2007-8 AFI Festival and Other Winter Festivals Journal
All ratings are based on **** being best.
Films in BLACK type are foreign films watched
Films in RED type are AFI Film Festival films
Films in GREEN type are Palm Springs Film Festival films
Films in VIOLET type are Skandinavian Film Festival (L.A.) films
KINGS (d. Tom Collins; Ireland)
Five Irish lads headed to England together in 1977 to make a future for
themselves. This film, obviously based on a play and dialog
heavy, is about an Irish wake that the four survivors throw for their
suicided mate thirty years later in present day London. They
still speak Gaelic among themselves; but they have gone separate paths
and become true Londoners. It's similar in set-up and tone to
Fred Schepisi's Last Orders; however not as filmic. ** 3/4
I JUST DIDN'T DO IT (d. Masayuki Suo; Japan)
Ryo
Kase is outstanding as a young man falsely accused of groping a teenage
girl on a crowded train. He's defended by the superb actor Kohji
Yamamoto; but in essence this long, complex courtroom procedural is an
indictment of the Japanese legal system. Done in an almost
documentary like style, spare and unusually realistic, the film
made the point that judges and the legal system lose face if an accused
is found not guilty. Japan has the "presumption of innocence"
principle; but in practice it doesn't work. I found the film
riveting throughout its 2 1/2 hour length. *** 1/2
THE UNKNOWN (d. Giuseppe Tornatore; Italy)
Not your typical emotionally excessive Tornatore film, rather a
fairly taut thriller which seemed more Spanish than Italian in its
style (whatever that means, just a personal impression). It's the
story of a former Ukranian sex slave who arrives in a small Italian
city in order to find her lost child and will stop at nothing in her
determination. Nicely acted, especially by the beautiful Kseniya
Rappoport, both as a blond in the quick-cut flashbacks and as a worldly
brunette in present day. I was initially bothered by a heavy
handed, if expressive score by Ennio Morricone; but ultimately it
worked to provide gravitas. I had some problems with the
internal logic of the narrative; but on reflection I think it all held
together remarkably well. *** 1/4
THE SILLY AGE (d. Pavel Giroud; Cuba)
This is a stylish coming-of-age film taking place in the Cuba at the
point of the success of the Castro revolution in 1958. It's the
story of a woman and her precocious 10 year old son who return
from Spain to Cuba to the home of her free spirited mother, a
successful society photographer. The film is shot largely
from the boy's point of view as he approaches puberty (apparently this
is the "silly age" of the film's title), explores his budding
sexuality, bonds with his grandmother, and watches the revolution
unfold. I was impressed by the filmmaking, even if the film's
themes and story seemed a trifle familiar. ***
GONE WITH THE WOMAN (d. Peter Naess; Norway)
Naess
has made a comedy about a nebbish guy pursued by a pushy girl,
and their cleverly off-center relationship. It reminded me of a
male-centered version of Amélie,
only slightly less self-consciously precious. In any case, the guy, played
with empathy and nerdish compassion by Trond Fausa Aurvag, was an
original. Comedies don't always cross cultures successfully; but
this one worked for me. It helped that the excellent wide screen
photography and quirky musical score were first class. ***
THE KNOT (d. Li Yin; China)
The
Chinese film is an historical epic love story ranging from the late
1940's in Taiwan to the present day in New York and Tibet. It's
about a young couple caught up in the passions of the Communist
takeover: she an artist, daughter of a bourgeois Taiwanese
dentist, he a red partisan who leaves Taiwan to join the Communists,
becomes a medic for the Red side in the Korean War, and
disappears. It made an interesting double bill with the Norwegian
film, because this film reminded me of another Jean-Pierre Jeunet film,
A Very Long Engagement, also a sweeping war epic of the long time separation of committed lovers...but Jeunet did it better. The Knot is a fine, beautiful film which somehow just failed to engage me emotionally, although that was its intention. ***
THE ORPHANAGE (d. J. A. Bayona; Spain)
A
creepy, old, possibly haunted house, once an orphanage; a distraught
mother whose son has disappeared. Atmosphere for days, even some
scary moments. Amenábar did it so much better in The Others. ** 1/2
A MAN'S JOB (d. Aleksi Salmenperä; Finland)
For some reason most of the films so far have reminded me of past films. In this case Cantet's Time Out,
also about a working class man who loses his job and invents a
subterfuge to avoid confronting his dysfunctional family with the true
situation. Here, the husband becomes a male prostitute for older
women...and, predictably, this doesn't offer an easy life. Tommi
Korpela is an interesting actor, 40ish, craggy face and great
body. At first he seems an unlikely sex object, but his descent
into debasement rings true. Interesting character study.
***
JAR CITY (d. Baltasar Kormákur; Iceland)
*** 1/4
SHORT CIRCUITS (Kratki Stiki) (d. Janez Lapajne; Slovenia)
Several
stories desperately looking for a connection. A lonely busdriver
finds a baby left on a doorstep by a reclusive woman living under a
bridge; a woman doctor involves herself out of guilt with a quarrelsome
quadriplegic accident victim; and a frightened young girl gas station
attendant unknowingly refuses to gas up the car of a father whose son
is dying in his arms. The time line of these stories is
deliberately confusing, as the stories intertwine out of literal
continuity. However the same actress plays the important female
role in all three stories (Tjasa Zelenik), an amazing achievement since
I wasn't even aware of this until after the film concluded. It's
a tricky downer of a film, and I was left with more unanswered
questions than I was comfortable with. ** 3/4
DUSKA (d. Jos Stelling; The Netherlands)
How
annoying was this dark comedy? Very. Duska is an oddball
homeless Russian man who invades the apartment of a lonely Dutch film
critic who accidentally had made his acquaintance some time before at a
surrealistic (but amusingly portrayed) Ukranian film festival.
