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Documentaries Festivals London Film Festival Reviews

LFF 2010: Inside Job

Charles Ferguson’s documentary explores the global financial crisis with devastating clarity and paints a deeply troubling picture of the relationship between financial and political elites.

Within the space of just two hours, using interviews, graphics, impressive editing and a sober narration from Matt Damon, Inside Job takes us through the causes of the current economic meltdown.

Beginning with a startling prologue examining how Iceland’s economy was essentially ruined by big finance, it sets up in microcosm the the wider story of how, over a period of 30 years, successive governments have allowed large financial institutions to inflate an economic system until it eventually burst in the autumn of 2008.

Interviewing a variety of experts and policy makers including Nouriel RoubiniGeorge Soros, Eliot Spitzer, Barney Frank and Christine Lagarde it takes us step-by-step through the deregulation of the financial industry under successive presidents from Regan onwards.

We are presented with a non-partisan examination of how Republicans and Democrats were seduced by financial sector: the Reagan-era deregulation of Wall Street, which led to the Savings and loan crisis; the Clinton administration’s numerous mistakes in repealing key laws designed to minimize risk in the financial sector; the lack of regulation under Bushthe rise in derivatives (increasingly complex and dangerous financial ‘innovations’); and finally the Obama administration, which made the mistake of employing Clinton-era officials who were part of the original problem.

Although a lot of the information presented here has been explored in other books and TV programmes (such as the BBC’s The Love of Money), to see it presented in a single film is both constructive and chilling.

Ferguson himself cross-examines a number of government and private sector officials – though many of the key culprits refused to be interviewed – and his probing questions elicit some revealing requests to stop filming when they appear unexpectedly thrown by certain questions.

One startling aspect of the film is how much academics, supposedly independent from Wall Street banks, are actually paid by them for opinions or even serve on their boards – a clear conflict of interest which several of them appear oblivious to.

Using a sober tone throughout, the narration, interview footage and graphics all collate and explain the financial jargon of CDOs, credit default swaps and the policies which left much of the public scratching their head as they tried to process the full extent of what happened.

But this is more than just an academic primer: featuring widescreen lensing, aerial shots of New York and some appropriate music (the opening credits feature Peter Gabriel’s ‘Big Time’) it is a cinematic experience, which visually reflects the gravity of the subject.

The relentless approach is both appropriate and effective, although it also reveals some ghoulish comedy when exploring the widespread use of cocaine and prostitutes on Wall St and the stuttering angst of interviewees caught out by Ferguson’s well-researched questions.

One of the most damning aspects to arise from Inside Job is the incestuous nature of the relationship between Washington and Wall Street.

The revolving door connecting the political and financial worlds, along with figures such as Henry Paulson, Lawrence Summers and Robert Rubin, has effectively shielded large banks from any effective regulation.

The result of this has been the largest financial crash in history, which almost brought down the whole banking system in 2008 and resulted in millions of people losing their jobs and homes.

The only thing that prevented a full scale collapse was the bailout of the banks at the taxpayers expense.

But this was essentially socialism for the rich, in which the public paid the price for the irresponsible actions of political and financial elites.

Inside Job might appear to be an incendiary title, but it is wholly appropriate: two years on from the averted meltdown, there appears to be no meaningful financial reform and the governments appear to have little taste for prosecuting those who helped cause the crisis.

Partly this is down to the power and influence of the large banks, whose ex-employees litter government and shape policy, as well as pay for political campaigns.

Could the embattled Obama administration, currently suffering because of the economic collapse, find renewed energy in restoring the financial regulations lost over the last thirty years?

Bringing those responsible for the fraud that triggered trillions of dollars in losses would certainly be a vote winner, even if the Wall Street backlash was severe.

That may or may not happen, but in the mean time this documentary is a worthy call to arms: in examining the root causes of the crisis and emphasising the importance of restoring honesty to the global financial system, it is one of the most important films of the year.

Inside Job screened tonight (Oct 27th) and plays tomorrow (October 28th) at the London Film Festival.

It is currently out in the US in limited release and opens in the UK on February 18th February 2011

> Inside Job at the LFF
> Official site
> Detailed press notes for the film (essential reading)
> Reviews of the film at Cannes from MUBi

Categories
Cinema Festivals London Film Festival

LFF 2010: Biutiful

A powerful depiction of life on the edges of a modern city, the latest film from Alejandro González Iñárritu is a full on experience featuring a dazzling central performance by Javier Bardem.

Marking a break from his triptych of films with screenwriter Guillermo Arriaga, Biutiful is the more linear tale of Uxbal (Bardem), a father struggling in the slums of contemporary Barcelona.

A fixer of sorts for illegal immigrant labour in the city, he sets up jobs, smoothes over ‘relations’ with the local police and deals with various figures involved in this hidden economy, including his brother Tito (Eduard Fernandez) and business partner Hai (Taisheng Cheng).

He is also a devoted father to his children, Ana (Hanaa Bouchaib) and Mateo (Guillermo Estrella), and in addition to caring for them, struggles to cope with his bipolar ex-wife, Marambra (Maricel Alvarez) and an immigrant Senegalese woman (Diaryatou Daff) he feels responsible for.

There is more to the story and clocking in at 138 minutes, Iñárritu doesn’t hold back in showing us a kaleidoscope of problems as Uxbal deals with health issues, emotional anxieties and a deep sense of his own mortality.

The film’s grim milieu is expertly realised and, to its great credit, doesn’t shy away from showing the stark reality of a modern metropolis built on cheap labour and the suffering of the poor.

Rodrigo Prieto’s handheld camerawork captures the exterior and interior worlds of Barcelona with remarkable authenticity, and there are shifts in aspect ratio and camera speeds which add to the rich visual architecture of the film.

Stephen Mirrione’s editing is another standout element, stitching the action together with considerable skill – one sequence involving the police chasing an immigrant gang is a masterclass in construction and pacing.

The sound design by Martin Hernandez is also highly effective, used to accentuate the reality of Uxbal’s world but also employing unconventional effects to take us inside his mind.

After the globetrotting nature of Babel, Innaritu seems to have become more interested in a single place and a central, unifying character who acts as a nexus for the themes and events of the story.

Uxbal is an intriguing protagonist of considerable contradictions: he uses people, whilst also helping them; is angry but loving with those closest to him; and appears to be both resigned to and in denial about his ultimate fate.

The character is brought vividly to life by an incredible central performance by Javier Bardem: in addition to his magnetic screen presence, he convinces as a shady, underworld operator but also conveys his interior emotions with remarkable grace and authenticity.

It is one of the most affecting portrayals of fatherhood I can remember seeing on screen: the chemistry with his children is touchingly real and the emotional latter stages are almost hard to watch.

But whilst Bardem dominates the film, other actors also leave their mark: as Uxbal’s ex-wife, Alvarez convincingly alternates between her moods; and as their children Bouchaib and Estrella display a realism and maturity rare amongst young actors.

Iñárritu is a director who likes to deal with big themes on a wide canvas, which can run the risk of seeming grandiose or self-important.

But Biutiful – the title comes from a misspelling within the story – is admirable precisely because it tackles huge subjects with an unusual intensity and a refreshing lack of distance or irony.

Although he seems to be returning to similar themes in his films – love, death, existence – Iñárritu has considerable skills as a filmmaker and uses his full armoury to open these subjects up for the audience to process.

Not everything works – a diversion into the supernatural is perhaps a step too far – but the barrage of elements presented is wildly ambitious and admirable for its naked, emotional quality.

In exploring life in a modern city through one character he manages to find something universal in the particulars of a man’s life and it ends up being more than just a supercharged retelling of the Book of Job.

Biutiful is not a film that will please everyone or reach a massive audience, but it features one of the great modern screen performances and in exploring the rawness of existence, reaches a level of transcendence rare in modern cinema.

> Biutiful at the LFF
> Reviews from Cannes and TIFF at MUBi
> IMDb entry

Categories
Cinema Festivals London Film Festival Reviews

LFF 2010: The Kids Are Alright

A perfectly pitched comedy-drama about family tensions, director Lisa Cholodenko’s third film is also a showcase for some stellar acting.

When a Los Angeles lesbian couple, Nic (Annette Bening) and Jules (Julianne Moore), discover their two teenage kids, Joni (Mia Wasikowska) and Laser (Josh Hutcherson), have got in touch with their biological father (Mark Ruffalo) it causes various complications.

As with Chodolenko’s previous films, this is very much a character piece exploring the intricacies and complications of human relationships.

But it is a step up from her last two films, applying a light touch to potentially heavy issues, and much of the enjoyment comes from the actors fitting snugly into their roles, especially the two leads who have their best parts in years.

Bening is excellent as the career-orientated matriarch. As an uptight, wine-loving physician she manages to convey a genuine warmth and affection for her family that often seems hidden beneath her surface anxieties.

Moore gets to explore a more vulnerable side, as someone less interested in a career and who strays of the beaten track in looking for someone to spice up her domestic routine.

The chemistry between the two is striking and they paint a convincing picture of a genuinely loving couple who are nonetheless susceptible to the insecurities and problems of everyday life.

Already attracting awards season buzz, it will be interesting to see which categories both actresses are submitted for. At the moment the smart money is for Bening, but it seemed to me that Moore had slightly more screen time.

In the key supporting roles, Wasikowska and Hutcherson provide a nice contrast to their parents with their charming levelheadedness, whilst Ruffalo exudes a relaxing, easy charm as the man who is a catalyst for unexpected change.

The screenplay, by Cholodenko and Stuart Blumberg, manages to flesh out the characters and impressively depicts underlying tensions, be they of gender, sexuality or background.

Perhaps the most striking aspect of the film is how purely enjoyable it is to watch, moving from scene-to-scene with witty dialogue and organic humour generated from the interaction of the well-drawn characters.

