So, sadly, no stand out masterpieces this year a la "Incendies" last year or "White Ribbon" the year before.
My favourites, then, in no particular order...
Tyrannosaur
Pure
This Is Not A Film
Dreileben
Nana
Policeman
Nuit#1
Le Havre
The Artist
Elena
Saturday, October 15, 2011
Friday Oct 15 - Day 16
62. Black Bread (***)
20th century conflicts continue to provide fertile soil for heavy European drama. In this case, it's Spain after the Civil War. A original, shockingly brutal opening sets the stage. An adolescent boy perspective suggests innocence, but as reality slowly emerges and dark secrets surface, social and sexual politics clearly still have a long way to go. As for morality, there isn't even room on the table. War and its aftermath are hell!
63. Happy, Happy (**)
A quirky snow-bound comedy that keeps taking unexpected turns, mainly due to Scandinavian open-minded directness. Love ducks and weaves and ultimately settles, all punctuated by four-part harmony transitions supplied by a spiritual singing Greek chorus.
64. Nuit #1 (***)
This one blew me away and I was tempted to give it my first 4 star rating of the festival. Two thirty-somethings hook up and have urgent, graphic sex. The aftermath, however, is more challenging. Over the course of the night, these two people bare their souls to each other and end up raw, exposed and vulnerable. And, somehow, in the process, they expose the condition of a whole generation. Intensely honest and impossible to look away from. Fiercely committed performances.
20th century conflicts continue to provide fertile soil for heavy European drama. In this case, it's Spain after the Civil War. A original, shockingly brutal opening sets the stage. An adolescent boy perspective suggests innocence, but as reality slowly emerges and dark secrets surface, social and sexual politics clearly still have a long way to go. As for morality, there isn't even room on the table. War and its aftermath are hell!
63. Happy, Happy (**)
A quirky snow-bound comedy that keeps taking unexpected turns, mainly due to Scandinavian open-minded directness. Love ducks and weaves and ultimately settles, all punctuated by four-part harmony transitions supplied by a spiritual singing Greek chorus.
64. Nuit #1 (***)
This one blew me away and I was tempted to give it my first 4 star rating of the festival. Two thirty-somethings hook up and have urgent, graphic sex. The aftermath, however, is more challenging. Over the course of the night, these two people bare their souls to each other and end up raw, exposed and vulnerable. And, somehow, in the process, they expose the condition of a whole generation. Intensely honest and impossible to look away from. Fiercely committed performances.
Friday, October 14, 2011
Thursday Oct 13 - Day 15
57. Blood In The Mobile (***)
As if there weren't enough reasons to resent cell phones, this fearless Danish film maker offers a few more: rape, murder, slave labour! The problem is the mineral supply chain and corporate intransigence when it comes to principle vs. profit. The best kind of doc, the kind that makes you angry.
58. Bonsai (***)
Low key and a very clever structure - story within a story within a film. Gentle metaphors and a plot full of echoes and literary references. Familiarity with Proust would probably help. Something about this movie sticks with me.
59. You Can't Go Home Again (*)
I'd be reluctant to recommend this movie to anyone that wasn't there. Raw, crude 60s underground style. It's easy to forget that today's technical take-it-for-granted was born in some of this experimental stuff. Distorted, solarized images may be irritating today but Ray was actual using the technique that pioneer visual artist Nam June Paik was wowing the art world intelligentsia with at the time. But today - of historical interest only.
60. The Artist (***)
Tremendously entertaining homage to silent films and movies in general. Not a single false note in this very affectionate story of change, loss, love and happy endings. Played straight as a silent movie with two very funny sound gags.
61. Roadie (**)
Another movie about change and loss. Rock and roll is fading into history and sometimes the only place you can go is home. After years on the road, Jimmy's at the end of his but just not ready to accept it. Back in Queens, the old neighbourhood is the same but sadly different - stroke afflicted neighbour, mother showing understated early signs of dementia. A desperate, painful attempt to connect with the past helps Jimmy stumble to something resembling acceptance. Another movie that's probably easier to connect with if you were there.
As if there weren't enough reasons to resent cell phones, this fearless Danish film maker offers a few more: rape, murder, slave labour! The problem is the mineral supply chain and corporate intransigence when it comes to principle vs. profit. The best kind of doc, the kind that makes you angry.
58. Bonsai (***)
Low key and a very clever structure - story within a story within a film. Gentle metaphors and a plot full of echoes and literary references. Familiarity with Proust would probably help. Something about this movie sticks with me.