Duska is annoyingly persistent and obtuse, and the film critic is
annoyingly passive. Or maybe nothing is as it seems. Who
knows? * 3/4
THE POPE'S TOILET (d. Enrique Fernández; Uruguay)
In
1988 the traveling Pope, John-Paul II, spoke in a small, economically
depressed Uruguayan village. The villagers, some of them
smugglers of comestibles from across the nearby Brazilian border,
decide to take advantage of the Pope's visit by gearing up to serve the
throngs of visitors, an admirably Capitalistic endeavor. One
family, the center of the film, decides to construct a luxury outhouse
to charge visitors for the facility. This is an earthy film
which plays like a humanistic documentary. Diverting, but as a
film not much. ** 1/2
4 MONTHS, 3 WEEKS AND 2 DAYS (d. Cristian Mungiu; Romania)
Often
the Cannes winner is problematic with the Academy crowd; and I fear
this is no exception. This film is about a pair of female college
roommates in 1987 (two years before the anti-Ceaucescu revolution), one
of whom is pregnant and desirous of an illegal abortion. The film
is shot from the point of view of the other, stronger roommate.
Through the use of long, tension inducing static setups and realistic
hand held tracking shots, the director manages to heighten anxiety but
restrict the emotional payoff. The film reminded me of another,
even more gritty, Romanian film Cristi Puiu's The Death of Mr. Lazarescu...and much of the reason for this is undoubtedly due to the common cinematographer, Oleg Mutu. *** 1/4
YOU, THE LIVING (d. Roy Andersson; Sweden)
Andersson
makes visually dazzling, thematically puzzling films made up of
vignettes drenched in irony about various grotesque characters
inhabiting his strange, fluorescent, imaginary world. I don't
pretend to understand his symbolism (for instance what's with all the
Nazi references?); and to tell the truth, despite my awe at his
signature visual imagination and the way he expands the space of the
frame by constructing elaborate, painterly backgrounds, his films grate
on me. ** 3/4
PADRE NUESTRO (d. Rodrigo Sepulveda; Chile)
Three
thirty-something siblings, each of whose life is more or less screwed
up, attend their dying father's last days. It's the epitome of
the dysfunctional family story, done with a light touch. Very
well acted, although occasionally flirting with over-the-top,
especially the dying father's bar and whore house carousing. But
for me, the film had a satisfying emotional payoff. ***
DAYS OF DARKNESS (d. Denys Arcand; Canada)
Arcand's
film is based in a futuristic, dystopic Quebec; and is the story of a
lowly functionary so unhappy with his life that he is constantly
fantasizing about sexual escapades and elaborate revenges. It's
sort of a Walter Mitty plot; and I sort of liked the film, even though
I couldn't quite relate to the main character. ***
BLIND MOUNTAIN (d. Li Yang)
A
girl college graduate takes a job in a remote mountain village and
instead finds herself virtually held prisoner and married to a loutish
farmer against her will. That's the setup of this slightly
overlong, but well constructed and harrowing film. This
is the Chinese version of a Ken Loach film: a kitchen sink
presentation of a pressing social problem. But Huang Lu's
remarkable performance as the plucky slave bride is worth the
ride. ***
THE MUGGER (d. Pablo Fendrik)
An
elderly man goes on a school robbery spree for what appears to be (in
the context of the film) no reason. Like the far superior
Dardenne brothers' film, Le Fils,
much of the film is shot from the point of view of a hand held camera
tracking the main character from behind his head. It's an
annoying camera style, and over the course of the film's short 65
minutes becomes tiresome. Well, that, and it all seems rather
pointless. **
THE BAND'S VISIT (d. Eran Kolirin)
The
problem here is that I was tempted to count words to see if more than
50% of the dialog is actually in English, which disqualified this film
from this year's Academy foreign film competition. The
answer: maybe...it seems a really close call. But as for
the film, for all the hype I was slightly disappointed. It's the
story of an Egyptian police band invited to play at an Arab-Israeli
function which gets stranded in a small Jewish village. The
characters are well limned; and the film has an upbeat humanistic
feeling. I'd rate it higher; but my involvement flagged in the
middle section, and the film just didn't quite pay off emotionally for
me. ** 3/4
THE EDGE OF HEAVEN (d. Fatih Akin; Germany)
I wasn't all that impressed by Akin's break-out film Head-On
a few years ago; so my expectations were muted. But to my
surprise I was totally engrossed by this fascinating and unlikely
story. Like one of my favorite films, Lelouch's And Now My Love,
it has two complex, intersecting stories which tantalize but never
quite connect. I'm not even going to try to offer a synopsis of
the plot. Let it suffice to say that I was totally absorbed and
emotionally involved in the plight of these characters. Akin does
something really daring: gives away important plot points with
introductory scene titles. But this trick actually adds to the
tension and ultimate effect. It's a great script, nicely realized
(Istanbul has rarely been better served as a backdrop). *** 3/4
TAXIDERMIA (d. György Pálfi; Hungary)
** 3/4
CHOP SHOP (d. Ramin Bahrani)
Alejandro is a 12 year old orphan, protective of his older sister, and
living rent free in a Queens roll-up garage. He does odd jobs for
a shady auto repair shop, occasionally thieves, scratches out a living,
has high aspirations to better himself and his sister. With that
background, Bahrani has constructed a documentary like slice of life
story which is both uplifting and cringeworthy. It works, mainly
because the lead actor, young Alejandro Polanco, is such a
natural. ***
JELLYFISH (Meduzot) (d. Etgar Keret, Shira Gefen)
This is a film about anomie in present day Israel, stylishly presenting
several characters in crisis. It plays like a Tsai Ming Liang
film (i.e.The Hole plus The River), mixing black comedy with pathos. ** 3/4
AUTUMN BALL (d. Veiko Ounpuu )
If
Estonia is really anything like this downer of a film, I guess I don't
want to visit there. This is a rambling exercise in miserablism
about a group of people loosely connected by living in a suburban
housing project. It centers around a local nightclub and the sexy
doorman who interacts with most of the main characters. The film
seems endless, overly melodramatic, and ultimately doesn't pay off for
all the suffering it caused the audience. * 1/2
MANUELA AND MANUEL (d. Paul Marchand Sanchez)
Humberto
Busto is quite affecting playing a Charles Busch/Divine type:
flamboyant drag queen performer with a good heart. This film
looks great...marvelous cinematography, sets and costumes.