This has the added bonus of dramatic moments arriving with unexpected force and when they do, it is with a lack of bombast unusual for films dealing with relationship problems.

For an independent film, albeit an upscale one, the look and feel of the production is convincing and special credit must go to editor Jeffrey M. Werner who helps move scenes along with an understated ease and fluency.

Added to this is an excellent soundtrack, which seems to reflect the different tastes of the family: for the parents there is David Bowie, Joni Mitchell and The Who, whilst for the kids, we get tracks from Vampire Weekend and MGMT.

Comedy-dramas (or dramatic comedies) can often be a hellish thing to get right, but here Chodolenko strikes just the right balance, with a tone that never takes its characters too seriously, whilst still treating them with respect.

Although the issue of gay marriage is still a contentious one in America, this film goes a long way in putting forward the idea that a happy family doesn’t have to be a conventional one.

Without resorting to grandstanding polemic and instead just showing the bittersweet ups and downs of a loving family, Chodolenko has made a convincing case that the kids will indeed be alright.

The Kids Are Alright screens at the London Film Festival (Monday 25th, Tues 26th and Weds 27th) and opens in the UK on Friday 30th October

> The Kids Are Alright at the LFF
> IMDb entry
> Reviews at Metacritic

Categories
Festivals London Film Festival

LFF 2010: Black Swan

Darren Aronofsky’s portrait of an obsessive ballerina is wonderfully intense experience, powered by a standout performance from Natalie Portman.

Set amongst a New York City ballet company producing Swan Lake, it focuses on the psychological and physical tribulations of Nina (Portman), a dancer desperate to impress her demanding director (Vincent Cassel) and possessive mother (Barbara Hershey).

After she wins the lead role we see Nina’s ambition and drive turn into something much darker.

She begins to have suspicions about her predecessor (Winona Ryder), a fellow dancer (Mila Kunis) and herself as she becomes burdened with all kinds of psychological and physical problems.

Incorporating a variety of influences that include The Red Shoes, Repulsion and David Cronenberg, it also riffs heavily on the raw source material of Swan Lake itself.

Tchaikovsky’s original work is given a modern day twist, as the trials of a young princess turned into a swan by an evil sorcerer get unsettling and often surprising parallels.

At one point Cassel’s director says of his staging of Swan Lake:

“It’s been done to death, I know, but not like this. We’re going to strip it down and make it visceral and real”

This might also be Aronofsky talking, as that is exactly what he does with Black Swan.

Clint Mansell’s score also emphasises this, expanding on Tchaikovsky’s original compositions but taking it to a more sinister place, which, allied with some highly effective sound design, makes for an arresting audio backdrop.

Intriguing parallels with The Wrestler abound: both examine the physical and mental costs of being a performer; show the pressures of ageing; feature a character’s desire to connect; and climax with a grand flourish.

Black Swan goes further in cranking up the tension and, along with a paranoid, unreliable narrator, there is an unusual amount of visual effects shots that depict the crumbling reality of Nina’s world.

Mirrors are a recurring motif throughout and shots in rehearsal rooms are designed so we don’t see the reflected cameras; people and body parts morph in creepy ways; and a variety of subtle effects are used to make us question what we have just seen.

Part of what gives the film such an exhilarating kick is Matthew Libatique’s handheld visuals, shot on grainy 16mm. Like in The Wrestler, his work has a fluid urgency which really pays off in the dance sequences and also the claustrophobic world of Nina’s apartment.

But the heart of Black Swan is Natalie Portman’s captivating central performance. In what is easily the best part of her career, she conveys a believable kaleidoscope of emotions – including fear, aggression and pain – in a relentless push for artistic perfection.

Performing well outside of her comfort zone as an actress, her work has a certain meta quality that reflects the journey of her character, although we can safely assume the actual film production wasn’t as gruelling as the fictional ballet.

In supporting roles, Vincent Cassell is brilliantly arrogant as the manipulative director; Mila Kunis is a charming foil; Barbara Hershey conveys a suffocating and vicarious ambition, and Winona Ryder has a small but juicy role as a fading star.

Since establishing himself in the independent sphere with films such as Pi (1998) and Requiem For A Dream (2000), Aronofsky has carved out an impressive niche for himself with thoughtfully crafted character portraits that have included mathematicians, drug dealers and wrestlers.

Black Swan is probably his most daring film yet: the bold mix of genres, combined with a dark sensibility may put off some audiences, but is also a reminder of how rich and rewarding his work can be.

Black Swan played at the London Film Festival today and screens on Sunday 24th and Monday 25th.

> Black Swan at the LFF
> Official site
> Reviews from Venice and Toronto at MUBi

Categories
Festivals London Film Festival

LFF 2010: The King’s Speech

A superbly crafted period drama about the relationship between King George VI and his speech therapist provides a memorable showcase for its two lead actors.

Beginning in 1925, the film traces how with Prince Albert (Colin Firth), The Duke of York, enlisted the help of an unconventional speech therapist named Lionel Logue (Geoffrey Rush), who helped him overcome a crippling stammer as he eventually assumed the throne and helped rally his people during World War II.

The bulk of the film explores the relationship between the stiff, insecure monarch and the charmingly straightforward Logue, his loving and supportive wife Elizabeth (Helena Bonham-Carter) and the royal relatives who may have contributed to his problem.

Having spent his life in the shadow of his domineering father, George V (Michael Gambon), the shy Albert struggles with the responsibility of assuming the throne when his headstrong brother, Edward (Guy Pearce), decides to abdicate.

The screenplay by David Seidler deftly weaves these domestic tensions with the wider drama of the challenges of speaking in public, as the development of radio and newsreels create new expectations and pressures.

It is to director Tom Hooper’s credit that he keeps focused on the relationships at the heart of the film and steers well clear of the ponderous self importance that can afflict British period dramas.

Much of the appeal lies in the culture clash between Lionel and Albert: the Australian-born failed actor and the heir to the throne make for an amusing odd couple, but the connection they gradually form over the years is believable and touching.

Their sequences provide an impressive showcase for the two lead actors: Firth convincingly depicts the underlying frustration and pain of someone suffering a stammer, whilst Rush is delightfully irreverent as the one person who can engage him.

Firth seems to have been re-energised by his work in last year’s A Single Man.

Although this role might seem like a return to the repressed English gentleman he was often typecast as, he brings real nuance and feeling to the role, which could have easily slipped into cliched bluster.

Rush is magnetic as an eccentric whose wit and empathy gradually erode the aristocratic barriers blocking his patient.

Combined, their chemistry is a joy to watch as they depict the social hangups of the British class system as they gradually form a deep bond.

In supporting roles the standouts are Bonham-Carter, who is pleasingly restrained and dead-pan; Michael Gambon as an imposing George V; Guy Pearce as the smarmy Edward and Jennifer Ehle as Lionel’s loving wife.

Hooper demonstrated with his work on HBO’s John Adams that he has a great eye for period detail and the interior lives of historical figures: he achieves the same level of intimacy here with the main characters and crafts a believable recreation of the era.

Danny Cohen’s camera work is a key part of this, artfully framing the characters with a wide lens, whilst also using a Steadicam to give certain sequences an intriguingly fluid feel for a period piece.

The technical contributions across the board are excellent: Tariq Anwar’s crisp editing keeps things moving smoothly; Eve Stewart’s production design is richly detailed and the costumes by Jenny Beaven are first rate. (The only slight lapse is some CGI work near the end).

‘Crowd-pleaser’ is a term that can often signify something sentimental, but The King’s Speech is likely to give a lot of pleasure to audiences across a wide spectrum.

An astutely observed social comedy, it also has great depth as a drama, beginning and ending with sequences of considerable weight and tension.

The film has already proved a hit on the festival circuit this year and it is very hard to see audiences and Oscar voters resisting its classy blend of history, humour and emotion.

The King’s Speech premieres at the London Film Festival tonight and screens on Friday 23rd and Saturday 24th. It opens in the UK on January 7th 2011.

> The King’s Speech at the LFF
> IMDb entry

Categories
Festivals London Film Festival

LFF 2010: Ken Loach Keynote Speech

Ken Loach recently gave a keynote speech at the London Film Festival where he discussed the current state of British cinema and the role of the national broadcasters in supporting a healthy UK film culture.

Here are some edited highlights:

You can watch the full speech at BFI Live by clicking here.

> Ken Loach at the IMDb
> Ken Loach Films on YouTube

Categories
Cinema Festivals London Film Festival

LFF 2010: Tabloid

A former beauty queen, a Mormon missionary, British tabloid newspapers and cloned dogs all provide Errol Morris with some riotous material for his latest documentary, which ranks alongside his finest work.

After two serious documentaries about figures involved in US military conflicts – The Fog of War (2003) and Standard Operating Procedure (2008) – Morris has returned to the quirkier territory of earlier work like Gates of Heaven (1978) and Vernon, Florida (1981).

In the late 1970s when a former Miss Wyoming named Joyce McKinney, caused a tabloid scandal in England by allegedly kidnapping a Mormon missionary in Surrey and ‘enslaving’ him in an episode which was soon dubbed the ‘Mormon sex in chains case’.

The resulting media feeding frenzy increased when she was arrested and imprisoned only to later escape to the US, where she surfaced many years later in a very different story.

Morris explores this bizarre tale through extended interviews with McKinney herself; Peter Tory, a journalist for the Daily Express close to the story; Kent Gavin, a photographer for the rival Daily Mirror who had a different take on McKinney; Troy Williams, a Mormon activist who provides religious context; and a Korean scientist who clones dogs.

Using his trademark Interrotron camera, which creates the effect of the subject talking at the audience, Morris elicits revealing testimonies which relay events like a compulsive, page-turning novel.

