tragedy
to this story. I liked this film a lot, and although it is a
long-shot it is definitely one of my choices for the top 5 and I think
many on the committee agree. *** 1/2
GOOD BYE, LENIN! (Germany d. Wolfgang
Becker)
Daniel Brühl, with his babyface and innately sympathetic
persona, was interesting enough to rate a mention in my reviews of two
of his previous films, No Regrets and Vaya Con Dios.
Once again he shines in this beautifully realized satire about the fall
of the Wall and the re-unification of the two Germanys. Many of
the jokes were undoubtedly in-jokes for Germans; but enough were
universal to make the film feel fresh and unique. Going in, I
knew this film had a real chance for a nomination, and the screening
didn't disappoint. It remains to be seen if this committee is hip
enough politically to appreciate the deftness of the writing. ***
1/4
ARO TOLBUKHIN (IN THE MIND OF A
KILLER) (Mexico d. Agustin Villaronga et al) [ALREADY SEEN - See link]
JOURNEY TO JERUSALEM (Bulgaria d. Ivan
Nichev)
Vaguely a Holocaust film, about two young orphaned German
children trying to escape to Palestine in 1940, and how they are helped
by a troupe of Armenian/Bulgarian players when their journey is stalled
in Sophia, Bulgaria when their uncle dies on the train. The story
was strong, if predictable. However the acting overall was pretty
mediocre (especially the little girl whose monotone whine was really
annoying), with the exception of the luminous Elena Petrova who is
strikingly beautiful and with any luck a future international
star. Too many inexplicable walkouts to have a chance. I
wasn't even close to getting bored as I felt the story was really
working for me. ** 3/4
SUITE HABANA (Cuba d. Fernando Perez)
This year's Hukkle,
a documentary (or possibly a docudrama) about 24 hours of the intercut
quotidian lives of several ordinary Havanans set to a great soundtrack
of music and sound effects. Not much narrative; but the
filmmaking was of a high enough quality, well photographed and innately
interesting, that the film never was boring. Still, it's a hard
sell in this crowd and despite some interesting people
(standouts: a delightfully up-beat 10 year old Downs Syndrome
child and his father, a 20 year old boy who works construction days to
support his family and dances ballet at night, a drag entertainer, a
man leaving for the U.S., several old people living quiet lives), the
film is another hard sell with virtually no chance for a
nomination. ** 3/4
WARRIORS OF HEAVEN AND EARTH (China d.
He Ping)
China's entry this year is a wide-screen historical battle epic
reminiscent of some of the works of Akira Kurosawa, for instance Ran and Seven Samurai,
or maybe even more appropos, it is a Lo Mein Eastern, sort of like the
Spaghetti Westerns of Sergio Leone. Three strong warriors are
involved in a complex plot which at various times pits them against
each other. The film is quite striking to watch, with huge desert
vistas reminiscent of the American west. The action is fast and
furious (though I was a little confused by the set-up and it took a
while for me to become involved with the characters, and too much of
the fighting is done in extreme close-up with cuts which are too fast
to be coherent.) The real flaw, and it is a fatal one I think, is
the overly spiritual deus ex machina culmination
which ruins any semblance of reality of the plot. Still, it is a
strong film, though a real longshot to make the final five since it is
pretty cold emotionally. ***
MUNA MADAN (Nepal d. Gyanendra Bahadur
Deuja)
It would be churlish to dwell on the shortcomings of this
technically inept film about a poor but noble family being driven from
its home by an evil moneylender. Countries make their submissions
with the reasonable expectation that the Academy will treat their
entries with respect; but this film challenged us to stay through its 2
3/4 hours with intermission. I wasn't up to the task. WO
NOI THE ALBINO (Iceland d. Kagur Kari)
Usually I am bowled over by Icelandic films. Year after
year they present to the Academy a national cinema which is underrated,
shining through the bleakness of their wintery terrain. This year
their film was just bleak, though quite interesting for all that.