59. You Can't Go Home Again (*)
I'd be reluctant to recommend this movie to anyone that wasn't there. Raw, crude 60s underground style. It's easy to forget that today's technical take-it-for-granted was born in some of this experimental stuff. Distorted, solarized images may be irritating today but Ray was actual using the technique that pioneer visual artist Nam June Paik was wowing the art world intelligentsia with at the time. But today - of historical interest only.
60. The Artist (***)
Tremendously entertaining homage to silent films and movies in general. Not a single false note in this very affectionate story of change, loss, love and happy endings. Played straight as a silent movie with two very funny sound gags.
61. Roadie (**)
Another movie about change and loss. Rock and roll is fading into history and sometimes the only place you can go is home. After years on the road, Jimmy's at the end of his but just not ready to accept it. Back in Queens, the old neighbourhood is the same but sadly different - stroke afflicted neighbour, mother showing understated early signs of dementia. A desperate, painful attempt to connect with the past helps Jimmy stumble to something resembling acceptance. Another movie that's probably easier to connect with if you were there.
Thursday, October 13, 2011
Wednesday Oct 12 - Day 14
53. Wish Me Away (**)
Conventional format doc with high emotional engagement quotient. You wouldn't want to be a lesbian country singer in Nashville/America, even today, and neither did Chely Wright. In fact, for 30 years she prayed God would fix her. Lots of fear and tears as once again we're reminded that America, for all its progress and influence, still has a very dark side fuelled by superstition and unevolved ignorance.
54. Comforting Skin (*)
Shot, very effectively, in Vancouver. There's probably a decent psychological thriller here buried, unfortunately, by first time director missteps. Social misfit with hints of mental illness background and a best friend agoraphobic roommate gets a tattoo to shake things up. And, does it ever. Turns out it's a pretty possessive, jealous tattoo that moves all over her body in a caressing way when it feels like it (interesting arousal scene in an elevator), less gently when it's angry. Unfortunately, the soundtrack is amped up and jarringly discordant, not to mention irritating, and just ends up drowning out the whispering "dialog" that comes from the tattoo and might have helped make more sense of things. Fearless performance by Victoria Bidewell, though.
55. The Fairy (*)
Another view of Le Havre, this time as the setting for French farce, also with echoes of Tati and, oddly, Robert Altman's "Popeye" (without the music). It had me pretty firmly for about the first 15 minutes. Then it started in on a progression of increasingly silly set-ups that I just found tiresome. People around me were laughing - I had no idea why.
56. Everything and Everyone (***)
It's pretty hard for me to be objective when it comes to locally made films. I find I often enjoy them even when their flaws and weaknesses are apparent to me (cf. Carl Bessai). However, no flaws whatsoever intruded on my thorough enjoyment of this little gem. Strong acting and smart dialog and a script that doesn't falter for the cheap connective link. I liked all these very real characters and found myself caring about what happens to them. Much of the dialog is razor sharp and Gabrielle Rose is a local treasure.
Conventional format doc with high emotional engagement quotient. You wouldn't want to be a lesbian country singer in Nashville/America, even today, and neither did Chely Wright. In fact, for 30 years she prayed God would fix her. Lots of fear and tears as once again we're reminded that America, for all its progress and influence, still has a very dark side fuelled by superstition and unevolved ignorance.
54. Comforting Skin (*)
Shot, very effectively, in Vancouver. There's probably a decent psychological thriller here buried, unfortunately, by first time director missteps. Social misfit with hints of mental illness background and a best friend agoraphobic roommate gets a tattoo to shake things up. And, does it ever. Turns out it's a pretty possessive, jealous tattoo that moves all over her body in a caressing way when it feels like it (interesting arousal scene in an elevator), less gently when it's angry. Unfortunately, the soundtrack is amped up and jarringly discordant, not to mention irritating, and just ends up drowning out the whispering "dialog" that comes from the tattoo and might have helped make more sense of things. Fearless performance by Victoria Bidewell, though.
55. The Fairy (*)
Another view of Le Havre, this time as the setting for French farce, also with echoes of Tati and, oddly, Robert Altman's "Popeye" (without the music). It had me pretty firmly for about the first 15 minutes. Then it started in on a progression of increasingly silly set-ups that I just found tiresome. People around me were laughing - I had no idea why.
56. Everything and Everyone (***)
It's pretty hard for me to be objective when it comes to locally made films. I find I often enjoy them even when their flaws and weaknesses are apparent to me (cf. Carl Bessai). However, no flaws whatsoever intruded on my thorough enjoyment of this little gem. Strong acting and smart dialog and a script that doesn't falter for the cheap connective link. I liked all these very real characters and found myself caring about what happens to them. Much of the dialog is razor sharp and Gabrielle Rose is a local treasure.