He certainly struck gold in finding McKinney: energetic, talkative and at times seemingly delusional, she has a turn of phrase which is infectious, ridiculous and hilarious.

Providing a nice counterbalance is Tory, who gives a more sober account but also has an intriguing part in the story he reported on.

Not only was he MacKinney’s unofficial ‘minder’ for the Express, accompanying her to a film premiere for publicity, but his recollections are not always what they seem.

Another perspective is provided by Gavin, who as a deadly rival to Tory, embodies the tenacity of old-school Fleet Street veterans. His relish and glee at uncovering certain photos is as revealing as McKinney’s delusions.

But tabloid is more than just the hilarious recollections of a juicy story: it is a shrewd dissection of tabloid culture itself through its use of inventive graphics and judicious editing.

One dazzling technique used throughout is the accentuation of the interviewee’s words with on screen graphics, highlighting the way in which tabloids interpret language for effect.

Morris also uses graphics to visualize the story, as archive tabloid coverage comes alive with headlines, pull-quotes and cartoons cleverly synced with the words we hear from the people on screen.

Seeing the fonts of various English newspapers flash up on screen conveys the hysterical, funny and often cruel nature of how tabloids present information to the world.

It nails the peculiarities of the British tabloid press: the screaming headlines, bitter rivalries, fascination with smut and the overblown, self-important nature of their coverage are all deftly conveyed.

The editing by Grant Surmi is also outstanding and the film flows with consummate ease between the different interviews, often punctuating them with marvellous audio and visual flourishes.

On a deeper level Tabloid is about how stories and events are remembered.

There are different points of view on MacKinney’s story and the film is fascinating precisely because it leaves room for our own conclusions.

Ironically, this is the polar opposite of tabloid coverage which seeks to paint things in black and white, and provide a definitive viewpoint on even the most contentious of matters.

Morris takes quite the opposite approach and by probing the details of this odd case, appears to suggest that the attention seeking subject reflects the very culture that showcased her.

But Tabloid is by no means a cerebral, academic exercise.

One of the most purely entertaining documentaries in years, it makes you think whilst you laugh and is another reminder of why Errol Morris remains one of the best filmmakers working today.

Tabloid played at the London Film Festival over the weekend but a UK release date is TBC

> Tabloid at the IMDb
> Official website of Errol Morris
> Reviews of Tabloid via MUBi
> Tabloid at the LFF

Categories
Cinema Festivals London Film Festival

LFF 2010: Another Year

Mike Leigh’s latest film is a pitch-perfect ensemble piece revolving around the friends and family of an ageing married couple.

Nearing retirement age, Tom (Jim Broadbent) and Gerri (Ruth Sheen) live in North London and seem genuinely happy as they work, tend to their allotment and play host to an array of characters who come in and out of their lives.

These include: their son Joe (Oliver Maltman), who is still close to them; Mary (Lesley Manville), a needy divorcee with relationship problems; Ken (Peter Wight), an old friend with a taste for food and alcohol; and Katie (Karina Fernandez), a therapist who forms a relationship with Joe.

Each section of the film is titled with a season and as they change, so do the characters to varying degrees as they deal with the stuff of life: love, death, humour, despair, loneliness and friendship.

It follows the familiar Leigh formula of finding drama in lives of distinctive characters in a particular setting and, like his previous films, relies heavily on the actors to make it work.

The good news is that nearly all the cast bring something distinctive to their roles, creating a rich tapestry of emotions and memorable situations.

Broadbent and Sheen play their couple with just the right amount of affection and tenderness. Their deep love for one another, shown through subtle body language and speech is so good you might not notice it at first.

Lesley Manville is especially outstanding in what initially might seem a clichéd role. But as the film progresses, she conveys the piercing frustrations of her life whilst also managing to be funny, annoying and sympathetic, in what is one of the performances of the year.

The other supporting actors also fill into their roles with an ease which is often a hallmark of a Leigh ensemble and there are also small but perfectly formed turns from Imelda Staunton and Phil Davis.

Not every character is minutely dissected, nor has their conflicts neatly resolved, but we get to observe them at close quarters as time gradually changes their lives, for the better or worse.

Small talk is present in much of the dialogue, but Leigh finds a way to make it revealing, as people either gradually get to the point or reveal their true feelings with a look or gesture.

This means that everyday locations are a theatre of emotions: a dinner featuring Joe’s new girlfriend is awkwardly hilarious; a living room after a funeral becomes a sombre venue for old family tensions; an allotment in the rain seems like the happiest place for a family to be.

Mainstream cinema can be a medium prone to the obvious and bombastic, but the subtle drama Leigh shapes in this film is a master class in exploring the emotional temperatures of everyday life.

These qualities are mirrored in the quietly excellent technical contributions, which feature Dick Pope’s lean and elegant cinematography and Simon Beresford’s convincing but unobtrusive production design.

After coming out of Another Year, it was hard not to think of Secrets and Lies (1995), which, in an already acclaimed career, was arguably Leigh’s creative and commercial high point to date.

The humanity and sheer pleasure of that film is mirrored in his latest, a wonderfully executed exploration of the ups and downs of everyday existence.

Another Year screens at the London Film Festival this week (Mon 18th-Weds 20th) and opens in the UK on Friday 5th November

> Another Year at the LFF
> Another Year at the IMDb
> Reviews from Cannes via MUBi
> Find out more about Mike Leigh at Wikipedia and Screenonline

Categories
Cinema Festivals London Film Festival

LFF 2010: Carlos

An epic project depicting the career of an international terrorist, Carlos is one of the most riveting films in recent memory.

Director Olivier Assayas has brilliantly recreated the life and times of the Venezualan revolutionary (Eduardo Ramierez), born Ilich Ramirez Sanchez and later nicknamed ‘Carlos the Jackal’, to paint a fascinating portrait of a historical figure.

It charts his early years as a violent revolutionary in Europe as he proves his worth to the Popular Front for the Liberation of Palestine (PFLP); missions for states such as Iraq, Libya and East Germany; an infamous kidnapping of OPEC oil ministers in Vienna in 1975 and his gradual decline as he sought refuge in Eastern Europe, Syria and Sudan as he struggled to cope with the end of the Cold War before finally being caught by French agents in 1994, where he currently resides in jail under a life sentence.

An ambitious French TV project, it is getting two kinds of theatrical release: a three part five and a half hour cut and a shortened 165 minute version.

It will then get released on DVD and Blu-ray soon after along with a variety of on demand options in several countries.

Despite its origins, it was shot on 35 mm film and to all intents and purposely feels like a sprawling historical epic. Assayas doesn’t just recreate the period, he plunges us head first in to the era with an exhaustive attention to detail.

The production design is especially outstanding, with costumes, locations and sets all used to present the period with remarkable authenticity.

At the centre of all this is a captivating central performance from Ramierez, who not only bears an eerie resemblance to Carlos, but anchors the film as it criss-crosses through many years and locations: he captures the vanity, obsession and physique of the man rarely in a portrayal that rarely hits a wrong note.

The supporting performances are also strong with stand out turns from Juana Acosta (as an early lover); Alexander Scheer (playing his longest serving colleague) and Nora von Waldstätten (as his increasingly beleaguered wife).

Discerning viewers should catch the full version as the editing gives sequences a fluid sense of movement and pace which belies its long running time. Although the third part sags a little compared to the first two, it moves with an incredible fluency and pace which makes many 90 minute films seem ponderous by comparison.

Some memorable set pieces include his first mission, a botched airport attack, a betrayal, an extended kidnap sequence and the final entrapment of Carlos as the net gradually closes in.

Based on extensive research, with the filmmakers allowing for an interpretation of some events, the attention to detail reaps rich dividends because it never feels burdened by obvious movie tropes.

Many sequences are intercut with news footage from the time, which provide a counterpoint to the perspective of Carlos and his inner circle, as well as rooting us in the historical record.

The handheld cameras and sound design all helps give the action an added urgency which is tingling throughout, and neatly conveys the anxieties of a life on the run.

Also interesting is the widescreen lensing by Yorick Le Saux and Denis Lenoir: some sequences have an epic feel which is contrasted with others that are more much claustrophobic and intimate. Throughout the visuals are handled with a dynamism and skill rare in modern cinema.

In the last decade the gap between television and cinema has narrowed. Not only have higher end shows become more like films, but cinema has struggled to compete with the range and narrative scope offered by series like The Wire and Mad Men.

Carlos represents an interesting hybrid: it screened at Cannes just before premiering on Canal+ in France but in many countries will be seen as three part film project.

It is very hard to imagine a US or UK broadcaster (even HBO or BBC) making a project as ambitious as this: not only is the protagonist a revolutionary terrorist, but it makes no concessions to being obviously ‘prestigious’ or uplifting, in the conventional sense.

But the lift comes from the audacious way in which Assayas and his creative team have relentlessly focused on a character who in some ways, reflects the creeping ambiguities and dangers of modern terrorism.

Although a period piece, Carlos asks awkward questions about the nature of terrorists and does so by featuring an enigmatic central figure: What made a Venezuelan Marxist so passionate about the Palestinian cause? How much of his motivation was vanity over ideology? Is terrorism at its core, a form of narcissism? In what way do nation states use terrorists for their own ends?

These are never fully answered but teased out for audiences to form their own perspective. A running theme seems to be that Carlos was both a practical tool used by various governments complicit in his activities (such as Iraq, Libya) but also a useful myth whose frequently botched acts were more about perception than reality.

This is contrasted with his own motivations, which often seems to be an egotistical individualism at odds with his professed solidarity to the global Marxist struggle.

As the film draws to a close and Carlos becomes like a faded rock star shunned from countries once sympathetic to him and his mystery actually deepens as the enigma fades.

Had he merely stopped serving a purpose after the Cold War ended? Or was it merely a matter of time running out and his crimes catching up with him? Was Carlos an individual who hijacked causes for his own egotistical ends?

