Spring 2007 L.A. Film Festivals
LOS ANGELES, ITALIA Film Fashion and Art Fest
AMERICAN CINEMATHEQUE Annual Spanish Film Series
CITY OF LIGHTS/CITY OF ANGELS French Film Festival
The L.A., Italia film festival is
a strange one. It takes place in one theater, a big one at the
Hollywood-Highland complex Chinese 6 multiplex, one of the city's best
venues. However, the theater never seems to have very many people
in attendance, even though the event is cost-free to the
filmgoer. In the spirit of "you get what you pay for", I've
avoided this no-name festival in the past, figuring that these unknown
films must be pretty poor. But this year I was amazed by the
quality of the films I did attend. Maybe next year I'll make an
effort to see more films!
SALVATORE: THIS IS LIFE (Salvatore Questa e' la Vita) (d. Gian Paolo Cugno)
An 11 year old Sicilian boy loses his father and has to support his
younger sister and ailing grandmother. This is a fine film in the
ABC After-School Special mode (in fact, it is apparently a Disney/Italy
film, which explains a lot). It features two fine
performances: the boy, Alessandro Mallia, and Enrico Lo Verso,
one of Italy's finest actors, who plays a dedicated teacher.
Simplistic, probably because of its intended audience; but ultimately
satisfying. ***
THREE ON THE ROAD (Baciami Piccina) (d. Roberto Cimpanelli)
In 1943 as the Italians were losing the war and the Nazis taking
over, a young carabinieri (policeman) is charged with taking a prisoner
from his small town to Venice. He sets out; and his
fiancée runs away to join him. The film starts out as sort
of a comedy road picture; but soon darkens as the Nazification of the
country puts all three travelers in danger. Nice wide screen
cinematography, and some good performances make the film worth
watching. ***
DEATH IN VENICE (d. Luchino Visconti) +
I had seen Death In Venice many years ago, and Visconti is one of my
favorite directors. But the film doesn't hold up as well as I
hoped. First of all it's too long and static; though Visconti's
sense of bringing grandeur to the frame is quite intact. Dirk
Bogarde's performance remains a wonder of restraint. ** 3/4
THE KREUTZER SONATA - WHAT IS LOVE? (Quale Amore) (d. Maurizio Sciarra)
The one review of this film in the IMDb is scathing. But for me
the film totally worked as a noir melodrama. Georgio Pasotti is
remarkable as Andrea, wealthy young Swiss financier who becomes
obsessively involved with a beautiful pianist. Told mostly in
flashbacks after his release from prison for murdering his wife, the
story lacks suspense. But it makes up for it with a fascinating
character study and marvelous acting and cinematography. *** 1/2
FAMILY FRIEND (L'Amico di Famiglia) (d. Paolo Sorrentino)
This film was highly recommended; but after 30 minutes of unremitting ugliness I couldn't watch any more. W/O
NEVER AGAIN AS BEFORE (Mai più come prima) (d. Giacomo Campiotti)
More proof that the Italian cinema is running on all cylinders.
Six quasi friends celebrate their graduation from high school with a
trip to the rugged mountains of North Italy. Beauty and tragedy
in equal measures ensue and I was enthralled. Remarkably well
acted by its attractive ensemble (especially notable Nicola Cipolla as
a convincing victim of cerebral palsey). It's a youth
oriented coming-of-age film; but one of the best of that genre I've
ever watched. *** 1/4
THE BILINGUAL LOVER (El Amante Bilingue) (d. Vicente Aranda; 1993)
I'm
not sure why Aranda's films turn me off so much. This film about
disfiguration and obsessive love was too involved with Catalan politics
for me to quite figure it out, even with Aranda's remarks prior to the
film. **
CROSSING THE BORDER (Un Franco 14 Pesetas) (d. Carlos Iglesias)
Carlos
Iglesias is an actor (unknown to me previously) who has written and
directed a touching re-creation of his own story: as a child
whose father left a depressed, Francoized Spain to find work in
Switzerland in the 1970s, joined after a year by his wife and
son. Iglesias plays his father, a nifty turn. The
filmmaking is rather straightforward; but the story is intrinsically
moving. ***
PARIS, JE T'AIME (d. various)
Twenty
or so world class directors make little vignettes about various
districts of Paris. Some of the stories are too eliptical, others
do have structure. But I found most of the film to be quite
interesting and entertaining. OK, I liked the Gus Van Sant
portion a lot, with an interesting performance by Gaspard Ulliel.