It's the coming of age story of Noi, a small town under-achiever
teenager who needs to escape his stultifying family and town to find
himself. It is slow going; but the quirky performance of the lead
actor, Tomas Lemarquis, gives the film a resonance that the script
denies. For once, Iceland isn't one of my top five, and this one
is a hard sell here. ***
SOLDANOS DE SALAMINA (Spain d. David
Trueba)
The always interesting Ariadna Gil plays a once promising novelist
whose writer's block is alleviated when, during a journalistic
assignment, she stumbles upon an obscure incident during the final days
of the Spanish Civil War. It provides an enigma for her to obsess on
and take her mind off of her own loveless and blocked life. I
found the film slow going at first. Even Diego Luna, in a brief
cameo as Gil's young student who has a crush on her, couldn't spark my
interest, though Maria Botto provides a blast of energy as a Spanish
lesbian version of Miss Cleo who brings spice into our heroine's
life. Then the pieces of the puzzle begin to fall in place and
the film builds to a remarkable ending with an astoundingly resonant
performance by Catalan actor Joan Dalmau as a grizzled Spanish War
veteran with a clear eye for what happened then. Will this
committee be able to get to the kernal of truth here obscured by the
blurry details of a war which is hard to relate to? Probably not;
but this is ultimately a very strong film. *** 1/4
DEEP BREATH (Iran d. Parviz
Shahbazi)
Iran's submission this year is a departure for that
country. This is a film about disaffected college students who
steal cars, drop out, use drugs, generally are in revolt against their
families and traditions. And it isn't purely a cautionary tale,
either, although there is some of that. This film could almost be
about modern American kids, it was so secular and contemporary.
The actors were attractive, the story involving (though the ambiguous
ending seemed like a copout). It's a youthful version of A Taste of Cherry
with the energy level kicked up. Still, the total wasn't as good as the
sum of its parts for me. The film didn't seem to go over well
with this audience at all. ** 1/2
MANSION BY THE SEA (Sri Lanka d.
Lester James Peries)
Like the inept Napalese submission, this is a film about a family
driven from their home by the economics of change. In this case a
once rich, now decimated by tragedy, upper class family can no longer
meet the mortgage payments on their mansion. Unlike the Nepalese
submission, this film was competently made, although the overly potted
sound effects follying caused some audience titters. Still, the
film was too slow paced, the acting too broad to work with this
audience. Too bad, because the film was beautifully photographed,
and the story actually had a degree of pathos which held my interest to
the end. * 1/2
THE KITE (Lebanon d. Randa Chahal
Sabbag)
The Lebanese film this year is a bittersweet comedy set square amidst
the Israeli-Lebanon border strife. Israel has annexed a town
where the arranged betrothed of a 16 year old girl lives. But
Lamia (the beautiful young actress, Flavia Béchara) lives on the
Lebanon side, is an independant sort, and has never actually met her
husband-to-be. People in the two Arab towns communicate by long
distance using megaphones, so everything about the negotiations for her
marriage is very public. There are some lovely things here...a
set piece when the bride makes the long walk between towns dressed in
her billowing bridal outfit is a striking visual. And the
background of a border splitting families is fascinating. The
Israelis are not stock villains here. One border Israeli Arab
soldier is even drawn sympathetically as the off-center hero of the
piece. But the story depends too much on metaphor (e.g. the kite)
and magical realism for my tastes. Nice enough film, but no
chance for a nomination. ** 3/4
ZELARY (Czech Republic d. Ondrej
Trojan)
The Czech Republic film, on the other hand, is a definite
contender. Zelary is a small, rural village set in the most
picturesque mountains one can imagine. It is also relatively free
from the bad effects of the German occupation in 1943, and a young
nurse (played beautifully by the luminous actress, Ana Geislerova) is
sent there when her resistance cell is broken by the Gestapo.
She's a city girl, a fish out of water; but she has to adjust to living
in this rustic place and get along with an older man (a fine, subtle
performance by Gyorgy Cserhalmi) who is her protector. This is a
superb film, beautifully shot and directed, and the relatively large
cast are all excellent. The 2 1/2 hours fly by, a WWII epic in
microcosm. It just may have the goods to go all the way.
*** 1/2
MAMAY (Ukraine d. Oles Sanin)
I can't say much about this film since I fought sleep throughout and didn't understand anything
that was happening. I suppose it is a Cossack epic set in the
past where the Tatars are sweeping over the steppes. And
truthfully, the film is incredibly well photographed, with striking
visual after striking visual ...but no coherent narrative underpinning
to keep it together. The result is pure pretention, meaningless
living tableaux. Still, the strenght of the imagery was strong
enough to provide some interest. * 1/4
THE TWILIGHT SAMURAI (Japan d.