The questions are tantalising and although after five and a half hours the audience might be expecting some answers, the film is satisfying precisely because it avoids lazy conclusions, almost reflecting the mysteries and myths that grew around the man himself.

The use of post-punk and new wave songs (especially Wire’s anthem Dot-Dash) provide bursts of energy throughout, whilst the lack of a conventional score infuses others with a raw sense of immediacy and tension.

A mammoth logistical undertaking compressing over thirty years of history into around 330 minutes, Carlos is also an absorbing portrait of a mythological figure, who seems to embody the unsettling mysteries and reality of terrorism.

More than just an accomplished historical biopic, it is also an essential drama about the times in which we live.

Carlos screened at the LFF on Saturday and Olivier Assayas gives a screen talk on Saturday 24th October

** The extended and abridged versions will both be released at UK cinemas on Friday 22nd October **

> Carlos at the LFF
> Carlos at the IMDb
> Pre-order Carlos on Blu-ray or DVD from Amazon UK

Categories
Cinema Festivals London Film Festival

LFF 2010: Never Let Me Go

The film adaptation of Kazuo Ishiguro’s novel is an exquisitely crafted but emotionally distant meditation on mortality.

Set in an alternate timeline of England where science has cured many illnesses, a young woman named Kathy (Carey Mulligan) looks back on her childhood when she grew up with two friends, Ruth (Keira Knightley) and Tommy (Andrew Garfield).

As youngsters they attend Hailsham, a boarding school sheltering them from the outside world, and as they grow older it slowly dawns on them that they have been excluded from mainstream society for a reason.

From the opening credits director Mark Romanek establishes a carefully controlled mood, and for the early section we see younger actors (Isobel Meikle-Small, Ella Purnell and Charlie Rowe) convincingly play the three leads as children in 1978.

Hints are dropped fairly early on about the mysterious nature of their youth, alongside a developing love triangle as Kathy realises Tommy, who she bonded with from an early age, is in love with Ruth.

The recreation of an ageing English boarding school is thoroughly convincing, with some first rate costume and production design, and the transition to their teenage years in the mid-1980s is fairly seamless.

Romanek handles the material with considerable skill and technically the film is exquisitely made: Adam Kimmel’s widescreen cinematography and Barney Pilling’s editing all help to create a rich mood of sadness and regret.

As an American, Romanek was an interesting choice to direct the material and he gives it a crisp sense of movement, far removed from the ponderous nature of many British productions which can drearily linger on their period settings.

The alternative version of England is depicted with unusual precision.

Look carefully at the school, the countryside, the towns and vehicles and you will notice a piercing eye for detail, which enhances the realism despite the sci-fi backdrop.

There are also some memorable images: the creepy beauty of Hailsham, the wintry isolation of an empty beach and the clinical interiors of a hospital are just some of the startling visual backdrops.

Added to this is a standout central performance from Carey Mulligan. Her work here is on par with her lauded turn in ‘An Education’, demonstrating a rich vein of emotion along with a captivating screen presence.

As the film moves in to the 1990s, she depicts a maturity beyond her years, perfectly suited to the material, and also delivers a potentially tricky voiceover with just the right nuance and feeling.

But there is a paradox at the heart of Never Let Me Go, which is that for all its impeccable craft, there is an emotional distance to the audience.

Alex Garland’s screenplay, which otherwise does a fine job at extracting and shaping the ideas of the book, shows its hand early on, so there is a sense of inevitability to the story.

Whilst this emphasises the notion of fate, it also means the revelations are blunted and end up lacking an intellectual and emotional force.

This is typified in Rachel Portman’s lush orchestral score which despite containing beautiful flourishes, is deployed too heavily throughout, and ends up blending into a collective sound of despair.

Added to this, there is no escaping that the material is an emotional downer: a reminder of the transience of existence, it goes against the feel-good optimism of many mainstream releases.

This is actually to its credit, as precious few films even attempt this, but it may be a reason audiences either don’t respond or simply stay away.

Going in to the awards season this was being touted as a major contender and, after dividng critics at Telluride and Toronto, has died an early box office death in the US with its platform release evaporating into thin air.

In the language of the film it has already ‘completed’ and this is disappointing, as films displaying this level of craft deserve a better fate.

I suspect some US audiences were instinctively repelled by the way in which the characters ‘accept’ their condition.

This is of course an underlying theme of the novel and film – that human beings resign themselves to social conditioning – but it clearly hasn’t caught the mood, even amongst more discerning audiences.

Certainly a film about death, which focuses on the underlying cruelty of a society dedicated to the greater good, is a tricky sell in an era of recession and general gloom.

Time may be kinder to Never Let Me Go.

Despite certain shortcomings, it is a worthy adaptation which conveys the profound sadness of the novel and marks a welcome return for Romanek to the director’s chair.

Never Let Me Go opened the London Film Festival tonight and opens in the UK on Friday 21st January 2011

> Official site
> Reviews of Never Let Me Go at Metacritic and MUBi
> Find out more about Mark Romanek and Kazuo Ishiguro at Wikipedia
> Never Let Me Go at the LFF

Categories
Festivals London Film Festival News

London Film Festival 2010 Lineup Announced

The full lineup for this year’s London Film Festival has been announced and the selection of films will feature feuding ballerinas, an unconventional speech therapist and an immoveable boulder.

It will open on October 13th with Mark Romanek’s Never Let Me Go and close just over two weeks later with Danny Boyle’s 127 Hours, but in between will also feature Darren Aronofsky’s Black Swan, Mike Leigh’s Another Year and Palme D’Or winner Uncle Boonmee Who Can Recall His Past Lives.

Here are some key films to look out for:

  • Never Let Me Go (Dir. Mark Romanek): The opening night film is a story of love and loss based on Kazuo Ishiguro’s best-selling novel starring Caerry Mulligan, Andrew Garfield and Keira Knightley. Already heavily tipped as an Oscar contender.
  • The King’s Speech (Dir. Tom Hooper): The story of King George VI (Colin Firth) and an unconventional Australian speech therapist (Geoffrey Rush) who helped him overcome his stutter. Was very well recieved at Telluride recently and is already regarded as a strong Oscar contender.
  • Another Year (Dir. Mike Leigh): An ensemble drama set in London exploring the lives of a married couple (Jim Broadbent and Ruth Sheen) and their various familes and friends. Got a lot of critical buzz in Cannes back in May.
  • Black Swan (Dir. Darren Aronofsky): A psychological thriller set in the world of the New York Ballet about a dancer (Natalie Portman) who struggles to meet the demands placed upon her. Co-starring Barbara Hershey, Vincent Cassell and Mila Kunis, it premièred at the Venice film festival recently and is likely to get some awards recognition.
  • Biutiful (Dir. Alejandro González Iñárritu): A contemporary drama set in Barcelona’s underworld about a single father of two struggling to survive.
  • 127 Hours (Dir. Danny Boyle): The closing night film is a drama based on the real life story of mountain climber Aaron Rawlston (James Franco) who became trapped by a boulder in Utah back in 2003. It screened at Telluride recently and is expected to be an awards season contender.
  • The Kids Are Alright (Dir. Lisa Cholodenko): Family drama about a couple (Julianne Moore and Anette Benning) whose life becomes more complicated when their adopted children try to find their bilogical father (Mark Ruffalo).
  • Miral (Dir. Julian Schnabel): A drama examining one woman’s experience of the Israeli-Palestinian conflict.
  • Of Gods and Men (Dir. Xavier Beauvois): Lambert Wilson and Michel Lonsdale star in this in this drama set in a monastery in North Africa.
  • Uncle Boonmee Who Can Recall His Past Lives (Dir. Apichatpong Weerasethakul): The unexpected winner of this year’s Palme d’Or involves a gathering of humans and ghosts around a dying man.

Other films of note looking out for in the Films on the Square section include:

  • The American (Dir. Anton Corbijn) which stars George Clooney as an enigmatic assassin in Italy
  • Carlos (Dir. Olivier Assayas): An epic biopic of infamous Venezuelan terrorist Carlos the Jackal
  • It’s Kind of a Funny Story (Dir. Ryan Fleck and Anna Boden) A coming of age tale about a troubled Brooklyn teenager (Keir Gilchrist)
  • Let Me In (Dir. Matt Reeves): The US remake of Let The Right One In, about the relationship between a young boy and a vampire;
  • Tabloid (Dir. Errol Morris): The latest documentary from Morris is the story of Joyce McKinney and the case of the ‘manacled Mormon’.

Following last year’s inaugural ceremony, the BFI London Film Festival Awards return for a second year to celebrate the finest films within the festival.

This year the awards will take place on October 27th at Jerwood Hall, LSO St Luke’s, before a panel of judges representing the international film community. (The full Awards shortlist will be announced on September 28th).

For a full list of films showing at the festival, including the New British CinemaFrench RevolutionsCinema EuropaWorld CinemaExperimentaTreasures from the Archives and Short Cuts and Animation strands go to the official LFF website.

You can download a calendar of events at the festival as a PDF file here.

The 54th BFI London Film Festival runs from October 13th until October 28th

> Official LFF site
> Coverage from last year’s festival

Categories
Cannes Festivals

Cannes Film Festival 2010

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The 63rd Cannes film festival kicks off tomorrow and below are all the films showing in the different strands.

On paper this year doesn’t have the star power or auteur driven appeal of previous festivals, but among the films competing for the Palme d’Or that cinephiles have high hopes for include: Mike Leigh’s Another Year, Doug Liman’s Fair Game, Mahamat Saleh-Haroun’s A Screaming Man, Rachid Bouchareb’s Outside of the Law, Oliver Schmitz’s Life Above All, Nikita Mikhalkov’s Burnt by the Sun 2: Exodus, Alejandro Gonzalez Inarritu’s Biutiful and Ken Loach’s late entry Route Irish.