There's a little of the feeling of La Cage aux folles:
a farcial treatment of the drag queen doing the ultimate drag of
pretending to be a man. Simply a feel good movie, an
entertainment with heart and soul. Bravo! ***
USED PARTS (d. Aaron Fernandez)
Like the previously watched Chop Shop,
this is a film about a young boy (in this case 14 years old)
apprenticing as a thief of auto parts...here in Mexico
City. This is more of an Oliver Twist kind of story, Ivan
is working for his uncle as they try to raise money to pay coyotes to
transport them to gringo Eden. The film works, mainly because the
central actors are so natural, especially the lead, first-time actor
Eduardo Granados; and the script, while fairly predictable, develops in
interesting ways. It also has an assured director's touch.
Fernandez is someone to watch. *** 1/4
AMERICAN FORK (d. Chris Bowman)
An
unpleasant, downer of a film about a slice of the life of a greatly
overweight young man in a go nowhere job. The lead actor wrote
the script, which has its moments; but the direction and pace is so
plodding that the film totally lost my interest. **
KING OF FIRE (d. Chatrichalerm Yukol; Thailand)
This
is a 2 3/4 hour historical epic about kingdoms fighting for regional
dominance in 1500's Siam. The history came as a complete blank
for me, obviously a result of my American education which ignores so
much of the world's history. Still, this film had enough
self-explanatory backstory that it didn't become mired in
exposition. Instead one was able to become involved in the grand
sweep of battles, along with the intimate stories of love and
sacrifice. The film had unexpectedly high production
values, the battle scenes well directed, the characterizations
clearly defined. All in all an admirable effort, though probably
one which will be overlooked in this competition. ***
THE LIVING WAKE (d. Sol Tyson)
An
absurdest, Samuel Beckett wannabe black comedy about a man who
expects to die and plans on holding his wake while he still
lives. For my tastes, I found almost everything about this film
annoying, from the overacted main character, to the ridiculously empty
poetizing and philosophizing. Only Jesse Eisenberg, subtlely
playing the main character's servant/biographer, seemingly in another
film entirely, was worth watching. * 1/2
WITH YOUR PERMISSION (Til Doden Os Skiller) (d. Paprika Steen)
Another
mild disappointment in what has to be described as a dud AFI film
festival. Steen actually is a competent director; the problem
here is with the script. It's another rather absurd black
comedy...but at least this one actually has some amusing
insights...among them: a battered husband and how the world can't
quite cope with that concept. ** 1/2
LATE BLOOMERS (d. Bettina Oberli; Switzerland)
An elderly, recently widowed lady and her friends living in a remote,
mountainous Swiss village revolt against the ultra-conservative
patriarchy which is their present-day society. This film is
guaranteed to tickle the funny bone of the oldsters in the Academy
committee; but I thought it was too manipulative and predictable to
warrant a good review. ** 1/4
KATYN (d. Andrzej Wajda; Poland)
Wajda is, and has been for decades, an important master filmmaker; and
this film proves that his skills are still vibrant. It's the epic
story of an early WWII massacre of captive Polish officers by the
Soviets, who tried to change the perception of history after the war by
promulgating a big lie that it was the Germans who committed this
atrocity. Much of this history came as a revelation to me; and
occasionally I had trouble understanding the ins-and-outs of post-war
Polish politics. But that didn't stop me from respecting the
sheer importance of this film and the tremendous artfulness of Wadja's
achievement. *** 1/2
POSTCARDS FROM LENINGRAD (d. Mariana Rondón; Venezuela)
This
is an impressionistic, arty film about two kids, cousins and children
of communist guerrillas in the Venezuelan jungle in the 1960's.
It's hard to follow, with a confusing timeline and tricky animated
effects which look good but don't really aid the narrative. The
film also has a definite leftist drum to beat. There's a glimmer
of an adventuresome director here...but the film turned me off. **
THE RUSSIAN TRIANGLE (d. Aleko Tsabadze; Georgia)
Tsabadze
has made a really fine, complex thriller about an apprentice Russian
cop who goes undercover as a Georgian porter to connect the dots
linking a current day assassination to a blood feud between ex-Russian
soldiers and Chechnyan rebels from their previous wartime encounter.
I'll be the first to admit that the complex politics of the
Caucasus region escapes me. Watching this film raised more
questions than it answered. Still, there's no denying the power
of the filmmaking. *** 1/4
THE COUNTERFEITERS (Die Fälscher) (d. Stefan Ruzowitzky; Austria)
A
Jewish counterfeiter is caught in Berlin by the Nazis in 1936 and sent
to various concentration and labor camps until he is transfered to a
special group in the Sachsenhausen camp
devoted to counterfeiting British pounds and American dollars.