Yoji Yamada)
Japan's film, an intimate, emotionally resonant, beautifully wrought
story set in a small village at the dawn of the Meiji period (same era
as Ed Zwick's The Last Samurai),
is the most satisfying film of the competition so far. Hiroyuki
Sanada gives an Oscar worthy performance as a petty samurai whose life
is beset with troubles and who would rather be a farmer than a member
of the samurai privileged class. If this is not one of the final
5 (and anything can happen), then a true injustice has been done.
****
RECONSTRUCTION (Denmark d. Christoffer
Boe)
I've always liked the Danish actor Nikolaj Lie Kaas; but here he is
miscast as a sophisticated lover having an affair with two women.
The film is a complex, wide screen (though digitally shot in a super
grainy way) experimental type story. The characters seem to be
mercilessly manipulated, though it isn't clear until the end why.
One has to respect the Pirandelloesque script, and certainly the
direction is interesting and avant guard enough. But on the
whole, the film just seemed unnecessarily confusing and
pretentious. Still, a noble effort wasted on this crowd. **
3/4.
PORNOGRAFIA (Poland d. Jan Jakub
Kolski)
Someone else will have to give a coherent description of this
film. I slept through part of the mid-section, and I simply could
not understand the motivations of the characters or care about
them. The setting of the film is once again WWII, 1943, this time
in the Polish countryside on a farm where a variety of characters come
together. It starts out like a pastoral Les Regles de Jeux,
but goes nowhere. People do their thing, blood is spilled, it's
all very picturesque. It should have worked; but the motivations
were so murky that the film just became tedious and impossible to make
sense of. Go figure. Anyway, I can't see a nomination
here. **
THE STRINGLESS VIOLIN (Indonesia d.
Sekar Ayu Asmara)
The southeast Asian films haven't been going over well with the
Academy this year. This, like the Sri Lankan film, is apparently
getting a worse rap from this audience than it deserves. Yes,
it's an overamped melodrama about a woman whose past abortion has
pushed her over the edge as she becomes obsessed with the care of
physically challenged child cast-offs. One in particular is a
brain damaged and autistic 8 year old with the physical appearance of a
2 year old (played winningly and seamlessly by the child actor Dicky
Lebrianto, whose naturalistic performance puts the adult actors and
their overly emotive line readings to shame.) Adding to the
film's negatives are poor digital photography and pedestrian
direction. However, for all the negatives, there is still an
involving love story here: the woman for the child, and a
sensitive musician (a quite attractive actor, Nicholas Saputra) who
falls in love with both the woman and the child. I was moved by
the story; but from listening to others at the screening, I was one of
the few who was. **
FUSE (Bosnia Herzegovina d. Pjer Zalica)
This is another satire about the Serbian-Bosnian conflict, this one
taking place after the finish of the fighting and all about the
reconciliation. It centers around a visit to the area by
President Clinton; but the story features a group of people who still
have to come to grips with the realities of the new world order of
Bosnian statehood. Balkan politics are hard for an American
audience to grasp, as the ethnic conflict is social and religious and
has had centuries to simmer. So a lot of this film went over my
head. But the characters were well defined, and the action
interesting enough to sustain interest. Nothing great...this is
certainly not this year's No Man's Land. But a solid effort which is destined to be an also-ran. ** 3/4
SPARE PARTS (Slovenia d. Damjan
Kozole)
The last two years I've missed the Slovenian films because of
illness. This year I remained healthy, not that I'd have missed
anything vital. This is another of a virtual spate of films about
the plight of third world refugees trying to reach sanctuary in the
developed countries. It centers on two men, one experienced,
another his apprentice, who are part of a gang who smuggle refugees
from Croatia through Slovenia to the Italian border. Very much
like the German film Lichter,
the focus is more on the smugglers than those victims of circumstance
who are trying to be smuggled. This is a fairly well made,
involving film which just failed to engage me enough to raise it to the
next level. ** 1/2
LOS DEBUTANTES (Chile d. Andres
Waissbluth)
This was an extraordinary film which apparently failed with the
committee as a whole (many walk-outs), but one which I found gripping
and memorable. The film is an end-of-innocence melodrama about
two brothers from the sticks of south Chile who move to Santiago.