In the Un Certain Regard strand Hideo Nakata’s Chatroom and Cristi Puiu’s Aurora have already been attracting buzz and will be looking for a commercial bounce from the festival.

The big out-of-competition premieres include: Ridley Scott’s Robin Hood starring Russell Crowe which launches the festival tomorrow on the same day it gets released around the world; Stephen Frears’ Tamara Drewe, a live-action adaptation of the newspaper comic strip with Gemma Arterton and Luke Evans; Oliver Stone’s Wall Street: Money Never Sleeps, the sequel to his 1987 film which stars Michael Douglas, Shia LaBeouf and Carey Mulligan; and Woody Allen’s You Will Meet a Tall Dark Stranger which features Freida Pinto, Anna Friel, Anthony Hopkins and Antonio Banderas.

Given last year’s vintage festival, which included Pixar’s Up, Michael Haneke’s Palme d’Or winner ‘The White Ribbon‘, Jacques Audiard’s runner-up ‘A Prophet‘, Quentin Tarantino’s ‘Inglourious Basterds‘ and the controversy of Lars von Trier’s ‘Antichrist‘, this year may struggle to achieve a similar level of quality or attention.

When the selection was announced in Paris a few weeks ago, some observers were disappointed by the absence of Terence Malick’s ‘The Tree of Life‘ (which couldn’t be finished in time), Christopher Nolan’s ‘Inception‘, Darren Aronofsky’s ‘Black Swan‘ and Clint Eastwood’s ‘Hereafter‘. Despite that, a festival can always throw up plenty of surprises, even if some films are destined for oblivion.

* For a PDF of the full calendar schedule click here *

COMPETITION

UN CERTAIN REGARD

OUT OF COMPETITION

SPECIAL SCREENINGS

CINEFONDATION

SHORT FILMS IN COMPETITION

> Official site [English / French]
> Find out more about the Cannes Film Festival at Wikipedia

Categories
Festivals Interesting

Jeffrey Blitz talks about his new documentary Lucky

Jeffrey Blitz is the director of Spellbound (2002), Rocket Science (2007) and the upcoming documentary Lucky, which screens at the Sundance film festival later this month.

Categories
Cinema Festivals Interviews

Interview: Nicholas Jasenovec and Charlyne Yi on Paper Heart

Charlyne Yi and Nicholas Jasenovec

Paper Heart is a new film starring Charlyne Yi and Michael Cera as fictionalized versions of themselves in a “hybrid documentary” about love.

Directed by Nicholas Jasenovec, it also features Yi travelling across America asking various people about their experiences of love.

I spoke with Charlyne and Nicholas recently when the film screened at the London film festival last month and you can listen to the interview here:

[audio:http://filmdetail.receptionmedia.com/Nicholas_Jasenovec_and_Charlyne_Yi_on_Paper_Heart.mp3]

You can download this interview as a podcast via iTunes by clicking here

Paper Heart is out at selected UK cinemas now

> Download the interview as an MP3 file
> Official site for Paper Heart
> Charlyne Yi and Nicholas Jasenovec at the IMDb
> Follow the movie on Twitter (@PaperHeartMovie)
> Find out more about Paper Heart at Wikipedia

Categories
Festivals Images London Film Festival

LFF 2009: Photos

A Flickr slideshow of photos I took during this year’s London Film Festival.

Categories
Cinema Festivals London Film Festival

LFF 2009: Nowhere Boy

Aaron Johnson in Nowhere Boy

Despite a plethora of potential pitfalls this drama about the early
years of John Lennon is a stylish and engaging biopic.

Nowhere Boy explores the teenage years of Lennon (Aaron Johnson) and the two important women in his youth: his aunt Mimi Smith (Kristin Scott Thomas) who raised him and his mother Julia (Anne Marie Duff). It also charts his early forays into music as he forms The Quarrymen with a younger guitarist named Paul McCartney (Thomas Sangster).

Bringing a cultural icon like John Lennon to the big screen was always going to be a tricky affair but director Sam Taylor Wood (making her feature debut) has wisely focused on the intriguing family dynamics of Lennon’s childhood and how they fed into his career.

But perhaps most importantly there is a craft and intelligence here that pays tribute to Lennon’s art without indulging in histrionics or clichés.

The opening of a film can nearly always reveal something about its quality and the nice use of a famous Beatles chord to kick everything off indicated to me that things were going to be OK.

It is inevitable that most of the attention and focus of the film would fall on Aaron Johnson, as filling the role of Lennon is perhaps one of the more daunting tasks faced by an actor in recent times.

But he does a good job at capturing the youthful intensity of the young songwriter and although it is a little rough around the edges, that feels appropriate given the emotional tumult of his home life.

Part of the strong bedrock of the film is an admirably tight script by Matt Greenhalgh (who wrote the 2007 Ian Curtis biopic Control) which treats Mimi and Julia as central characters rather than just peripheral support.

Based on the memoir ‘Imagine This: Growing Up With My Brother John Lennon‘ by Lennon’s half sister Julia Baird, it focuses quite tightly on their influence on Lennon’s formative years and his burgeoning friendship with McCartney.

Scott Thomas nicely captures the stern but ultimately loving adoptive parent whilst Duff is excellent as the energetic and erratic soul mate Beatles fans have long read about in various biographies.

Wisely the film – unlike some British efforts – looks properly cinematic by being shot in 2:35 widescreen and cinematographer Seamus McGarvey (who has a considerable experience of music vidoes) shoots with taste, tact and intelligence.

The locations have a richness and vibrancy to them that is similar in some ways to Control and the recreation of 1950s Liverpool is entirely convincing. It is also a relief to see parts of the UK (specifically the North West) presented with a touch of class.

Taylor-Wood might have seemed an odd choice to direct a film like this
but if Steve McQueen’s Hunger proved anything last year, it is that artists from different disciplines (she came to prominence in the 1990s as a conceptual artist) can give cinema something of a creative kick up the arse.

Her artistic background doesn’t always leap at you from the screen, apart from one time-lapse sequence of Lennon learning the banjo, and in general this shows admirable restraint as the style rarely overpowers the emotional content.

In any musical biopic, be it The Buddy Holly Story, The Doors or Walk The Line, there is usually that moment where the principal characters play ‘that song you know’.

Here the equivalent moments are when John first meets Paul and when they first play together with The Quarrymen at a local fete (Shea Stadium was still a while off).

Although this could have been cheesy, but it says a lot about the strengths of the film that it feels natural and convincing. My first reaction on seeing Paul was ‘doesn’t he look young?’ but given that he was 15 at this point, he probably did look young.

There is one moment towards the end when a certain character is about to say the phrase ‘The Beatles’ and doesn’t, which was the moment when it occurred to me that it hadn’t been said at all.

It’s a shrewd move and emblematic of the film, which fills in the emotional gaps whilst not retreading the well worn images of the early Fab Four.

The audience I saw it with was an early morning press and industry crowd and it would be fair to say they didn’t applaud or go for it in the way they did for last year’s LFF closing film Slumdog Millionaire.

Whilst there will always be doses of cynicism and schadenfreude amongst these kind of crowds I was surprised they didn’t go for it a bit more. (I overheard one person sitting in front of me profess dislike for Sam Taylor-Wood’s 2008 short film Love You More despite being “very well made”.)

Maybe this is me being optimistic but if this is marketed well then I can see some very healthy box office ahead for Icon (the UK distributors) and The Weinstein Company (who have the US rights).

After all it is a film about the adolescent pain which fuelled some of the most popular songs of the 20th century.

Nowhere Boy closes the London Film Festival tonight and opens in the UK on December 26th

Categories
Cinema Festivals London Film Festival

LFF 2009: A Serious Man

Michael Stuhlbarg and Adam Arkin in A Serious Man  Image courtesy of Universal and Focus Features

A Serious Man is a personal and exquisitely crafted black comedy that explores the pointless nature of suffering in 1960s Minnesota.

One of the handy things about winning a clutch of Oscars is the collateral it gives you to make a personal and defiantly anti-Hollywood film with no name stars.

After the critical, commercial and Oscar success of No Country for Old Men, this is precisely what Joel and Ethan Coen have done with their latest project.

Beginning with a bizarre extended prologue set in an Eastern European shtetl, it moves on to explore the hellish suburban existence of a Jewish maths professor named Larry Gopnik (Michael Stuhlbarg) in Minnesota, during 1967.

With a hectoring wife (Sari Lennick) who wants a divorce, her annoying widower lover (Fred Melamed), a leeching brother (Richard Kind), a pothead son (Aaron Wolff ) into Jefferson Airplane, dithering academic colleagues, an awkward Korean student and a succession of perpetually useless rabbis, he appears to living in a modern day version of The Book of Job.

All of this is filmed with a precision and defiant, dark wit that is a hallmark of the Coens at their very best.

If you enjoyed the pointless, bumbling criminality in Fargo and the satire of Bush-era stupidity in Burn After Reading then you will probably love this. If not, then you probably won’t.

But even those put off by the tone of the film would be hard pressed not to admire the sheer class on display behind and in front of the camera.

A Serious Man posterThe performances are mostly note perfect, with Stuhlbarg especially outstanding in the lead role and a supporting cast filled with fine contributions, although keep a special eye out for George Wyner and Simon Helberg as two contrasting rabbis.

On a technical level, it is up to the very highest standards of modern cinema.

Regular collaborator Roger Deakins shoots with his customary artful precision whilst the production design, art direction and costumes are flawless.

Watching it on a beautiful digital projection, I was already thinking how great this is going to look on Blu-ray.

As usual the editing (by the Coens under their regular pseudonym Roderick Jaynes) is splendid and listen out for how they way they’ve mixed the sound, be it Jefferson Airplane on a portable radio or the way a family slurp their soup.