Wednesday, October 12, 2011
Tuesday Oct 11 - Day 13
50. Los Acacias (**)
I like minimalism as a stylistic choice generally (e.g. "The Limits of Control"), but this effort, I'm afraid, goes beyond my threshold. There are definitely things to like here - the tight in-cab composition, the baby's expressiveness, but mostly it feels like one long pregnant pause. Edited down to a 30-40 minute short feature would be another story altogether.
51. Brothers & Sisters (**)
It's hard not to like a Carl Bessai film. He brings so much creative energy and such a generous collaborative process to these improvisational works that I really want to overlook the shortcomings. However, finding the story arc in the editing process results in all four story lines lurching awkwardly to their resolutions.Fun while it lasts, though.
52. Low Life ()
Warmed over Godard 50 years late. Relentlessly pretentious and numbingly interminable. Don't ever let these people near a camera again.
I like minimalism as a stylistic choice generally (e.g. "The Limits of Control"), but this effort, I'm afraid, goes beyond my threshold. There are definitely things to like here - the tight in-cab composition, the baby's expressiveness, but mostly it feels like one long pregnant pause. Edited down to a 30-40 minute short feature would be another story altogether.
51. Brothers & Sisters (**)
It's hard not to like a Carl Bessai film. He brings so much creative energy and such a generous collaborative process to these improvisational works that I really want to overlook the shortcomings. However, finding the story arc in the editing process results in all four story lines lurching awkwardly to their resolutions.Fun while it lasts, though.
52. Low Life ()
Warmed over Godard 50 years late. Relentlessly pretentious and numbingly interminable. Don't ever let these people near a camera again.
Tuesday, October 11, 2011
Monday Oct 10 - Day 12
47. Le Havre (***)
Serious things happen in this film - murder, illegal immigrants, cancer - but the overall tone is very light and clean with regular touches of gentle humour. The story is simple enough: an old man saving a fugitive African teen from deportation and helping him reach his mother in England. But, the journey is through a rich, uncluttered landscape of characters that inhabit a charming French seaport. There's something very slightly offbeat about this film, particularly with the dialog, which serves to focus our attention on the wonderful faces that make up the landscape. A little reminiscent of Tati.
48. Policeman (***)
A very taut thriller. Constructed of two discrete stories presented separately that intersect at the violent, bloody climax. First we get to know a tough Israeli anti-terrorist squad, off duty, awaiting a judicial judgement on a prior mission. These guys are tough and tightly wound even when they relax. The second segment observes a group of misfit, middle class revolutionaries (Jewish, not Arab) as they plan a terrorist action to publicize their manifesto. Their comfortable backgrounds work against them, though, as do the confused group dynamics. As they execute their plan, the squad from the first half moves in to "neutralize" them. A couple of very small false notes, but engaging throughout.
49. Trash (**)
There's a good movie in here somewhere. The characters are well defined and believable and the setting is terrific - garbage management in a lower class suburb of Montreal. Atmosphere galore! There's even a solid back story that explains much about the protagonist. Too bad the script falls apart about half way in. When the main character starts making bad decisions, one after another, for the sole purpose of fuelling the plot, it's time to seriously consider the next draft. Too bad.
Serious things happen in this film - murder, illegal immigrants, cancer - but the overall tone is very light and clean with regular touches of gentle humour. The story is simple enough: an old man saving a fugitive African teen from deportation and helping him reach his mother in England. But, the journey is through a rich, uncluttered landscape of characters that inhabit a charming French seaport. There's something very slightly offbeat about this film, particularly with the dialog, which serves to focus our attention on the wonderful faces that make up the landscape. A little reminiscent of Tati.
48. Policeman (***)
A very taut thriller. Constructed of two discrete stories presented separately that intersect at the violent, bloody climax. First we get to know a tough Israeli anti-terrorist squad, off duty, awaiting a judicial judgement on a prior mission. These guys are tough and tightly wound even when they relax. The second segment observes a group of misfit, middle class revolutionaries (Jewish, not Arab) as they plan a terrorist action to publicize their manifesto. Their comfortable backgrounds work against them, though, as do the confused group dynamics. As they execute their plan, the squad from the first half moves in to "neutralize" them. A couple of very small false notes, but engaging throughout.
49. Trash (**)
There's a good movie in here somewhere. The characters are well defined and believable and the setting is terrific - garbage management in a lower class suburb of Montreal. Atmosphere galore! There's even a solid back story that explains much about the protagonist. Too bad the script falls apart about half way in. When the main character starts making bad decisions, one after another, for the sole purpose of fuelling the plot, it's time to seriously consider the next draft. Too bad.