This is one of the most effective, unique stories of the
Holocaust...maybe not as emotionally affecting as, for instance, the
Hungarian film Fateless of a couple of years ago, or as devastatingly horrific as The Grey Zone; but still a riveting and fascinating based-on-fact story nicely directed and very well acted. I'd like to see this film in the final five. *** 1/2
WARDEN OF THE DEAD (Pazachyt na myrtvite) (d. Ilian Simeonov; Bulgaria)
This
isn't the first time I have watched an Eastern European film based on
magical realism and inscrutable Balkan politics that has left me
puzzled and bored. This film takes place in a Bulgarian cemetery
and concerns a 13 year old boy who sort of runs the place. I'm
not even going to try to summarize the plot. I stuck it out until
the end without a glimmer of comprehension of what was actually going
on, mainly because the atmosphere and direction were interesting enough
to keep me involved to some degree. **
BELLE TOUJOURS (d. Manoel de Oliveira; Portugal)
From the title and dedication credit, it's clear that this is something of a sequel (or tribute) to Buñuel's Belle de jour;
but for the life of me I can't quite place the reference. In any
case, it's a revenge story: an elderly man stalks a woman to
confront her with the consequences of some act done almost 40 years
before. Oliveira at 98 doesn't seem to be in any hurry to make
edits...the pacing is glacial, especially some long, endlessly
repeating establishing shots of Paris. His static camera and
lengthy, unimaginatively composed takes just added to the annoying
feeling that something was going on, but I had no idea what. The
actors can't be faulted. But this kind of mannered film just
isn't my cup of tea. **
CROSSING A SHADOW (d. Augusto Tamayo; Peru)
This
is a ponderous epic about an engineer who works tirelessly to
tame the Peruvian mountains and jungles around the turn of the 20th
Century. Its sumptuous design and costumes (I wish I had the
engineer's clothing budget, he was always immaculately and expensively
dressed, even in the middle of the jungle) were intriguing. And
some of the set pieces, for instance a jungle bridge collapse, are
nicely done. But
my mind tended to wander through yet another mannered and slow-paced
film. ** 1/2
LITTLE SECRETS (d. Pol Cruchten; Luxembourg)
This
is a slice of life coming of age story about a twelve year old boy in
1962 Luxembourg, son of a martinet shopkeeper in a country still
affected by the traumas of the German occupation during WWII. The
film is well observed; but there are curious lapses in the
script...episodes start and mysteriously peter out. The effect is
a moderately interesting story which feels unfinished. ** 1/2
SILENT LIGHT (d. Carlos Reygadis; Mexico)
I
didn't come to this screening tabula rasa. I had heard much
conflicting comments from friends who caught it at various festivals,
mostly admiring...but a number of people I know hated it. I
wanted to wait and see it with the Academy audience. In truth,
I'm not at all sure what the audience's reaction was. I was
surprised that there was no applause, because I thought it was a
masterpiece. But a difficult one, with an ending I can only
compare for daring with von Trier's Breaking the Waves.
The film is startlingly beautiful: glorious wide screen panoramas
shot in long takes, some of which defy reality (stop motion camera
moves? time lapse?); truly the work of a unique, original
sensibility. Very slow, very deliberate; but never boring
because it successfully expresses raw emotional truths about this
exotic Mennonite farming family living in an other-worldly Mexican high
desert milieu. I doubt whether there will be a better film in
this year's competition; but I can't help but feel that it was too
strange and unconventional to make the finals. I guess we'll see.
*** 3/4
EDUART (d. Angeliki Antoniou; Greece)
The eponymous Eduart is a 20-something Albanian sociopath whose illegal
life as a reluctant male hustler and petty thief in Athens is ended by
his deportation back to Albania and his incarceration there. This
is a very involving and impressively acted and directed film, based on
a true story, mostly about third world prison life. Eshref
Durmishi is quite good playing an unsympathetic anti-hero. This
film should be a contender; but I suspect it is too bleak for this
crowd. *** 1/4
881 (d. Royston Tan; Singapore)
A musical comedy about two girls who compete in a singing
contest. The Singapore Getai song culture milieu which is central
to the story was so campily and incomprehensibly portrayed that I was
somewhat turned off right from the start. But things just went
downhill from there. I think I must lack an affinity for the
east-Asian musical. After an hour, I just couldn't take any more.
W/O
IT'S HARD TO BE NICE (d. Srdan Vuletic; Bosnia/Herzogovina)
Sarajevo
is a very photogenic city; and this film takes full advantage of that,
being the contemporary story of a petty thief taxi driver who tries to
change his life by going straight to win back his wife and baby
boy. In some ways this is the male equivalent to last year's
excellent Bosnian film Grbavica, also a story of lost souls and their children in a post-war world. It's a solid, well acted film. ***
DONSOL (d. Adolfo Alix, Jr.; Philippines)
Donsol
is a resort on one of the Philippine islands which has adopted a
rare, primeval fish, called the "whaleshark", as a tourist
attraction. This is the tender, if predictable, love story of an
affair between a 30-something tourist woman and a young, attractive
tourist guide. There's a lot of underwater photography
featuring tourists and their guides swimming with the whalesharks
(huge, phlegmatic beasts which look like white spotted whales with
shark's fins but no teeth). It's a fascinating, exotic milieu
for a film...and to be truthful I was moved by the narrative even
though the terrible digital film transfer and rudimentary direction
distracted from the experience. ** 1/2
I SERVED THE KING OF ENGLAND (d. Jiri Menzel; Czech Republic)
Actually,
the best that the hero of this delightful little Czech comedy did was
serve the Emperor of Ethiopia...it was his boss, the maître d' of
the posh Paris Hotel restaurant in Prague whose ultimate
sophistication was to have served the King of England. But I
digress. This film encapsulates the Czech worldview between WWI
and the Communist era by telling the story in flashbacks from the point
of view of a clever, if slight and obsequious, waiter. Its major
strength is a beautifully nuanced, Chaplinesque performance by Ivan
Barnev, who plays the young waiter. But the entire package:
sets, cinematography, music, script are first class. It reminded
me in scope of another Czech historical epic film, Jakubisko's Millennium Bee.