Part of the richness of the film lies in its uncompromising take on suburban angst. There is no let up, no cheesy uplift and the characters are mostly a succession of grotesques there to torment the protagonist. But really, it is funny.

For some this will merely be a pointless exercise in misanthropy but there is something deeper here that the Coens are targeting, namely the false comforts and rules in which many place their trust.

Religion, family, career advancement, philosophy and consumerism are all subjects which get thoroughly skewered over the course of the story. The comedy that comes out of this, is one rooted in recognition and pain rather than goofy, slapstick relief. The laughs here are muffled but highly acute.

In the hands of lesser filmmakers this could easily be a mess, but with the Coens it feels just right. In fact it feels so authentic that one can only presume that much of it is rooted in their personal experience of growing up in St. Louis Park, Minnesota.

Back in 1998 I remember reading an interview where they talked about signing up for a record club as teenagers and anyone who watches the film with this in mind will feel a twinge of recognition at one of the sub-plots.

Bob Graf, the Coens’ longtime producer said to the Star Tribune last year that:

“It’s a story inspired by where they grew up, things that they remembered from their childhood”

Whilst assistant art director Jeff Schein has also commented on the time period:

“It’s a mental travelogue of 1967, and for me, since I grew up near the Coens in St. Louis Park, it’s a childhood story.”

Aside from the autobiographical aspects, it will be interesting to see how Jewish audiences react to the film, with its richly detailed observations about Jewish life.

Not only do we have an startling prologue spoken entirely in Yiddish, but there are sequences involving a large gallery of Jewish characters: waddling secretaries, puzzled dentists, shouting wives and cryptic rabbis are all going to evoke twinges of recognition, laughter and – amongst some – disquiet.

But although it is drenched in Jewish culture – specifically that of the Midwest – it isn’t exclusively about Jews or Jewishness.

Ultimately one could put forward a compelling case for saying that the film is about throwing the enigma of religious teaching back on itself. This is effectively a non-parable made up of parables, that highlights how the ‘answers’ of Judaism (and organised religion) merely lead to more confusion and chaos.

My guess is that this will not be the awards slam dunk that Fargo or No Country For Old Men turned out to be and some will be put off by the slow pace and darkly poetic humour.

But this is the Coen Brothers operating at their very best, a heartfelt and beautifully constructed piece of cinema that is likely to reward future viewings.

A Serious Man is out at UK cinemas on Friday 20th November

Categories
Festivals London Film Festival

LFF 2009: An Education

Carey Mulligan in An Education

An Education had a gala screening at the London Film Festival this week and gets released next Friday (October 30th).

I reviewed it in full a couple of weeks ago, so click here to read it.

Categories
Festivals London Film Festival

LFF 2009: Paracetamol update

Paracetamol

Instead of watching films at the London Film Festival this week I’ve been mostly in bed with a heavy cold taking paracetamol.

Which means I missed Bright Star, The White Ribbon, The Boys Are Back and Chloe.

I’m going to try and catch up with these films over the next few weeks as they get general releases.

Hopefully, normal service will be resumed tomorrow as I see Starsuckers, a UK documentary about tabloid newspapers getting duped in to running false stories.

Categories
Cinema Festivals London Film Festival Thoughts

LFF 2009: Up in the Air

Natalie (Anna Kendrick) and Ryan Bingham (George Clooney) in Up in the Air

The recession, human relationships, jobs and travel are just some of the issues explored in this smart, funny and thoughtful adaptation of Walter Kim’s 2001 novel.

When we first meet Ryan Bingham (George Clooney) in Up in the Air we discover that his job is to inform people that they no longer have theirs. Employed by an Omaha based company, his life is spent flying around the US firing people in a smooth and efficient manner because bosses want to outsource this awkward process.

Free of human relationships, he has become attached to frequent flyer miles and the buzz of being a master at living out of a suitcase. But when his boss (Jason Bateman) informs him that he must train a new recruit (Anna Kendrick) who is advocating firing people via video-link, things begin to change.

Perhaps the most striking aspect of Up in the Air is how it makes you ponder gloomy subjects whilst you laugh at the jokes. Much of the film is a breezy, observational comedy with finely honed lead performances and sparkling dialogue. It feels like a road movie set amongst airports (a ‘plane movie’, in a sense) as the characters go on a literal and emotional journey across America.

Underneath the witty, often hilarious, surface lies a more serious and perceptive exploration about losing work and finding love. The script even updates the themes of the book to the current era (one sequence is dated as happening in February 2010) by having recently fired workers essentially play versions of themselves.

This potentially clunky device is weaved in skilfully (some audiences may miss it first time, although subconsciously it will register) and sets us up for the latter stages, which show an admirable restraint from the usual Hollywood resolutions. But before we reach that point, there is much to feast on.

Up in the Air PosterOne of the key selling points is George Clooney, a Hollywood star with the charm and wit of a bygone era. Given his commendable passion for doing different kinds of films (some behind the camera) it is easy to forget what a magnetic presence he can be as a screen actor.

With its one liners, speeches and sly underbelly of emotion, this is a role he was almost born to play and he delivers the goods in spades. Not since Out of Sight has he been this Clooneyesque. One line in particular (actually scripted by Reitman’s father) is an absolute zinger delivered to perfection, which you’ll know when you hear it as the whole cinema will be laughing.

In the key supporting roles Anna Kendrick (who first stood out in 2007’s Rocket Science) shows excellent timing as the peppy graduate keen to prove her worth whilst Vera Farmiga is a superb foil for Clooney as his air-mile obsessed love interest. Jason Bateman adds some sly touches as Clooney’s boss and there is a nice cameo from Sam Elliott (which may or may not be a reference to the 1988 thriller Shakedown – released in the UK as Blue Jean Cop – which also involves a plane and Elliott).

The technical aspects of the film are first rate across the board; with Dana Glaubetman‘s editing worthy of special mention as it helps keep proceedings ticking along beautifully. Jason Reitman co-wrote the script with Sheldon Turner and directs with an energetic but delicate touch. Compared to his previous films, it has the delicious wit of Thank You for Smoking and the unsentimental emotions of Juno, but actually surpasses both in terms of mixing up the light and heavy elements.

Unlike a lot of book to screen transitions the film arguably improves the central drama by throwing more profound doubts at the protagonist. I won’t spoil the final movement by revealing key details (because that would be silly) but I can’t help feeling it will provoke an interesting kaleidoscope of reactions.

When I saw it, an audience member in front of me was laughing loudly at some of the firing scenes (presumably unaware that the people on screen were drawing on recent painful experiences) and it raised some interesting questions. Is this a comedy or a drama? Is their laughter in pain and sadness in humour? How will mainstream audiences in a recession – for whom cinema is traditionally an escape – react to such a film?

Perhaps the human experience of life, work and relationships is bitter-sweet, no matter how rich, employed or happy you consider yourself to be. But that a film from a major Hollywood studio would probe such areas in such an entertaining way is refreshing, particularly as the laughter here provokes genuine thought rather than providing simple relief.

One idea that some audiences will possibly mull on as the end credits roll is that human relationships are what really counts in an increasingly impersonal and technology driven society. But I am not so sure that is the case, even if it is what the filmmakers intended. Wisely, the film leaves out the pat focus-group approved resolution.

Finally, if you actually stay until the very end credits (which audiences often don’t) you’ll hear something unexpected. I won’t reveal what happens but it sounds like the essence of the film, that of connections trying to be made in a world where they are increasingly drying up.

Like the movie, it is funny, sad and makes you think.

Up in the Air screens tonight, Monday and Tuesday at the London Film Festival and opens in the US on December 4th (wide release on Dec 25th) and in the UK on January 15th

Categories
Cinema Festivals London Film Festival Thoughts

LFF 2009: The Road

Viggo Mortensen and Kodi Smit-McPhee in The Road / Icon

The film adaptation of Cormac McCarthy‘s devastating 2006 novel is a haunting tale of survival in a post-apocalyptic world featuring two outstanding lead performances.

The Road depicts the journey of a father (Viggo Mortensen) and son (Kodi Smit-McPhee) as they struggle to stay alive in an America which has descended into savagery after an unspecified environmental and social collapse.

Part of the story’s raw power is the absence of any explanation as to why the world is collapsing, which shifts the focus on to the central relationship and the day to day struggle to survive.

Given that the story involves suicide, cannibalism and humans acting like savages you have to give credit to director John Hillcoat (who made the wonderfully gritty Australian western The Proposition in 2005) and screenwriter Joe Penhall (author of the acclaimed play Blue/Orange) for properly translating the horrors and emotions of the novel into a film.

Central to why it works is the focus on the day to day struggle to survive and the resistance of  horror movie clichés which have stunk up the cinema in recent years with the plethora of zombie movies this decade and the likes of Saw and Hostel which contain plenty of gore but little genuine emotions.

Key to making this film so affecting are the two  central performances which convey the love, anguish and desperation of their appalling situation and their deep love for one another. Mortensen as the unnamed father is (as usual) terrific but Smit-McPhee is more than his match, especially as the film progresses and he gradually becomes the moral heart of the piece.

The visual look is particularly striking: cinematographer Javier Aguirresa opts for a brownish palette to depict the harsh, ash-ridden environment. The art direction and production design also makes very clever use of rural US locations to create a chilling post-apocalyptic world.

Audiences unfamiliar with the novel may be taken aback by how bleak the story is and the film certainly doesn’t pull its punches: roaming gangs of cannibals, potential suicide and houses filled with half alive bodies are just some aspects that will disturb, although the most notorious scene from the book is omitted.

But the oppressive tone is there for a reason as it is part of the book’s power. It adds to the tension of the journey but also makes the stakes for the father and son all the more real. Unlike horror films where victims are meaningless pawns, the characters here are rounded people you desperately care about.