The younger one is still in high school, and on his 17th birthday, his
24 year old brother takes him to a porno bar to get laid, which leads
them to become involved in the porn and prostitution business and the
evil boss who runs it. This is a multi-level story which follows
three points of view, going back in the past three times uncovering
additional details with each iteration...a structure exactly borrowed
from the English film, The Lawless Heart.
The acting is fine, especially a luminous performance from Antonella
Rios as the gang boss's sexy and talented mistress who entices both
brothers. There's plenty of sex and nudity; but none of it seems
gratuitous. Still, too NC-17 for the Academy, I think. ***
THE FIRST NIGHT (Columbia d. Luis
Alberto Restrepo)
This is a dour drama about a family from a rural area of
Columbia in the midst of a guerilla rebellion, and how two of them (and
two small children) are forced after a disaster to travel pennyless to
Bagota and live on the streets. Reasonably well made, if somewhat
over acted at times, it held my interest; but this is a minor effort
which isn't going to progress in this competition. ** 1/2
EVIL (Sweden d.Mikael
Hafström)
Andreas Wilson makes a bid for future stardom in a charismatic turn as
a Swedish high schooler expelled from public school for fighting (this
is in the mid '50s), whose abusive step-father and weak mother send him
to a top boarding school for rich kids. The school is operating
under a sadistic code where the upper form students pass down to the
younger student their own abuse when they were in turn the
youngsters. Thus this film follows in a tradition of English
boarding school stories (e.g. If...), or sadistic school stories (e.g. Lords of Discipline)
where the inmates run the asylum. But this film is more than
that; it is an effective coming of age story about a lost boy who finds
himself under severe pressure. I thought it worked very well, and
the film has a chance to make the final five, though I'm sure that many
were turned off by the sadism. *** 1/2
I'm skipping Thursday's Academy
screening in order to watch 3 films that I really want to see at the
Palm Springs International Film Festival. I'll review those three
films here.
VODKA LEMON (Armenia d. Hiner Saleem)
The festival was a complete
success for me. The venues are more than adequate (and the new
Signature theater is top flight with incredibly comfortable leather
seats and stadium seating.) The people in line were
friendly and film-savvy; and I struck up many interesting
conversations. I only wish this festival did not conflict with
the Academy screenings, or I'd be so there every year with a full
series pass!
FATHER & SONS (PÈRE ET FILS) (d. Michael Boujenah)
This
is a French comedy with some heavyweight actors, adding up to a highly
satisfactory film. It's a wide screen road movie about a
dysfunctional family where the father is trying to get his three
feuding sons to reconsile by pretending to be ill and emotionally
blackmailing them to accompany him on a "last" trip to Quebec.
This is an audience pleaser above all; and I found it totally
diverting. Kudos go especially to Philippe Noiret as the
manipulative father and Pascal Elbé as the unexpectedly canny
'dumb' youngest son. But the always reliable Charles Berling and
Bruno Putzulu aren't exactly chopped liver in this ensemble.
Minor fare, to be sure; but emotionally enriching. ***
TWIST (d. Jacob Tierney)
Twist
is a clever adaptation of the "Oliver Twist" story, only taking
place in a dormatory for male street hustlers in present day
Toronto. It is shot on digital video, taking place mostly at
night, and the photography is murky, which goes nicely with the tragic
bleakness of the scenario. Nick Stahl plays Dodge, a street-smart
heroin addict runaway who befriends Oliver, a naive new kid in
town. The acting is fine here; but the story as adapted is just
too brutal to be affecting. Yet Nick Stahl remains an actor to
watch...not traditionally Hollywood handsome, but soulful in a way
which hopefully will lead to an important career. ** 1/2
LATTER DAYS (d. C. J. Cox)
It is fun sitting in a packed festival audience when a film is
working. There's a certain electricity which crackles in the
atmosphere, and this happened here during this film. It is even
better when a star is born before one's very eyes, which is the case
with Steve Sandvoss, a sparkling eyed young actor whom the camera
adores (though is acting chops are a little suspect.) The other
main actor in this off center love story is Wesley A. Ramsey, who plays
to perfection a party queen whose life is changed when he meets a
proto-gay Mormon missionary. Erik Palladino, Mary Kaye Place,
Joseph Gordon-Leavitt all do outstanding supporting performances, and
Jacqueline Bisset is gorgeous in her small, but pivotal role.