Sunday, October 9, 2011
Sunday Oct 9 - Day 11
43. Buddha Mountain (**)
This must be what "indie" feels like in China. No real plot but the characters develop and evolve and their relationships emerge and grow. Aside from the periodic, high volume histrionic outbursts, which seem to be a staple of Asian films, I was engaged by these characters and the eventual Buddhist resonance of the film's resolution.
44. A Separation (**)
I have to admit - I come to Iranian films with certain expectations. I know that vicious fuckwits are in charge of the country so I'm always looking for seditious subtext. Its presence in this film is subtle. Up front, we have social drama and it's remarkably rich. In a setting that's a mind-bending stew of modernism (TV, late-model cars, computers) and primitivism (religious superstition, which is taken for granted, a chaotic judicial system) a marital drama plays out and, while the women have a voice, the final say is as elusive to them as the freedom to live their lives without the oppression of heavy linen body gags.
45. Sleeping Beauty (***)
This movie made me think of "The Story of O" and Kubrick's "Eyes Wide Shut". It actually made me think of Kubrick for other reasons as well - like style. So, pretty hard not to like, for me, since I saw all those references as positive and successfully realized. But, let's be clear, this movie is decidedly un-erotic. Emily Browning gives a fierce performance, doubling the main character's unreserved commitment to the task at hand, putting herself at the mercy of whatever unfolds.
46. Donovan's Echo (**)
A well-crafted local production (Langley, Maple Ridge) that's thoroughly entertaining. Danny Glover's an anchor for this movie and he's in every scene. A sort of variation on the premonition/he must be crazy story but with the low key cast and locale, it does feel fresh. Made me think of "The Dead Zone" a couple of times.
This must be what "indie" feels like in China. No real plot but the characters develop and evolve and their relationships emerge and grow. Aside from the periodic, high volume histrionic outbursts, which seem to be a staple of Asian films, I was engaged by these characters and the eventual Buddhist resonance of the film's resolution.
44. A Separation (**)
I have to admit - I come to Iranian films with certain expectations. I know that vicious fuckwits are in charge of the country so I'm always looking for seditious subtext. Its presence in this film is subtle. Up front, we have social drama and it's remarkably rich. In a setting that's a mind-bending stew of modernism (TV, late-model cars, computers) and primitivism (religious superstition, which is taken for granted, a chaotic judicial system) a marital drama plays out and, while the women have a voice, the final say is as elusive to them as the freedom to live their lives without the oppression of heavy linen body gags.
45. Sleeping Beauty (***)
This movie made me think of "The Story of O" and Kubrick's "Eyes Wide Shut". It actually made me think of Kubrick for other reasons as well - like style. So, pretty hard not to like, for me, since I saw all those references as positive and successfully realized. But, let's be clear, this movie is decidedly un-erotic. Emily Browning gives a fierce performance, doubling the main character's unreserved commitment to the task at hand, putting herself at the mercy of whatever unfolds.
46. Donovan's Echo (**)
A well-crafted local production (Langley, Maple Ridge) that's thoroughly entertaining. Danny Glover's an anchor for this movie and he's in every scene. A sort of variation on the premonition/he must be crazy story but with the low key cast and locale, it does feel fresh. Made me think of "The Dead Zone" a couple of times.
Saturday Oct 8 - Day 10
38. My Little Princess (*)
I found myself feeling uncomfortable throughout this movie, and not because of the subject matter. It never seems to achieve a coherent focus and the characters behave almost with a randomness that defies sympathy and any kind of identification. Ultimately, they have so little appeal that I didn't care about any of them, including the under-age "victim" who's modelled on the writer/director. Probably the least satisfying thing I've ever seen Isabelle Huppert do.
39. This Is Not A Film (***)
Guerilla film making. The enemy never appears but we know who they are and we know their terrible appetite for retribution and punishment. Left me angry and moved by the obvious toll on the artist and the very real personal danger he faces. How did so many ass-holes get to be in charge in so many places?!
40. White (*)
Derivative, unfocussed trash - and not in a good way. A movie about one-dimensional teenage Korean girls and annoying, formula pop needs more than a half-baked "ghost in the video cassette" device to even come close to legitimacy. What the hell is this nonsense doing at VIFF?
41. Where There's Hope There's Fire (**)
Compendium of shorts. See #33.
42. The Sandman (***)
High concept and low res. One of the odd things about this little gem, in this digital age, is that it looks like it could have been made 30 or 40 years ago. Leaking sand as a character flaw metaphor is as original as it gets and, happily, a full scale story enshrouds it. And, the happy ending doesn't feel like a cheat.
I found myself feeling uncomfortable throughout this movie, and not because of the subject matter. It never seems to achieve a coherent focus and the characters behave almost with a randomness that defies sympathy and any kind of identification. Ultimately, they have so little appeal that I didn't care about any of them, including the under-age "victim" who's modelled on the writer/director. Probably the least satisfying thing I've ever seen Isabelle Huppert do.