There are several intriguing star turns here. But
journeyman character actress Margo Martindale steals the honors with a
beautifully nuanced performance of a naive American tourist seduced by
French culture. And Steve Buscemi also shines with a
totally non-verbal characterization, using only eye movement and body
language to convey everything. *** 1/4
TELL NO ONE (Ne le dit à personne) (d.Guillaume Canet)
This
one is a wheels-within-wheels thriller loosly adapted from a Harlan
Coben novel (I really should look up the novel, I'll bet it's
pretty good.) It's actually a trifle over-long; and I swear
that there's one serious lapse in the narrative which distracts a
little. I figured it out too early, never a good thing. But
the production is sumptuous, Canet's direction flawless (and his little
Hitchcockian cameo quite brave). All in all a nifty, involving
film. *** 1/4
THE SINGER (Quand j'étais chanteur) (d. Xavier Giannoli)
Gerard
Depardieu plays a dissipated lounge singer (he actually sings pretty
well, though the songs are terrible). He has an unlikely
May/November affair with French gamine of the day Cécile
de France. Not much of a plot, this is a character study and I
just had no interest in the characters. ** 1/4
TWICE UPON A TIME (Désaccord parfait) (d. Antoine De Caunes)
A
rather ordinary French romantic comedy with one twist: the
attractive, embattled couple are somewhat elderly (Jean Rochefort and
the always luminous Charlotte Rampling). I liked the
movie-star/worldclass film director milieu; the there's just something
a little trivial about it all. ** 1/2
COUNTER INVESTIGATION (Contre-enquête) (d. Franck Mancusco)
This
one is a superior procedural with a very inventive script which doesn't
develop as expected. It takes a lot for a film to totally
hoodwink me and still be totally internally consistent. Fine
acting, really good script. What more can one ask of a
movie? *** 1/2
WELCOME HOME (Bienvenido A Casa) (d. David Trueba)
A
rather successful Spanish romantic farce about a young couple who move
to Madrid. He (the incredibly attractive young Spanish actor
Alejo Sauras) gets a job as a newspaper photographer. His wife is
the equally attractive Plar Lopez de Ayala. This film has a lot
of the same good time, young love feeling of such films as Kilometer
0. I probably am over-praising it because the actors were so
magnetic that I was spellbound. *** 1/4
WHAT I KNOW ABOUT LOLA (Lo que se de Lola) (d. Javier Rebollo)
W/O
RIGHT OF THE WEAKEST, THE (La Raison du plus faible) (d. Lucas Belvaux)
Belvaux impressed me mightily with his trilogy of a few years
ago. This film is in the same noir mode as the best of that
trilogy, On the Run.
Once again, Belvaux impresses as his cool anti-hero, the sympathetic
probationer. Here he's trying to go straight in the depressed
industrial town of Liège (amazingly photographed as an
industrialized wasteland). But his encounter with a trio of
unemployed, more or less desperate guys leads to the noirish
developments. Belvaux has a wonderful eye, some scenes are
masterfully designed (look for the tracking shot in the rolled steel
scrap yard, or the final amazing aerial shot). As actor-director
hyphenates go, he's just about at the top of my list. *** 1/2
CHANGE OF ADDRESS (Changement d'adresse) (d. Emmanuel Mouret)
Mouret is an actor-director whose persona is one of a gentle,
clumsy but somehow appealing schlub. His comedy is more
situational than verbal - he is no Gallic Woody Allen, closer to Adam
Sandler. This is a romantic comedy about a young French horn
player from the sticks, new to Paris, and his romantic
misadventures. It's amiable and occasionally funny and
perceptive; but the film just fails to stand out in any category.
** 1/2
FAIR PLAY (d. Lionel Bailliu)
Bailliu directed my favorite short film of 2004, the Oscar nominates Squash.
That film took place entirely in a squash court, a psychologically
brilliant contest of wills between two office mates. That
sequence becomes one part of this film, which expands to feature length
by creating a company where the principles of dog-eat-dog "fair play"
are carried to extremes. Instead of going into the office itself,
the feature is made up of a series of set pieces outside the office,
sporty competitions which have extreme consequences. Bailliu is
an absolutely brilliant director of action. Each set piece is a
gem of acting and tight construction. The cast is
impeccable. Two of my favorite actors are really fine here.
Benoît Magimel is a revelation here: he's transformed
himself into a pale red-head, overweight, slimy, conniving. It's a
brave performance, against type. Jérémie Renier
delivers a fine, physically adroit performance as Magimel's young
competitor. This is an almost great film. It's just a
little too episodic, the amazing set pieces not quite making up a fully
satisfactory whole. But Bailliu is certainly a director to
watch. I expect he'll make the transition to large-scale
Hollywood action films, and I'm looking forward to see what he does
with them. *** 1/4
HUNTING AND GATHERING (Ensemble, c'est tout) (d. Claude Berri)
I'll review this in more depth later, hopefully. But this
audience pleaser, romantic modern fable hit my sweet spot. Berri
has always been able to make films which have depth of emotional
resonance for me...and this one worked entirely. Especially
notable: Guillaume Canet, whose character arc developed
convincingly, macho pig gradually transformed by love. *** 1/2
FAMILY HERO (Le héros de la famille) (d. Thierry Klifa)
A
so-so ensemble drama about an unconventional extended family centered
around a nightclub called The Blue Parrot in Nice. It was written
by Christopher Thompson, the co-writer of Avenue Montaigne,
and has the same sort of complex interaction between interesting and
disparate characters. Unfortunately Thompson's mother didn't
direct this one. The result is a rather flat telling of a story
which ought to have had more emotional resonance. However the
large excellent cast, which includes such luminaries as Catherine
Deneuve (playing Belle du Jour again), Emmanuelle Béart,
Valérie Lemercier and Claude Brasseur assured my
involvement...especially the attractive gay couple played by
Michaël Cohen and French Idol runner-up Pierrick Lilliu. **
3/4
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