Another thing to look out for is the interesting supporting cast, which is filled with excellent performances –  most of which are extended cameos – from Charlize Theron, Robert Duvall and Guy Pearce. The soundtrack by Nick Cave and Warren Ellis  strikes an appropriately mournful tone with a notable piano motif reminiscent of Arvo Paart.

The Road was supposed to come out in the US last year and there has been some chatter that it was a troubled production the US distributors The Weinstein Company were nervous about. Given that the novel was one of the most acclaimed of the decade, no doubt they felt they had a good shot at awards glory.

When it premiered in Venice, it divided opinion but it really is an admirable film on many levels. The filmmakers have preserved the uncompromising nature of the McCarthy’s source material but also crafted a deeply moving drama of love in a time of death. In McCarthy’s words they have ‘carried the fire’.

The Road screened today at the London Film Festival and opens in the US on November 25th and the UK on January 8th 2010

Categories
Cinema Festivals London Film Festival Thoughts

LFF 2009: The Men Who Stare at Goats

George Clooney in The Men Who Stare at Goats

Loosely adapted from Jon Ronson’s non-fiction book about bizarre US military practices, The Men Who Stare at Goats mostly hits the spot as a satire.

For anyone who hasn’t read Ronson’s book, the title comes from a secret Army unit founded in 1979 called the ‘First Earth Battalion’ who conducted paranormal experiments which included staring at goats in order to kill them.

Why was US taxpayer money being used in this way? After the trauma of Vietnam and Cold War paranoia still in the air, it seems that the military brass were willing to allow a unit to pursue paranormal experiments and all kinds of New Age ideas.

With names changed and details tweaked, the film uses a fictional framing narrative of an Ann Arbor journalist (Ewan McGregor) who hears about these strange practices and when he goes to cover the Iraq war in 2003 he encounters  a former member of the unit (George Clooney) who provides him with more stories.

In flashback we learn the history of  the unit created under Bill Django (Jeff Bridges) at Fort Bragg which trained soldiers to be ‘Jedi Warriors’ with special powers. (Note the irony of McGregor not playing a ‘Jedi’ here despite the fact that he played the most famous Jedi of all in the Star Wars prequels).

Amongst these are Lynn Cassady (Clooney), Larry Hooper (Kevin Spacey) and General Hopgood (Stephen Lang). As McGregor’s journalist slowly uncovers their history he begins to see how their methods connect to George W Bush‘s war on terror.

Fans of the book should be prepared for something a little different from the film but credit should go screenwriter Peter Straughan who has done a clever job in incorporating the details into a narrative framework and weaving many of the best details into certain scenes. There is quite a lot of voiceover from McGregor, but the fact that he’s a journalist helps soften what can sometimes be a clunky storytelling device.

The tone here is somewhat similar to the dry, knowing slapstick of the Coen Brothers (such as Burn After Reading or The Big Lebowski) and director Grant Heslov manages to mine the source material for plenty of laughs.

The theme of the film seems to be how the US military will embrace any idea – no matter how whacky – in the pursuit of its goals and how the insanity of Cold War simply fermented such thinking. As the film reminds us, Ronald Regan was a big fan of Star Wars (one of his missile programmes was nicknamed after it) and even had a wife who believed in astrological readings.

The logic in creating a unit of ‘Jedi warriors’ during the Cold War seemed to come out of paranoia that they had to do it before the Russians did – even if was crazy.

But much of the satire comes from the inherent absurdity of war itself, which is why the training camp sections and modern day sequences in Iraq dovetail more neatly than you think. Lest we forget, US troops blasted Iraqi prisoners-of-war with the theme tune to Barney the Purple Dinosaur and played Eminem to detainees at Gauantanamo Bay.

Heslov and Straughn seem to be channelling the spirit of such films as Dr Strangelove, Three Kings and Catch 22 for the War on Terror generation. The cast is uniformly good with the standout performance coming from Clooney (who is perfectly deadpan throughout), although why directors seem hell-bent on casting McGregor as an American is a mystery given his wonky US accent.

The Men Who Stare at Goats (poster at the Vue after LFF press screening)

However, the chemistry between Clooney and McGregor works well in their extended sequences together and the film is consistently funny, if not flat out hilarious or possessing the political savvy of the films that inspired it. Impressively, the events of the book are compressed neatly into a highly watchable 93 minutes, with precious little fat or waste.

On the tech side, the visuals look impressive for a mid-budget movie, whilst special praise must go to cinematographer Robert Elswit (one of the best currently working in Hollywood) who shoots some of the locations superbly with New Mexico doubling for Iraq and Puerto Rico standing in for Vietnam and other places.

Quite how this will do at the box office remains an open question. Despite being very accessible and featuring a stellar cast, the fact that it is effectively an indie (made by Overture Films and BBC Films) might mean it lacks the marketing power of bigger funded studio rivals.

The surreal nature of the story might baffle people – as an opening title says: “More of this is true than you would believe” – which leaves the question as to how much you do actually believe. That said, I can see it playing well with audiences and UK distributor Momentum Pictures can expect it to do well if enough buzz is created.

The Men Who Stare at Goats screened tonight at the LFF and goes on general release in the UK on November 6

Categories
Cinema Festivals London Film Festival Thoughts

LFF 2009: Fantastic Mr Fox

Fantastic Mr Fox

An animated adaptation of Roald Dahl’s children’s book seemed an unlikely project for director Wes Anderson but it captures the charms of the source material and is likely to be his biggest box office hit.

The premise of Fantastic Mr Fox involves – believe it or not – a fox (George Clooney) living underground with his wife (Meryl Streep) and family (which includes Jason Schwartzman).

However, he can’t let go of his wild instincts and regularly raids the chicken coops of the irate local farmers (Michael Gambon, Adrien Brody and Brian Cox) who declare war on him.

In some ways the film is a curious hybrid: a recognizable Anderson film with his usual kooks and quirks; an adaptation of a beloved book and a mainstream animated release from a major studio (appropriately enough, Fox).

Anderson’s films over the last decade have been the Hollywood equivalent of gourmet food – undeniably tasty but a bit too refined for mainstream tastes and sometimes too rich for even his admirers.

His best work remains his earlier films: Bottle Rocket (1996) and Rushmore (1998) as they combined his style, wit and taste with a tangible pang of emotion.

Fantastic Mr Fox - UK Poster

Since The Royal Tenenbaums (2001) his films have become too trapped within their own stylistic tics: British invasion soundtracks, privileged characters with parental issues, distinctive clothing, Kubrick-style fonts and so on.

Films like The Life Aquatic (2004) and The Darjeeling Limited (2007) have certainly above the Hollywood standard – and in places quite brilliant – but the sense of Anderson not quite taking his work to another level has been hard to shake off.

What makes Fantastic Mr Fox refreshing is that although it bears some of his stylistic trademarks, the switch to animation has given him a new lease of life.

Clocking in at just 89 minutes it moves briskly and has a nice, breezy attitude, embodied by the central character who remains coolly charming even in the most perilous situations.

There is a charm and simplicity to the central characters and – unlike some of Anderson’s recent creations – they feel more rounded and less like stylistic puppets, which is ironic given that they literally are puppets.

Schwartzmann’s voice over work is especially noteworthy, hitting a precise tone of innocence and weariness as a young fox trying to find himself in the world.

The original book was accompanied by the distinctive artwork of Quentin Blake and Anderson – and his creative team – have opted for their own bold approach, using stop motion animation instead of CGI.

Instead of the smooth textures of Pixar and Dreamworks, the visuals here bear a resemblance to Coraline, Corpse Bride or the work of Nick Park and Aardman animation.

The low-fi aesthetic reaps considerable dividends as it gives the characters and their surrounding world a distinctive visual flavour. The foxes especially look especially great in close up with their hair moving a bit like King Kong in the 1933 version.

There is the odd Anderson-style indulgence (watch out for a scene with a wolf) but these can be forgiven as the film works it’s magic and charm on a visual and emotional level.

Listen out too for some nicely off the wall musical choices which include: The Rolling Stones, The Beach Boys, Burl Ives, Jarvis Cocker (who has a cameo) and some Ennio Morricone style musings.

It will be interesting to see how this plays with family audiences when it opens in a couple of weeks. Although based on a famous source, it has gags and references that may fly over the heads of younger audiences.

Despite that, it contains enough visual delights for audiences of all ages and may catch fire at the box office, especially in Britain where Roald Dahl is still very popular with a huge amount of readers.

It won’t do the same numbers as Up or Ice Age 3 but there is definitely potential here for some decent global box office.

Intriguingly, Anderson directed most of the film remotely from Paris whilst it was shot at Three Mills Studios in London, which perhaps demonstrates how technology is affecting what happens off screen as well as what we see on it.

Fantastic Mr Fox opened the London film festival tonight and goes on gneral release on October 23rd

Categories
Cinema Festivals Thoughts

The Bad Lieutenant: Port of Call New Orleans

Bad Lieutenant Port of Call New Orleans

My first reaction in hearing that Werner Herzog was remaking Bad Lieutenant was that it was some internet rumour gone wild.

Why would one of Europe’s greatest auteurs remake such a film and reset it in New Orleans with Nicolas Cage reprising the Harvey Keitel role?

More to the point, what was up with the crazy title? The Bad Lieutenant: Port of Call New Orleans (N.B. IMDb and other outlets wrongly leave off the ‘The’, which can be seen in the title sequence)

When a nutty trailer surfaced online a few months back (presumably it was something cut for sales purposes) it looked that the end film could be something rather off the wall.

When I saw the logo of Millennium Films, alarms bells started ringing as this is Avi Lerner’s production company which has burped up such recent schlock as The Wicker Man remake, 88 Minutes and Righteous Kill. Would this be another lazy pay day vehicle for a recognised star? What exactly is going on here?