39. This Is Not A Film (***)
Guerilla film making. The enemy never appears but we know who they are and we know their terrible appetite for retribution and punishment. Left me angry and moved by the obvious toll on the artist and the very real personal danger he faces. How did so many ass-holes get to be in charge in so many places?!
40. White (*)
Derivative, unfocussed trash - and not in a good way. A movie about one-dimensional teenage Korean girls and annoying, formula pop needs more than a half-baked "ghost in the video cassette" device to even come close to legitimacy. What the hell is this nonsense doing at VIFF?
41. Where There's Hope There's Fire (**)
Compendium of shorts. See #33.
42. The Sandman (***)
High concept and low res. One of the odd things about this little gem, in this digital age, is that it looks like it could have been made 30 or 40 years ago. Leaking sand as a character flaw metaphor is as original as it gets and, happily, a full scale story enshrouds it. And, the happy ending doesn't feel like a cheat.
Friday, October 7, 2011
Friday Oct 7 - Day 9
34. Flirting With Heights (***)
The best kind of doc - the artist is personally involved and committed. Not National Geographic perfection but jaw-dropping nevertheless. Some of the shots and sequences appear to be impossible. The narration, just as Herzog does, brings an added level of aesthetic purity to the experience.
35. Headshot (**)
Thai noir! Straightforward basic story - cop fights corruption, gets framed and jailed, becomes hit-man for vigilante group (that only targets bad guys), gets shot in the head when an assignment goes sideways, recovers only sees everything upside down now, joins monastery, gets chased by bad guys, leaves monastery, kills bad guys, goes back to prison, gets out and joins monastery again, gets shot and killed. Lots of noir flourishes, though, including a sarcastic female who's there (twice) when he really needs a getaway car and who happens to be related to the assassination victim that resulted in his head wound, and... oh, never mind. Stylish enough to hold my interest, though.
36. Miss Bala (***)
Aside from wondering why this film is called Miss Bala when it takes place in Baja, I found it to be gripping throughout. Mexico's a mess these days and this movie appears to paint a pretty authentic picture of this macho, self-destructive, drug-saturated culture. The superb camera work imparts a relentless edginess to the story as it unfolds, perfectly underlining the hopelessness that average citizens, like the female protagonist, live with every day. Oh, and the beauty pageant is rigged!
37. Starbuck (***)
When it comes to this kind of social comedy material, Quebec sait faire! The setup may be improbable, but once you accept it, every thing that follows is sheer delight. The emotions generated feel real and the humour is organic. No cliches and no contrivance. Wonderfully entertaining.
The best kind of doc - the artist is personally involved and committed. Not National Geographic perfection but jaw-dropping nevertheless. Some of the shots and sequences appear to be impossible. The narration, just as Herzog does, brings an added level of aesthetic purity to the experience.
35. Headshot (**)
Thai noir! Straightforward basic story - cop fights corruption, gets framed and jailed, becomes hit-man for vigilante group (that only targets bad guys), gets shot in the head when an assignment goes sideways, recovers only sees everything upside down now, joins monastery, gets chased by bad guys, leaves monastery, kills bad guys, goes back to prison, gets out and joins monastery again, gets shot and killed. Lots of noir flourishes, though, including a sarcastic female who's there (twice) when he really needs a getaway car and who happens to be related to the assassination victim that resulted in his head wound, and... oh, never mind. Stylish enough to hold my interest, though.
36. Miss Bala (***)
Aside from wondering why this film is called Miss Bala when it takes place in Baja, I found it to be gripping throughout. Mexico's a mess these days and this movie appears to paint a pretty authentic picture of this macho, self-destructive, drug-saturated culture. The superb camera work imparts a relentless edginess to the story as it unfolds, perfectly underlining the hopelessness that average citizens, like the female protagonist, live with every day. Oh, and the beauty pageant is rigged!
37. Starbuck (***)
When it comes to this kind of social comedy material, Quebec sait faire! The setup may be improbable, but once you accept it, every thing that follows is sheer delight. The emotions generated feel real and the humour is organic. No cliches and no contrivance. Wonderfully entertaining.
Thursday Oct 6 - Day 8
29. Nana (***)
Captivatingly raw and innocent. A refreshingly original approach to the limited view of the world as a child might experience it. Things grow, change, die - and life continues to unfold as a low key drama. Four year old Kelyna is magical and as completely natural as one can imagine a child being on film.
30. The Sword Identity (*)
A promising start quickly devolves to a repetitive, aimless exercise in bloodless swordplay (accent on play) and tiresome, awkward humour. By the end we could care less who wins and neither, it turns out, does the director.