This isn't quite the masterpiece that that forgotten 1984 classic
was. But it has the same sort of Eastern Europe historical sweep,
getting the big picture right by concentrating on the microcosm of a
survivor. *** 1/4
BEN X (d. Nic Balthazar; Belgium)
Every
once in a while this competition offers up some out-of-the-ordinary
surprise, and this year's prize goes to this film. It's the story
of an autistic boy, diagnosed with Asperger's syndrome...sort of a
younger version of Dustin Hoffman's "Rainman". In this case, the
boy, incredibly well portrayed by first time actor Greg Timmermans, is
only able to live an expressive life through an online multi-player
internet videogame, as the heroic character Ben X. In real life
he is tormented by bullies at school and is locked inside his
head. The videogame graphics are nicely done. But it is the
achingly beautiful portrayal of this split life which is done
filmically about as well as it is possible to imagine. I can only
hope the committee agrees with me and puts this little gem in the
finals. *** 1/2
SECRET SUNSHINE (d. Lee Chang-dong; Korea)
A
young widow and her 9 year old son resettle from Seoul to her husband's
provincial home town where further tragedy awaits. The film is
about surmounting what life throws at you. Some of the Christian
as cult stuff made me wince; and the film feels slightly
overlong. Yet the central performance by Jeon Do-yeon is strong
and the sum effect is a moving story of modern life in Korea. ***
RETURN OF THE STORKS (d. Martin Repka; Slovakia)
A
German girl leaves her boyfriend to travel to visit her runaway
grandmother in her home village on the Slovakian-Ukraine border.
There follows a story which touches on the refugee smuggling racket,
the long term effects of the German occupation of WWII, the lovely
Carpathian forests, and modern love, symbolized by the plight of the
monogamous village stork deserted by its mate, patiently and mournfully
waiting. The film is a little too schematic, events imposed
by the narrative rather than seeming to flow naturally. But the
German couple, played by Katharina Lorenz and Florian Stetter are very
attractive, and I was drawn into the film. ***
M FOR MOTHER (d. Rasool Mollagholi Poor; Iran)
Actually, the film should be translated as Mi (as in do-re-mi) for Mother,
as the musical note plays a vital part in the plot. It's the
story of a married couple who conceive a child which is found to be
damaged in utero because the mother had been a victim of mustard
gassing during the war with Iraq years before. The diplomat
husband freaks and deserts them; and the film dissolves into
overwrought bathos as the cute, if damaged, child grows up and
the mother falls victim to her old wounds. Way too over-the-top
emotionally for my tastes; but the production values are high. *
3/4
CARAMEL (d. Nadine Labaki; Lebanon)
Like Tonie Marshall's Venus Beauty Institute,
this is an actress/director's vision of the romantic goings on of five
women who work at a hair salon...this time in the Christian section of
Beirut, Lebanon. Labaki takes the lead role, and she is beautiful
and accomplished. The film is nicely acted and put together; but
it covers familiar, warmed over romantic comedy territory. ** 1/2
DENIAS, SINGING ON THE CLOUD (d. John De Rantau; Indonesia)
Denias
is a poor teenage boy from a backwoods Papua village on the Indonesian
island of New Guinea. He's smarter than the other boys in the
village, and his teachers (temporarily assigned to this unlettered
community) want him to continue his education by leaving the village
and going to a city school that usually caters to more privileged
families. Based on a true story, the film is gorgeously
photographed, taking full advantage of the beautiful jungle
vistas. But the acting is rudimentary, and the story is a series
of all too obvious clichés. Too bad, because it really is
an uplifting experience. ** 1/2
EXILED (d. Johnny To; Hong Kong)
** 1/4
SATANAS (d. Andrés Baiz; Columbia)
Another
based-on-a-true-story film...however this time the filmmaker takes some
obvious license for dramatic purposes to attempt to explain the
inscrutable events depicted in the film. Almost anything I say
about the film will give more away about the plot than I want to.
Let it suffice that the film is an eerie, effective thriller in the
David Fincher mode, almost too much to take with its pessimistic view
of human nature and its Satan on Earth symbolism. ***
A MAN'S FEAR OF GOD (d. Özer Kiziltan
; Turkey)
*** 1/4
EKLAVYA- THE ROYAL GUARD (d. Vidhu Vinod Chopra; India)
This film is an old fashion, wide screen epic, a kind of Hindu version
of Hamlet. It's about an Indian royal family in modern times and
the bodyguard named Eklavya, who is sworn to defend the king.
Dramatically, it goes over the top in the best Bollywood
tradition. However there's a definite excitement to the mis en
scène. This is one director who knows how to make a
thrilling, larger than life movie. ***
PERSEPOLIS (d. Vincent Parronnaud and Marjane Satrapi; France)
This 2-D animated film is the autobiographical story of Marjane
Satrapi's childhood in Iran, education in Vienna, return to Khomeini's
Iran during the war with Iraq, and finally her emigration to
France. At the same time it is a moving and educational
pull-no-punches history of modern Iran. The animation is not
special; but it is adequate to the job of expressing the
narrative. It is rare that an animated film makes it to the final
5 foreign films; but there is not doubt that this film will have impact
on the committee. *** 1/4
THE ART OF CRYING (d. Peter Fog; Denmark)
*** 1/4
THE TRAP (d. Srdan Golubovic; Serbia)
This
is my nomination for sleeper hit of this year's competition. How
it could have been overlooked in the hype, having played almost
unnoticed at the Toronto film festival, I haven't a clue. This is
a psychological thriller with such impact and audience affect that it
reminded me of Hitchcock, or recent Michael Haneke films such as Caché.
It's about the dilemma of a father faced with a sick child and lack of
resources to get the operation which will save him. The acting
was impeccable, especially Nebojsa Glogovac, whose nuanced portrayal of
the seriously conflicted father was Oscar caliber, in my
opinion. But the direction also must be lauded.
Golubovic has an eye for innovative compositions which speak volumes
and a perfect sense of camera movement and placement. This
film blew me away; and I can only hope that others on the committee
were equally impressed, although the film just might be too slowly
paced and thoughtful for late night viewing. *** 3/4
ON THE WINGS OF DREAMS (d. Golem Rabbany Biplop; Bangladesh)
This
film about the troubles which befall a simple, rural family when they
stumble across some foreign currency, is a like an old fashioned
parable or a story by O. Henry. The acting was uneven; sometimes
I couldn't help but be amused by an obvious piece of business, a leer
or stare right out of an old fashioned melodrama. But by and
large the characters were realistic, and the story, if predictable,
actually held together. **
THE HOME SONG STORIES (d. Tony Ayres; Australia)
Ayres made one of my all-time favorite gay films in 2002, Walking on Water.
