Comes a time when a man has to say, in effect: Hey, you know the drill,
and if you don't know the drill then you've been painfully remiss in your
study of the drill and Remedial Drill Appreciation is probably in order.
This festival takes place in New York City every spring. It is called New
Directors/New Films. Its focus is new directors and the new films they
have made. Most of these pictures are vaguely promising at best,
who-did-the-Albanian-cultural-minister-blow-to-get-this-selected-and-where-can-I-meet-a-girl-with-that-kind-of-skill-and-enthusiasm
at worst. Occasionally, however, they sneak a Daughter From Danang
or a Leila or a Buffalo '66 in there, so it pays to be
exhaustive, however exhausting that may be. I try to hit as many as I
can, frequently bail at the end of reel two; as ever, all a walk-out
signifies is that I wasn't having the world's greatest time and chose to
conserve my forbearance for the next Hou Hsiao-hsien anomiefest. What
follows are not so much reviews as drive-by impressions, largely
unencumbered by clarity or insight but liberally garnished with sarcasm. I
am too lazy to provide context; if you want to know some basic information
about these films, mosey over here. Anybody
falls below a certain level I'm not permitted, listen to me, I'm not
permitted to give them the premium leads. I'm trying to run an
office here. Will you go to lunch. Go to lunch. Will you go
to lunch.
(NOTE: Unless otherwise noted, the films below are not
currently scheduled to be released in the U.S.)
Effectively creepy and impressively textured when it keeps the
supernatural elements distant and obscure, so it's terribly disappointing
that Bursztyn ultimately chooses to provide an explanation --
particularly this trendy explanation -- for the mounting sense of
unease he's so carefully cultivated. Matter of fact, I think he could
easily, and more profitably, have created that sense of "something
askew" without any recourse to the supernatural at all. In other words --
to register a complaint that I make perhaps once every five or six years
at the most -- this movie is insufficiently mundane. Performances and
generational/denominational dynamics are nicely judged, though, and
Burzstyn exhibits enough intelligence and confidence that I feel confident
we'll be hearing from him again.
Note to Ms. Nishikawa: The correct procedure for introducing your film
(especially when you're coming back afterwards for Q&A) is to say
something along the lines of, "Thank you very much; honored to be invited;
hope you enjoy the film; see you later bye." Launching into a 15-minute
exegesis on the project's genesis, purpose, themes, and relevance to
contemporary Japanese society -- all of which must be laboriously
translated into English, so it's actually closer to half an hour before
the projector starts rolling -- is not a good way to engender audience
goodwill. Also, before making your next movie, please learn to write,
direct, recognize the difference between what is funny and what is merely
tiresome, etc. thanks bud-san.
Impossible not to play compare/contrast with Once Upon a Time in the
Midlands, another stab at a contemporary urban Western; the films even
share the same basic plot, in which a violent criminal attempts to
re-establish contact with his ex-wife and young daughter, now living with
an ineffectual loser. If Caetano's film, with its taciturn outsider hero
and expertly choreographed showdown, better captures the dusty, elemental
flavor of its quasi-genre, it does so at the expense of originality --
Midlands, which sides with the goodhearted buffoon rather than the
charismatic psychopath, boasts the more intriguing vision. On the other
hand, Caetano has a surer grip on his material, a stronger sense of
composition (Meadows is at his best when he's impulsive, which perhaps
explains why his shorts work better than his features), and a secret
weapon in hulking, brooding Julio Chávez, who miraculously makes
something spartan and affecting out of the potentially cutesy
contradiction between raging bull (or bear) and doting dad. Liked the
daughter better in Midlands; liked the milquetoast better here.
Didn't especially need the themes spoken aloud by the supporting cast in
either film. I dunno. I gave 'em both a B-. Call it a draw.
Zzzzzzzzzzzz. Halim why are your people so boring bud.
Starts off loud and frenetic, as if to say, "Ha ha! We Chinese are not as
somnolent as you assume!" (I think there's even an exclamation point in
the original title: The Missing Gun!) Settles down quickly,
though, and then staggers about blindly in search of a tone -- at the
point at which I bailed, I still hadn't determined whether it's an
unfunny comedy, an unexciting thriller, or some unabsorbing combination
of the two. What it resembles most of all is a hackneyed American genre
flick badly translated into Chinese; thanks to Theo,
I spent the last ten minutes of reel two imagining Martin Lawrence in the
Jiang Wen part.