31. Take This Waltz (***)
At first I thought we were headed in the direction of yet another version of happily married woman meets and leaves husband for "soul mate". But Sarah Polley, thankfully, is too smart for that. This is a messy, intelligent look at the fragility of comfortable long-term relationships. Messy in the sense that she avoids standard melodrama and lets the unfocussed emotions have their way in a natural, believable way. Michelle Williams continues to amaze me as an actress and the richly textured characters she so subtly creates. Nice to see Seth Rogen playing a grown-up, too.
32. The Salt of Life (***)
Mid-life crisis, Italian style. Gio is a gentle sad-sack of a man, starting to feel useless and inadequate as age and early retirement creep up on him. He's surrounded by look-but-don't-touch temptations everywhere he turns - not that he would, he's really too decent for anything salacious. Really just a portrait of a pretty common kind of guy, one imagines. And, a background of the youthful energy and sexuality that defines the sadness. The Italians are so deft at this kind of thing.
33. Animation Nation (**)
Animation compendiums are always a hit and miss affair. This one is no exception.
Captivatingly raw and innocent. A refreshingly original approach to the limited view of the world as a child might experience it. Things grow, change, die - and life continues to unfold as a low key drama. Four year old Kelyna is magical and as completely natural as one can imagine a child being on film.
30. The Sword Identity (*)
A promising start quickly devolves to a repetitive, aimless exercise in bloodless swordplay (accent on play) and tiresome, awkward humour. By the end we could care less who wins and neither, it turns out, does the director.
31. Take This Waltz (***)
At first I thought we were headed in the direction of yet another version of happily married woman meets and leaves husband for "soul mate". But Sarah Polley, thankfully, is too smart for that. This is a messy, intelligent look at the fragility of comfortable long-term relationships. Messy in the sense that she avoids standard melodrama and lets the unfocussed emotions have their way in a natural, believable way. Michelle Williams continues to amaze me as an actress and the richly textured characters she so subtly creates. Nice to see Seth Rogen playing a grown-up, too.
32. The Salt of Life (***)
Mid-life crisis, Italian style. Gio is a gentle sad-sack of a man, starting to feel useless and inadequate as age and early retirement creep up on him. He's surrounded by look-but-don't-touch temptations everywhere he turns - not that he would, he's really too decent for anything salacious. Really just a portrait of a pretty common kind of guy, one imagines. And, a background of the youthful energy and sexuality that defines the sadness. The Italians are so deft at this kind of thing.
33. Animation Nation (**)
Animation compendiums are always a hit and miss affair. This one is no exception.
Wednesday, October 5, 2011
Wednesday Oct 5 - Day 7
25. Carol Channing: Larger Than Life (**)
More tribute than doc to a genuine force of nature. Everybody loves Carol, with good reason, apparently. The film has a sub-text, though - the sad decline and decay of a era rapidly receding into history.
26. Dreileben: Beats Being Dead (***)
Lean scenario, cleanly realized, focussing on a relationship we know can't survive. The setting - the clinic, the forest, the lake are virtual members of the cast. Intermittent frisson of danger as a fugitive killer manhunt plays out in the background.
27. Dreileben: Don't Follow Me Around (***)
Same setting, different players. The manhunt's still playing out in the background but now the focus is on two old friends reconstructing their past. Lots of cigarettes and wine and the manhunt lurches to an anti-climax. Interesting visual anecdote: this segment was shot on Super 16mm and the look is definitely different.
28. Dreileben: One Minute of Darkness (***)
POV shifts to the fugitive and the detective working his case. Many loose ends tied up, a few not. One delightful scene has the detective, overcoming his health issues for the moment, smoking with gusto while his son takes a fellow officer through a tour of his failing gym. Satisfying conclusion to the omnibus.
More tribute than doc to a genuine force of nature. Everybody loves Carol, with good reason, apparently. The film has a sub-text, though - the sad decline and decay of a era rapidly receding into history.
26. Dreileben: Beats Being Dead (***)
Lean scenario, cleanly realized, focussing on a relationship we know can't survive. The setting - the clinic, the forest, the lake are virtual members of the cast. Intermittent frisson of danger as a fugitive killer manhunt plays out in the background.
27. Dreileben: Don't Follow Me Around (***)
Same setting, different players. The manhunt's still playing out in the background but now the focus is on two old friends reconstructing their past. Lots of cigarettes and wine and the manhunt lurches to an anti-climax. Interesting visual anecdote: this segment was shot on Super 16mm and the look is definitely different.