Here he is reaching into his own life to tell the story of his mother,
a Chinese bar singer brought to Australia with her two young children
by a kindly Anglo sailer who married her and then was largely absent at
sea. It's written from the somewhat naive point of view of the 10
year old child who grew up to be the author/filmmaker. The acting
is superb...Joan Chen has rarely been as magnificent as here, as the
self-involved Rose (do I detect a little Gypsy
association in the author's recollection of his mother?). The
feeling of time and place is perfect. And the boy who plays
the 10 year old Tom (Joel Lok) is a real find. *** 1/4
ARMIN (d. Ognjen Svilcic; Croatia)
** 3/4
THE WHITE SILK DRESS (d. Huynh Luu; Vietnam)
The
Vietnam Oscar submission starts in 1954 and covers twenty years of the
lives of a poor, struggling, but plucky rural family beset with the
miserablisms of poverty and war. The eponymous dress was
the wrapping of a foundling who grew up to be a hunchback laborer, who
makes it a wedding gift to his wife-to-be who in turn makes it into a
garment for her school age daughters to share. The family goes
through every travail and tragedy imaginable. The cinematography
is striking, the acting valiant; but the melodramatic story and
anti-Capitalist slant (there's a particularly ghoulish scene which is a
variation of the evil Capitalist blood-sucker which has to be seen to
be believed) left me cold. **
UNSPOKEN PASSION (d. Roni Bertubin)
This
Philippine film is amateurishly shot on digital, with uneven acting and
a script which occasionally went haywire with strange, disconnected
digressions. However for me it proved that rudimentary filmmaking
can be effective if the characters and story are interesting enough and
I become involved emotionally. This starts out as the story
of two boys growing up best friends in a rural setting. One is
intelligent and promising, and he obviously has a crush on his
charismatic and attractive friend (cf. The Kite Runner).
Their lives diverge as they move apart; but they come together as young
men in Manila where each has become involved in the sex industry.
It's the age old story of the gay guy pining after his straight friend
who, of course, is unhappily married with a sickly daughter...pure
melodrama. But, surprisingly, it worked for me, mainly because
the central actors, especially Ken Escudero as the sympathetic gay one,
did a fine job. ** 1/2
CALIFORNIA DREAMIN' (ENDLESS) (d. Cristian Nemescu)
Nemescu
died in a car accident before he could make the final cut of this film,
which is especially poignant since the film is so interesting and well
observed, and could only be improved by some judicious pruning.
It's the story of a platoon of American marines guarding a train loaded
with communication equipment for the NATO forces in Kosovo in
1999. The train gets sidetracked by a corrupt, officious station
manager in a small Romanian town; and the colorful townspeople seduce
the soldiers in various ways. It's a delightful film, part
romantic comedy, part political parable. In a great year for
Romanian cinema, this was a highlight for me. *** 1/4
BEAUFORT (d. Joseph Cedar; Isreal)
Israel's original submission, The Band's Visit
, was eliminated; and lucky for us they found this replacement: a
strikingly effective based-on-a-true-story of a platoon of soldiers
holding an old Crusader fort in Southern Lebanon under siege by
Hezbollah. The acting was superb, particularly Oshri Cohen, so
memorable as the youth in Bonjour Monsieur Shlomi
a few years ago. Here he is playing the platoon officer, wracked
by battle fatigue and doubts about the mission. Cedar has
made some good films in the past; but this tense, claustrophobic,
character driven war film takes him to a new level. *** 1/2
XXY (d. Lucia Puenzo; Argentina)
***
IN THE HELIOPOLIS FLAT (d. Mohamed Khan;Egypt)
This is a romantic comedy about a young girl from a small town who
learns about love in the big city. It seemed like a pleasant
enough film, an audience pleaser. But it was much too protracted,
predictable and sugar coated for my cynical nature. ** 1/4
ISLAND ETUDE (d. Huai-en Chen; Taiwan)
Taiwan's original submission was refused entry into this competition
also; and in this case the replacement just wasn't nearly as good as
the original (Ang Lee's Lust, Caution,
one of the best films of the year.) The current film is a bucolic
travelogue following a deaf boy bicycling around Taiwan; and recounts
his encounters with various types along the way. The film is
pretty to look at; but I couldn't get engaged since there didn't seem
to be a story here at all. W/O
THE WITNESSES (d. André Téchiné)
It's been a while since there's been an important film about the
beginning of the AIDS era. Leave it to Téchné to
deliver the goods with this excellent, moving (but not clichéd)
drama. Johan Libéreau fulfills the promise of Douche Froides,
playing an attractive gay boy involved in a platonic relationship with
an elderly gay doctor (Michel Blanc) and a steamy affair with a
straight policeman (an interesting change of pace performance by Sami
Bouajila). It's all told from the point of view of the
policeman's wife, a writer of kid's stories who is going through
post-partum depression (Emmanuelle Béart, looking
anachronistically sculpted for the 1984 setting). The film isn't
without flaws: there's an American character who has a distinctly
foreign accent, an unnecessary distraction for Anglophones. But I
was personally totally involved with the reality of these characters
who lived in a world resonant with my own experiences. ***
1/2
IN THE ARMS OF MY ENEMY (Les voleurs de chevaux) (d. Micha Wald)
Two
sets of brothers in the early 1800s Caucasus. Each pair has an
older, dominant brother and a weak dependent younger one. One
pair become Cossacks, the other are horse thieves. For dramatic
purposes they come into epic conflict. It doesn't sound
promising; but due to fine casting and effective action direction
(there is very little dialog, but the images are ravishing) it
works. Especially notable in the cast are Adrien Jolivet and two
French actors who have already made an impression on me in the
past: Grégoire Colin and Grégoire Leprince-Ringuet.