This is an extraordinary gay themed film: sexy, relevant, well
scripted and directed...which deserves to break out of the genre
ghetto. *** 1/4
ELINA (Finland d. Klaus Haro)
The Finnish film this year is actually a riff on the same theme as the Swedish film Evil.
We're back in the '50s, this time in North Sweden, where a small town
school is trying to train Finnish speaking children to speak
Swedish. Elina is a free-thinking 9 year old girl whose maverick
father, known for his stubbornness, has recently died. Elina gets
into a running fight with the head teacher (a cold, effective
performance by Bibi Andersson), and neither is going to give an
inch. The film is well made; but somehow misses the mark for
me...maybe because, against the intentions of the filmmaker, I found
myself on the side of the teacher rather than the willful child.
But hey, the committee probably ate it up, a child teaches an adult a
lesson, a theme that usually does well in this competition.
However, this year it'll be hard for this one to break through. ** 3/4
CARANDIRU (Brazil d. Hector
Babenco)
If you watched the HBO series Oz, or the director's breakout hit Kiss of the Spider Woman,
then you've got some idea of that this film entails. Carandiru
was an overcrowded prison in Sao Paulo, Brazil. This is the story
of one wing in that prison, and of the lives of several inmates as seen
through the eyes of the recently hired prison doctor. This isn't
a feel good prison picture: Carandiru is no Shawshank. But
it all seems pretty familiar until the strong, gritty ending takes the
film to a higher level. My feeling is that this is too tough a
dose of reality for the film to get a nomination; but the quality is
there, and it could sneak into the final 5. *** 1/4
SEAWARDS JOURNEY (Uruguay d. Guillermo
Casanova),
The Uruguayan submission is not all that different from last year's The Last Train,
though a lesser production. It's the story of several small town
men from the interior who take a day trip by truck to see the sea for
the first time. It's a sweet film, well shot with some touching
moments. But it doesn't pay off all that much, and for all its
virtues as a nice little film, I can't see a nomination here. **
1/2
TWIN SISTERS (The Netherlands d. Ben
Sombogaart)
For my money this film is the class of the competition. Let's
hope that the rest of the audience feels the same way (the reaction
seemed very positive.) It's the story of two 6 year old German
fraternal twin girls, who, when their parents die in the mid 1920's are
split up with two different families...one German, one Dutch. The
film follows their sundered lives through the rest of the 20th century,
and becomes an amazingly effective historical epic in addition to an
unusually moving personal story. It's a fantastic script based on
a best-selling novel. I know nothing of the original source; but
this is a very filmic adaptation. The acting, directing,
photography are all first rate. This is truly an amazingly rich
film, and will probably take the Oscar this year. ****
OSAMA (Afghanistan d. Siddiq Barmak)
The Afghans have submitted a film shot as a docudrama which is
bound to make Americans feel good about our going to war to defeat the
Taliban (which undoubtedly was a supremely evil institution).
Osama is the name of a 12 year old girl whose family disguises as a boy
in order to survive the death of the last male family member.
Women are lower than dogs in the Taliban's society where the
religious zealots make a cruel and fearsome theocracy. This is a
harrowing and realistic story of a child in jeopardy, and is so
politically charged that the committee may just nominate it despite the
fact that it isn't a very good film. Riviting, important, stomach
churning, an easy sell. But pretty obvious and simplistic for all
that. ** 1/4
DEKADA '70 (Philippines d. Chito Rono)
The competition ends this year with another decades spanning family
epic, this time a Philppino bourgeoise family of five sons surviving
more or less the tumultuous 1970's, and the film discloses the
political upheavals in the Philippines through the eyes of the
sympathetic middle class parents (c.f. Ozzie and Harriet Nelson) and
the rebellious sons. It's
fairly well made, actually, but overly long and certainly overly
emotional for our sensibilities. I nodded off a little in the
middle; but along with most, stuck it out to the end. The
rambling and unfocused script just makes the similarly themed Dutch
film, Twin Sisters look all that much better. **
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