28. Dreileben: One Minute of Darkness (***)
POV shifts to the fugitive and the detective working his case. Many loose ends tied up, a few not. One delightful scene has the detective, overcoming his health issues for the moment, smoking with gusto while his son takes a fellow officer through a tour of his failing gym. Satisfying conclusion to the omnibus.
Tuesday Oct 4 - Day 6
20. My Piece of the Pie (***)
Gallic charm galore. Normal cliches sidestepped with ease. Plot holds almost to the end but, so what - the ride is so relentlessly entertaining and so well paced, the characters so well defined and engaging that I didn't care.
21. Top Floor, Left Wing (***)
French hostage-taking drama. In a low-rent high-rise in the suburbs. Involving Arabs and long-suffering civil servants. Of course there's more than meets the eye at first, including a long buried family secret. Not a comedy but plenty of humour. Mostly black.
22. Bumrush (***)
Assemble the squad - Quebec style. Inspired by and even based on real events (if not the actual people), hyper-realized style and dramatic license make for edgy, non-stop, HBO-like fun. Malleable, multi-lingual dialog is a treat. I love it when a plan comes together!
23. Footnote (***)
Who knew Talmudic studies could be this much fun. Great cast of etched, lived in faces. Faint Coen brothers echo from time to time. Serious topic treated with wry Jewish humour throughout.
24. Innocence (***)
Karma, Czech-style. There's a nagging feeling throughout that the movie isn't about what it seems to be about. The plot has a subtle mobius quality about it that justifies the unexpected ending. Wonderfully strong low key performances.
Gallic charm galore. Normal cliches sidestepped with ease. Plot holds almost to the end but, so what - the ride is so relentlessly entertaining and so well paced, the characters so well defined and engaging that I didn't care.
21. Top Floor, Left Wing (***)
French hostage-taking drama. In a low-rent high-rise in the suburbs. Involving Arabs and long-suffering civil servants. Of course there's more than meets the eye at first, including a long buried family secret. Not a comedy but plenty of humour. Mostly black.
22. Bumrush (***)
Assemble the squad - Quebec style. Inspired by and even based on real events (if not the actual people), hyper-realized style and dramatic license make for edgy, non-stop, HBO-like fun. Malleable, multi-lingual dialog is a treat. I love it when a plan comes together!
23. Footnote (***)
Who knew Talmudic studies could be this much fun. Great cast of etched, lived in faces. Faint Coen brothers echo from time to time. Serious topic treated with wry Jewish humour throughout.
24. Innocence (***)
Karma, Czech-style. There's a nagging feeling throughout that the movie isn't about what it seems to be about. The plot has a subtle mobius quality about it that justifies the unexpected ending. Wonderfully strong low key performances.
Monday, October 3, 2011
Monday Oct 3 - Day 5
16. Pure (***)
Misfit teen with baggage gets a shot at working in a milieu she can relate to. She discovers Kierkegaard and Rachmaninoff but can't tell love and lust apart. Stalking seems inevitable but this film's too smart for that. The resolution's unexpectedly satisfying.
17. Corpo Celeste (**)
Fourteen year-old Marta is transplanted from Switzerland to small town Italy. The church is the social center of things but it's flailing and even the priest has lost hope. All this unfolds under the unflinching gaze of Marta whose characteristic silence speaks volumes. A film pretty much carried by this young actress' facial talent.
18. Patang (**)
Exuberant stew of dysfunctional family drama, festival celebration and kite-flying for blood. And, oh, what colours and energy!
Misfit teen with baggage gets a shot at working in a milieu she can relate to. She discovers Kierkegaard and Rachmaninoff but can't tell love and lust apart. Stalking seems inevitable but this film's too smart for that. The resolution's unexpectedly satisfying.
17. Corpo Celeste (**)
Fourteen year-old Marta is transplanted from Switzerland to small town Italy. The church is the social center of things but it's flailing and even the priest has lost hope. All this unfolds under the unflinching gaze of Marta whose characteristic silence speaks volumes. A film pretty much carried by this young actress' facial talent.
18. Patang (**)
Exuberant stew of dysfunctional family drama, festival celebration and kite-flying for blood. And, oh, what colours and energy!
Sunday Oct 2 - Day 4
13. Jess + Moss (***)
This one drew me in from the opening frame. Wonderfully evocative memories of childhood Summers in the country. Jess (18) and Moss (14) are second cousins and best friends and the movie is their world. They stumble towards growing up, propelled by buried and not so buried family secrets and history. Worth seeing for the wonderfully naturalistic performances of the two actors alone.
14. Two Years at Sea (*)
For die hard doc-heads only! Artless filmmaking in the old (very old) school style - you know, set up the camera and just let it run... interminably. The subject is interesting, confounding even. Bring an extra dose of stamina if you plan on seeing this one.