***
HEARTBEAT DETECTOR (La question humaine) (d. Nicolas Klotz)
Mathieu
Amalric is fine in this dense, difficult film. He plays a human
resources psychologist of a German company based in Paris who is
charged with the task of evaluating the CEO in what appears to be a
fight for company dominance. Turns out it's a complex matter of
Nazi participation in the Holocaust. The film is so dark and
slow, that I had trouble staying awake. But others found it
moving for its new take on the testimony of the Shoah. ** 1/4
IRINA PALM (d. Sam Garbarski)
This
is one of those naughty little British films which are so audience
friendly...especially with this ideal Palm Springs audience composed
largely of elderly people. Marianne Faithfull is wonderful
playing a woman of a certain age who becomes a sex worker in order to
make enough money to provide treatment for her sick grandson.
Also notable, Kevin Bishop playing her conventional son. I
noticed an interesting phenomenon: there was a lot of audience
laughter, predominantly from the females in the audience who were
responding to the humor about variations of male equipment. ***
1/4
THE YEAR MY PARENTS WENT ON VACATION (d. Cao Hamburger; Brazil)
The
year is 1970, apparently a tough time in Brazil for leftists, a couple
of whom are forced to leave their 12 year old son with his grandfather
with the pretext of going on an extended vacation (although it might be
into imprisonment or exile, it was never made clear.) Only the
grandfather has just died, and the soccer obsessed kid is left to fend
for himself within the Orthodox Jewish community of Sao Paolo.
This is another audience friendly film, entertaining and well acted, if
a tad light to make it through to the finals in this competition.
***
JANI GAL (d. Jamil Rostami; Iraq)
Iraq's
submission is a melodrama about the deprivations of the Kurds from the
point of view of an innocent man who has lost
everything after 10 years in prison. It's one of those throw the
kitchen sink at the main character movies: a difficult, but
ultimately (if you can last that long) uplifting exercise in
unremitting misery. I was confused by the time and place of the
film; it was never clear who the enemy was, possibly Sadam; but the
troubles for the Kurds in Iran have been going on for a long time; and
the message of this film is an important one. Too bad that this
film is so maladroit dramatically. **
LOVE SICKNESS (d. Carlitos Ruíz Ruíz & Mariem Pérez; Puerto Rico)
** 3/4
SHADOWS (d. Milcho Manchevski; Macedonia)
This is a fine genre film (disclosing the genre actually is a
spoiler) about a young doctor who experiences troubling delusions a
year after an almost fatal auto accident. Borce Nacev is quite
good in the role of the doctor who has dominant mother problems and an
errant wife. The film feels slightly overlong, but is
effective filmmaking: scary and suspenseful, and also humaine and beautifully photographed. ***
LA FRANCE (d. Serge Bozon)
Sylvie Testud makes an attractive young boy in disguise in this strange
quasi-musical WWI film about a lost platoon of soldiers wandering the
bleak countryside of 1917 Europe. Amidst the general gloom
of the film, the soldiers occasionally break into anachronistic musical
numbers; and every time the audience tittered, breaking the mood.
Of all the recent spate of French musical films, this is the
oddest. ** 1/2
TIMES AND WINDS (d. Riha Erdem)
This Turkish film takes place in a rural community of breathtaking
beauty, spanning mountain and water vistas. The townspeople are a
quirky bunch...the men all flawed, the women docile. But the film
focuses on the plucky children of the village, especially a pair of
young teenage boys who have father problems. The kids are great;
the director has a wonderful eye and he's blessed with a great
steadycam operator. The only flaw in this film is overkill in the
musical score. However, all in all, this is the kind of film,
observant of a foreign milieu but also totally involving, which makes
international film festivals especially interesting. *** 1/4
MATAHARIS (d. Isiar Bollain)
The title refers to three women who work at a Madrid detective agency,
mostly going undercover Mata Hari style. Their involvement in
cases of personal and industrial spying lead to problems in their own
relationships. Especially touching is the unfolding of the
relationship between Najwa Nimri and the always reliable Tristan
Ulloa. This isn't the harrowing experience of the director's
previous film, Take My Eyes. However, the film has a similar focus on the dynamics of marriage from the women's point of view. ***
SHELTER (d. Jonah Markowitz)
The pay cable channel Here! is starting to produce gay genre films; and
if this is an example of their taste and mission then all I can say is
bravo! Obviously low budget, and presented here in digital, Shelter
nevertheless works as a gentle coming out story about a lower class
surfer dude living in San Pedro who over the course of the film finds
his identity. I was blown away by the performance of Trevor
Wright in the lead role. He portrays with conviction a young guy
taking on the responsibility of caring for his sick father and his
partying sister's young kid...while facing a crisis of his own sexual
identity and development as an artist. The director has the quirky habit of ending scenes with
a pan upward to empty sky; but other than that he did a more than
credible job of bringing a fresh perspective to the coming out
story. ***
MONGOL (d. Sergei Bodrov; Kazakhstan)
** 3/4
THE CLASS (d. Ilmar Raag; Estonia)
This Estonian submission has been compared to Van Sant's Elephant;
however, in every way...formally as well as narratively, I think this
is the better film. It's the story of a senior class in a tony
high school where one boy is being picked on by the entire class, with
the exception of one hesitant friend who defends him as a matter of
honor. The film is brilliantly directed, with several
exhilaratingly sequences of fast cuts interspersed with well acted
narrative. Apparently this is based on "true stories", although
that seems a little vague. It's hard to believe how blind and
useless the adults were as depicted here. But the film is a
visceral kick in the stomach: hard to watch, but undeniably
brilliant. *** 1/2
CAUCASIA (d. Farid Gumbatov; Azerbaijan)
I stuck it out to the end; but this film about a Russian family living
in the Caucasus which spans decades (in confusing nested flash-backs)
just didn't quite have the goods in this competition. I wish I
had a little more background in the politics of this area. The
people story here worked; but the melodrama of the political part of
the film just seemed to be amateurish and offputting. It didn't
help that the film dialog was very badly dubbed in parts and the
digital photography was among the worst I've seen. * 1/4
JIMMY OF THE HILL (d. Enrico Pau)
The
eponymous Jimmy is the younger son of an impoverished Italian family
living in an industrialized Sardinian town. He turns to crime as
an alternative to the empty lives of his family, and that doesn't go so
well. Nicola Adamo plays the role with a reserve which doesn't
explain much of his character's inner life. Also, some of the
narrative is unnecessarily skimpy...for instance the robbery scene,
crux of further action, is confusingly shot so that I was left
wondering what actually happened. The "Hill" of the title
is an interesting place...a rural, bars-free farm community formed to
rehibitate juvenile offenders, nicely contrasted with the dead-end
juvenile prison that Jimmy originally was sent to. The photography and direction were mostly credible; I just wish the film felt like it was going someplace. ** 1/2
INVESTIGATION (d. Iglika Trifonova)
Billed as a Bulgarian Prime Suspect,
this film actually lived up to its rep. Svetlana Yancheva plays a
stolid criminal investigator charged with getting a confession from a
man who allegedly committed a brutal killing and dismemberment.