Fully expected this to be two reels of Human Rights Watch browbeating and
then adios muchacho, but the superior first half of Longinotto's
documentary about female circumcision (or "genital mutilation," depending
upon your viewpoint) is neither as lazy nor as righteous as I'd feared,
in large part because it (wisely) takes the viewer's indignation for
granted. Rather than lecture us about why the practice is wrong (a
premise with which most Western viewers already concur), Longinotto
yields the floor to the Kenyan women who conduct and endure it, allowing
them to make a case for its continued utility and relevance. They're not
terribly convincing, as it turns out, coming across a bit like automatons
programmed to dispense bromides about cultural relativity and the value
of ritual (certain phrases crop up with suspicious regularity); we might
as well be listening to Patty Hearst talking about the SLA in September
'75. On the other hand, the film's implicit anti-circumcision argument
isn't what you'd call cogent, either, glossing over the patriarchal fear
and loathing of female sexuality that lies at the heart of the matter in
favor of a bland "right to choose" sentiment. (Speaking as someone who
once had part of his genitals snipped off without permission or
anaesthetic, and who intends to circumcise any male children he may one
day have [pending negotiation with purely hypothetical partner], I don't
find this logic very persuasive.) In any case, the film reverts to type in
its latter half, devoted to a group of runaway kids who file suit to
prevent their parents from circumcising them, and I gradually lost
interest. Warning to the squeamish/sensitive: the scene you will never
forget features not one but two on-camera "operations" -- shot at a
discreet distance, yes, but still far more upsetting, at least to this
viewer, than the rape scene in Irreversible. These screams are
real.
As muddy as the banks of the river down which our tough 'n' tender trio
travel -- but delectable, too, and not just because all three women are
prone to whip their tops off at the first (and second, and third)
opportunity. Weiss' deliriously libidinous fairy tale employs grade-Z
genre syntax (fluctuating haphazardly between cheesy horror and Radley
Metzger soft-core) to investigate the demarcation point between...well,
beats the hell outta me, frankly. Slovenia and Croatia? Reality and
fantasy? Propriety and gratification? Weiss touches briefly on all of
the above, and tosses in a blunt critique of xenophobia for good measure
(the bogeyman ultimately revealed as a parochial politician given to
jingoistic rants); personal and political never really mesh, though,
and Zana's climactic Dance of Despair and Disillusionment isn't so much
cathartic (cf. Denis Lavant's spaz attack in Beau Travail) as
just plain baffling. (The scene's fuck-you-I'm-fabulous vibe reeks of
thinly veiled, none-too-relevant autobio.) Still, the surface pleasures
come fast and furious: catty dialogue, gorgeous scenery, preposterously
ominous music and compositions, and, well yeah, quite a lot of skin. Like
Secret Things -- this is shaping up to be a primo year for
high-toned erotica, I have to say -- it fails to make the disreputable
reputable, but you're liable to walk away thinking that repute is highly
overrated anyway.
Remarkable in the most literal sense of the word -- pretty good movie,
fantastic conversation piece. Essentially, it's the Iranian Blair
Witch Project, with patriarchy and xenophobia time-sharing the role
of the boogeyman; like Heather Donahue, the film's lead actress is
largely reduced to a disembodied voice, though in this case her visual
absence obviously packs an additional sociological punch. Abrupt
narrative ellipses and fleeting glimpses of unspeakable atrocities
combine with the helter-skelter camerawork to create a powerful sense of
dread and disorientation, which Kamkari then proceeds to undermine via
increasingly ludicrous plot twists. Ultimately, the conceptual gimmick
runs out of steam, but at least there were no wide-eyed, endearingly
inquisitive moppets or obligatory stabs at reflexivity.
Tell it to your therapist, pal. Just because your dad was famous doesn't
mean you get to inflict your banal troubles on the rest of us.