15. The Nine Muses ()
Left 30 minutes in.
This one drew me in from the opening frame. Wonderfully evocative memories of childhood Summers in the country. Jess (18) and Moss (14) are second cousins and best friends and the movie is their world. They stumble towards growing up, propelled by buried and not so buried family secrets and history. Worth seeing for the wonderfully naturalistic performances of the two actors alone.
14. Two Years at Sea (*)
For die hard doc-heads only! Artless filmmaking in the old (very old) school style - you know, set up the camera and just let it run... interminably. The subject is interesting, confounding even. Bring an extra dose of stamina if you plan on seeing this one.
15. The Nine Muses ()
Left 30 minutes in.
Saturday, Oct 1 - Day 3
10. Cairo 678 (***)
Women coping with cultural mysogyny in "modern" Cairo. Bracing myself for the anger buttons I expected to have pushed, I was drawn in and pleasantly surprised by the confidant, even-handed approach. While there's still a very long way to go, not all the bad guys are all bad.
11. Guilt (***)
A sad, very sad, movie. A couple of good kids, behaving foolishly, unexpectedly and unintentionally, do something very bad. And no one, least of all the audience, can live with it. An actors' film and they're all wonderfully believable.
12. Cloudburst (**)
Commendable shot at a (mostly) original idea. Two dyke seniors carry just enough 50s baggage to fuel the plot. Could've worked with less reliance on improbabilities (the geography, for one) and playing "shock" verbiage for cheap laughs. Cast seems to be having fun, though.
Women coping with cultural mysogyny in "modern" Cairo. Bracing myself for the anger buttons I expected to have pushed, I was drawn in and pleasantly surprised by the confidant, even-handed approach. While there's still a very long way to go, not all the bad guys are all bad.
11. Guilt (***)
A sad, very sad, movie. A couple of good kids, behaving foolishly, unexpectedly and unintentionally, do something very bad. And no one, least of all the audience, can live with it. An actors' film and they're all wonderfully believable.
12. Cloudburst (**)
Commendable shot at a (mostly) original idea. Two dyke seniors carry just enough 50s baggage to fuel the plot. Could've worked with less reliance on improbabilities (the geography, for one) and playing "shock" verbiage for cheap laughs. Cast seems to be having fun, though.
Saturday, October 1, 2011
Friday, Sep 30 - Day 2
6. Tyrannosaur (***)
No one does bottled, dysfunctional rage like the British. Grabs you by the throat from the beginning and and you really don't want it to let go. And it’s even better when you can penetrate the thick accents.
7. The Skin I Live In (**)
Characteristic, just short of over the top Almodovar. You can’t take him seriously but neither can you take your eyes off his work. His films always look so damn good!
8. Kill List (**)
What the hell is this?!! There are at least three movies here. Domestic drama starts things off with unease bubbling away. Followed by contract killing caper that gets increasingly, graphically out of hand. And then somehow, The Wicker Man explodes all over us. Messy, compelling, confusing.
9. Back to Stay (**)
Three college age sisters, thrust by circumstance into living with and accommodating each other’s quirks and needs. We drop in on them, life goes on, o-bla-di, o-bla-da, we drop out. Quietly engaging.
Three college age sisters, thrust by circumstance into living with and accommodating each other’s quirks and needs. We drop in on them, life goes on, o-bla-di, o-bla-da, we drop out. Quietly engaging.
Thursday, Sep 29 - Day 1
Uncharacteristic sun and warmth for opening day. And, characteristic startup snafus- something with ticket printing. Ah, well, nothing can dim the special rush of VIFF Day 1!
1. Por el Camino (**)
One of those films that looks better in the written synopsis than what ends up on the screen. A road movie with a little too much road and not quite enough movie.
2. Elena (***)
Slow burn from modern Russia. Barely perceptible undercurrent of something sinister. Masterful camera work in the classic style. Long, static shots. Patient and deliberate.
3. Quattro From HK 2 (*)
OK. Experimental, I get it! Hits and misses. Two (sort of) hits (the first and the last) and two misses in the middle. Boonmee Weersathekul should really try a different line of work, one that doesn't involve annoying people.
4. Like Crazy (***)
Engaging indie. Falling in love and somehow holding onto it rarely gets this kind of honesty. And, scripted “natural” dialogue, when it's this good, is definitely better than the real “natural” variety.
5. Crazy Horse (***)
Frederick Wiseman demonstrates why “legendary” has attached itself to his name. A “fly on the wall” look inside Paris' Crazy Horse nude dancing cabaret. Never have so many perfect bodies and bare breasts been so... just there and so strangely un-erotic! Impeccably shot and edited. A visual feast.
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