Her methodology is subtle; and even as the rest of her life is falling
apart, her confrontations with the taciturn subject of her
investigation make for a gripping policier. ***
IN MEMORY OF MYSELF (d. Saverio Costanzo)
A
young man starts the process of becoming a monk in a gorgeous monastery
on an island in the Venice lagoon. With meditation and study he's
exploring his own inner self while the monks test him. Needless
to say, such an interior based story makes for a difficult film.
Christo Jivkov plays the young novice mostly with soulful eyes.
There's lots of slow moving camera wandering through the beautiful
building. From what I understand, the original source material
had a gay subtext. But without it in this film, the motivations
of the action remain obscure. I wasn't bored; but I left the
theater puzzled. * * 3/4
NIGHT BUS (d. Davide Marengo)
This
is a beautifully shot screwball comedy thriller about a vital microchip
and the people who would torture and kill or be killed for its
possession. It's a fun film, with an inventive plot...however I
didn't feel there was much romantic chemistry between the two main
characters, the hapless night bus driver (played by Valerio Mastandrea)
and the petty hustler girl (Giovanna Mezzogiorno) that fate and the
microchip bring together. It's an audience pleaser, for
sure. I have a feeling that a Hollywood remake is
inevitable. ***
PARENTS (Foreldrar) (d. Ragnar Bragason)
A sequel to last year's Children (Börn)
, with different characters and not quite as pointedly harrowing.
This time we follow three families from the point of view of the
parent's relationship to their partners and children. Shot in
stark black and white, the film works psychologically. The adults
are fully realized, dysfunctional, flawed people; but the children are
more sketchily portrayed. *** 1/4
LIFE HITS (d. Christian Christiansen)
The
milieu is high school in a tough Danish neighborhood. The film
follows three girls who have been friends and juvenile delinquents,
drinking and doing petty robberies together. When the alpha
female (sociopathic to start out with) falls out with one of her
friends over a boy, it starts a series of violent reprisals which are
very hard to watch. This is one of those teenagers-out-of-control
films which ring true and make me glad that I don't have to live as a
young person in today's world. Incidentally Laura Christensen,
who plays the blonde, apostate member of the gang, is a dynamite film
presence destined for stardom. ***
MIRUSH (d. Marius Holst)
Mirush
is a petty hustler, a young Kosovar boy who runs away from his
wretchedly poor mother to find his father in Norway. After the
arduous journey, smuggled in a shipping container, he finds his father
(the always wonderful actor Enrico Lo Verso), a struggling immigrant
who owns an ethnic restaurant in Oslo. I'd rate it higher
as a film, just for its effective dramatic impact; but its ambiguous
moral message enraged and drained me. ***
12 (d. Nikita Mikhalkov; Russia)
Mikhalkov has re-made 12 Angry Men
in a present day Russian context, with a Chechnyan defendant and jury
of twelve disparate Russian men, each of whom has a story to
tell. The film is beautifully shot in wide screen and has a fine
cast of experienced actors; but the script was a little too talky,
confined and long for my tastes. However, it's a definite
audience pleaser, I think. Being the last film screened in the
Oscar competition, it has a good chance of making the finals. ***
WINTERLAND (d. Hisham Zaman)
This
rather short, gentle film is about a Kurdish man living and working in
a bleak snow covered northern Norway town, who imports a picture wife
from his native land, only to discover that she doesn't quite match the
literal photo or his mental construction of a wife-to-be. She has
similar problems with him. It's psychologically accurate, and
nicely shot and acted, if a little simplistic in the plot
department. ** 3/4
THE YEAR OF THE WOLF (d. Olli Saarela)
Saarela
is an assured filmmaker who tells a story with striking images.
If the story here is a smidgen too slow and philosophic for my tastes,
at least I can respect the filmmaking. Here he's telling the
story of a brilliant (and incidentally gorgeous) college student who is
held back by self-doubt because she is an epileptic. It's also
the story of her blocked literature professor at a career dead end and
how they interact to aid one another. This is a different sort of
Finnish film than I'm used to (so many feature male centered
violence). ***
THE NEW MAN (d. Klaus Haro)
Haro made one of my favorite films of last few years, Mother of Mine.
Here he's working in Sweden, and telling the startling true story of a
misbegotten 1950's era experimental program of sterilizing lower class
women who tend to have too many children. It's made from the
point of view of the head nurse at the facility who disagreed with the
program run by a fanatic doctor (any similarity between this Dr. Berg
and Dr. Mengele is purely coincidental). Also, it's the story of
the girls swept up in the program, mostly against their will,
especially one smart, plucky girl who beats the system in a horrifying
way. A nice job of filmmaking which ends my Winter festival
circuit on a high note. *** 1/4
Return to Ken Rudolph's home page.