First things first: Somebody's used this premise before, right? I mean, I
can't think of another instance off the top of my head, but there's just
no way an idea so blatantly ingenious could have been overlooked until
now. Only trouble is, the movie is all premise -- you could get
positively weepy imagining the emotional heft that John Woo would have
invested in these stoic, yearning inverse doppelgängers, with their
twin crises of conscience and their serrated psyches and their intricate
shadow play. Peaks early, achieving a giddy tension via the taut
cross-cutting between Leung's Morse twitching and Lau's alphanumeric
fumbling; remains engrossing thereafter, thanks largely to an agreeably
old-school vibe and the charismatic brooding of its two stars. Both the
brutally ironic climax and the terminally drippy denooeyment ("that's not
how it's pronounced") seem to have been filched wholesale from L.A.
Confidential, except that the former is arguably even more powerful
and the latter is undeniably much less preposterous. The fanboys need to
be hosed down, as usual, but this is good stuff.
Had a tough time settling on a numeral for this one, and still
occasionally wonder whether I may have over- or underrated it. The film
qua film is really more of a solid "B" effort, thorough and considered
with occasional flashes of inspiration (e.g., the opening and [almost]
closing helicopter shots; a jailhouse interview shot as a negative image,
ostensibly to protect the identities of the subjects but also to
emphasize the inhumanity of their condition). I find it hard to imagine a
Brazilian audience being wowed by it, because they'd presumably know the
story already and have seen the news footage many times before. For those
who haven't seen the news footage before, however, this is
probably the year's most relentlessly gripping movie, simply because the
Rio cops somehow failed to establish a perimeter and allowed TV
journalists to stand right beside the bus for the entire five-hour
standoff, thus turning it into a real-life version of Dog Day
Afternoon, only never funny. A lot of Bus 174's appeal is
frankly voyeuristic -- we're just not used to seeing this stuff up-close.
At the same time, Padilha is dogged (some say too dogged) in
researching and laying out the personal, historical and sociological
background, and does a fine job both of indicting a failed system for the
crime and of investigating the uncomfortable degree to which the presence
of cameras influenced events (to the point where the hostages were in
effect engaged in street theater). Bottom line: There was never a moment
when I wasn't completely engaged, and that's exceedingly rare.
Apparently it is somewhat difficult for the Arabic type persons to enter
Jerusalem on account of there is the ethnic strife, etc. And yet one
man makes the effort anyway in order that he might bring the Magic of
Cinema to the little children. In other words what we have here is
Divine Intervention as directed by post-'96 Zhang Yimou. No thanks
bud.
Seen at Toronto 2002; regrettably brief TONY review now available.
Seen at Cannes 2002.
Neglected this one in my Rotterdam rundown (it was the last film I saw),
but you can't escape your destiny, it seems. Talk to Her it
definitely ain't, and those allergic to the ensemble crowdpleaser will
find plenty to grouse about, but the film's warmth seemed to me genuine,
its cast in fine fettle (Javier Bardem, his handsome features
buried beneath a thick beard and 20 or 30 extra pounds, has rarely been
more appealing), and its adherence to the Full Monty template
counterbalanced by careful attention to the particular climate and tempo
of northwestern Spain. Admittedly, it's kind of "cute" -- a typical
scene being the one in which our unemployed heroes happily watch a
football match from a freebie perch, only to find that their view of the
visiting team's goal is blocked by an overhanging girder -- but only the
tiresomely pedantic (hi Gabe!) think every film should present a
challenge. [Opens 18 April 2003 in New York City.]
The Glow (Igal Bursztyn, Israel):
51
Wild Berries (Miwa Nishikawa,
Japan): W/O
A Red Bear (Israel Adrián
Caetano, Argentina/France/Spain): 62
The Clay Bird (Tareque Masud,
Bangladesh/France): W/O
The Missing Gun (Chuan Lu,
China): W/O
The Day I Will Never Forget (Kim
Longinotto, UK): 49
Guardian of the Frontier (Maja
Weiss, Slovenia): 58
Black Tape: A Tehran Diary
(Fariborz Kamkari, Iran): 60
My Architect (Nathaniel Kahn,
USA): W/O
Infernal Affairs (Andrew Lau &
Alan Mak, Hong Kong): 68
Bus 174 (José Padilha,
Brazil): 79
Ticket to Jerusalem (Rashid
Masharawi, Palestine/Netherlands/France): W/O
Raising Victor Vargas (Peter
Sollett, USA): 77
Angel on the Right (Jamshed
Usmonov, Tadjikistan/Italy/Switzerland/France): 61
Mondays in the Sun (Fernando
León de Aranoa, Spain): 61