My guess is that the project came about because: producer Edward R Pressman wanted to revamp the original film (which remember was NC-17 in the US and something of an under-performing cult); Herzog had some mainstream heat after two widely acclaimed documentaries (Grizzly Man and Encounters at the End of the World); name actors like Cage, Eva Mendes and Val Kilmer were keen to work with the great director; and a pulpy script piqued the interest of all concerned.

Plus, I reckon that Herzog may have wanted to flex his creative muscles within the confines of a more generic film on a bigger than usual budget for him.

When it premièred at the Venice film festival word on the festival street was mixed and that is likely to be mirrored when it opens in cinemas.

Having seen it earlier today at an LFF press preview I can only confirm that it is indeed an insane reinterpretation of the Ferrara film. Whereas that was a bold look at a tortured soul hurtling towards his own version of hell, this one is much loopier affair that almost wilfully subverts the Catholic guilt of the original.

The set-up here involves Terrence McDonagh (Nicolas Cage), a New Orleans cop who starts out receiving a medal and a promotion to lieutenant for heroism during Hurricane Katrina. But after injuring his back he soon becomes addicted to all kinds of drugs and finds himself involved with drug dealer (Alvin “Xzibit” Joiner) who is suspected of murdering a family of African immigrants.

We follow McDonagh as he tries to keep the various parts of his life in check including: his prostitute girlfriend (Eva Mendes); his hot-headed partner (Val Kilmer); a local bookie (Brad Dourif) and all manner of criminals.

This sounds like it could be the premise of a conventional crime movie and there are elements of William Finkelstein’s script that bear the hallmarks of the traditional cop procedural. But filtered through the lens of Herzog, we have something different altogether.

As the story progresses Cage’s character takes gargantuan amounts of drugs (coke, heroin, crack), shakes down clubbers and then screws their girlfriends in front of them, runs up huge debts, threatens old age pensioners and does all this wearing an oversize suit with a funny looking revolver.

But this only scratches the surface, as Herzog adds some wildly surreal touches involving iguanas and alligators shot in extreme hand held close-up, whacky interludes involving dogs, horny traffic cops and hilariously over the top dialogue delivered by Cage in a couple of different accents  (my favourite lines being “‘Shoot him again! His soul is still dancing!” and “to the break of DAWNNNN!!!!”).

In some ways the relationship between this and the earlier work mirrors that between Harvey Keitel’s deranged cop and the NYPD in the first film. Strange, out of control and defiantly off its head, it seems destined for cult status: appealing to cinephiles and late night stoner audiences.

To makes things even stranger, the war of words that broke out over the idea of remaking was similarly bizarre. Ferrara was less than happy that the project went ahead at all and was quoted as saying:

“As far as remakes go, … I wish these people die in Hell. I hope they’re all in the same streetcar, and it blows up.”

When asked for his response, Herzog said:

“I’ve never seen a film by him. I have no idea who he is.”

I can only assume the Bavarian maestro was having a laugh when he said this. At a press conference at Venice after the film’s première, he also said of Ferrara:

“I would like to meet the man,” and “I have a feeling that if we met and talked, over a bottle of whisky, I should add, I think we could straighten everything out.”

Although on the basis of this film it makes you wonder if the makers have been taking something altogether stronger than whiskey.

As I was watching it unfold on screen I found myself frequently laughing and then questioning if I was laughing with or at the film. In a strange way I think it was both, although it should be noted that the festival audience I saw it with gave a spontaneous burst of applause at the end.

How it does at the box office is a trickier question. It is playing at the London Film Festival on Friday 23rd October, but it doesn’t have a UK release date fixed yet, although I definitely think it deserves one.

The US opening is on November 20th and although it won’t make a ton of money, it should be profitable and find its natural home on DVD and late night TV where I’m sure it will be savoured under the influence of certain substances.

Categories
Festivals News

Lebanon wins the Golden Lion at Venice

Lebanon wins Golden Lion at Venice 2009

The Israeli war film Lebanon has won the Golden Lion at the 66th Venice Film Festival.

Directed by Samuel Maoz, it was shot almost entirely inside an Israeli tank and is set against the backdrop of the 1982 invasion of Lebanon.

In the other big awards Best Director went to Shirin Neshat for Women Without Men, whilst Colin Firth won Best Actor for A Single Man, the adaptation of Christopher Isherwood’s novel.

Here are the other winners in full:

VENEZIA 66

  • Golden Lion for Best Film: Lebanon (Dir. Samuel Maoz  / Israel, France, Germany)
  • Silver Lion for Best Director: Shirin Neshat for Zanan Bedone Mardan (Women Without Men) (Germany, Austria, France)
  • Special Jury Prize: Soul Kitchen (Dir. Fatih Akin / Germany)
  • Coppa Volpi for Best Actor: Colin Firth in A Single Man (Dir. Tom Ford / USA)
  • Coppa Volpi for Best Actress: Ksenia Rappoport in La Doppia Ora (Dir. Giuseppe Capotondi / Italy)
  • Marcello Mastroianni Award for Best New Young Actor or Actress: Jasmine Trinca in Il Grande Sogno (Dir. Michele Placiso / Italy)
  • Osella for Best Technical Contribution: Sylvie Olive for Mr. Nobody (Dir. Jaco  Van Dormael / France)
  • Osella for Best Screenplay: Todd Solondz for Life During Wartime (Dir. Todd Solondz / USA)

ORIZZONTI

  • Orizzonti PrizeEngkwentro (Dir. Pepe Diokno / Philippines)
  • Orizzonti Prize for Best Documentary1428 (Dir. Du Haibin / China)
  • Special MentionAadmi Ki Aurat Aur Anya Kahaniya (The Man’s Woman and Other Stories) by Amit Dutta (India)

CONTROCAMPO ITALIANO

  • Controcampo Italiano Prize: Cosmonauta (Dir. Susanna Nicchiarelli / Italy)
  • Special Mention: Negli Occhi (Dir. Daniele Anzellotti and Francesco Del Grosso / Italy)

CORTO CORTISSIMO

  • Corto Cortissimo Lion for Best Short Film: Eersgeborene (Dir. Etienne Kallos / South Africa, USA)
  • Venice Nomination to the European Film Awards 2009: Sinner (Dir. Meni Philip / Israel)
  • Special Mention: Felicità (Dir. Salomé Aleksi / Georgia)

Luigi De Laurentiis Award for a Debut Film

  • Lion of the Future Venice Award for a Debut Film: Engkwentro (Dir. Pepe Diokno / Philippines)

Persol 3-D Award for the Best 3-D Stereoscopic Film of the Year

  • Persol 3-D Award: The Hole by Joe Dante (USA)
Categories
Festivals News

Lineup for London Film Festival 2009

London Film Festival 2009

The official lineup for this year’s London Film Festival has been announced.

Featuring 191 features and 113 shorts from almost 50 countries, it takes place next month from 14th-29th October.

The big news angle is that George Clooney stars in three of the major films, including: the world premiere of Wes Anderson’s Fantastic Mr. Fox (as the voice of the title character); The Men Who Stare at Goats as a self-proclaimed “Jedi warrior” leading paranormal experiments for the U.S. military, and as a management consultant addicted to air travel in Jason Reitman’s Up in the Air.

The festival’s artistic director Sandra Hebron said that Clooney provided the closest thing there is to a theme at the 53rd annual festival.

“There are three George Clooney films and four films with nuns in them. That’s about it”.

On a more serious note she said that if there was a trend to be gleaned from this year’s selection of films, it would be “the return of the auteur”, which was also what some commentators felt about Cannes this year.

Some of the biggest names in world cinema are in a lineup that includes Austrian director Michael Haneke’s The White Ribbon which won the Palme d’Or at Cannes; the acclamed prison drama A Prophet from France’s Jacques Audiard; Jane Campion’s John Keats biopic Bright Star; Steven Soderbergh’s whistle-blower saga The Informant; Ang Lee’s Taking Woodstock; Joel and Ethan Coen’s A Serious Man; and Lone Scherfig’s An Education the Nick Hornby-scripted adaptation of Lynn Barber’s memoir about coming of age in the 1960s.

Among the stars coming over to attend screenings are the aforementioned Clooney, Meryl Streep, Bill Murray, Julianne Moore and Emma Thompson.

For the first time, the festival will give out a best-picture award and Amanda Nevill, director of festival organizer the BFI, said her goal was “to take the (London) film festival into the top tier.”

British films in the schedule include Lucy Bailey’s documentary Mugabe and the White African; Julien Temple’s documentary Oil City Confidential; and Sam Taylor-Wood’s biopic about the young John Lennon Nowhere Boy, which closes the festival.

Here are the lineups for the two major strands of the festival:

GALA & SPECIAL SCREENINGS

  • Fantastic Mr Fox (Dir. Wes Anderson): Animated adaptation of Roald Dahl’s popular children’s book.
  • The Boys are Back (Dir. Scott Hicks): Drama starring Clive Owen about a modern family coping in the aftermath of a tragedy.
  • Bright Star (Dir. Jane Campion): Biopic exploring the romance between John Keats and Fanny Brawne.
  • Chloe (Dir. Atom Egoyan): Drama about a woman investigating her husband’s alleged infidelity starring Julianne Moore and Liam Neeson.
  • An Education (Dir. Lone Scherfig): A coming of age tale adapted from Lynn Barber’s memoir with Carey Mulligan and Peter Sarsgaard.
  • Father of My Children (Dir. Mia Hansen-Løve): French drama inspired by the life of film producer Humbert Balsan.
  • The Men Who Stare At Goats (Dir. Grant Heslov): Based on Jon Ronson’s book about bizarre US military techniques, it stars Ewan McGregor, George Clooney, Jeff Bridges and Kevin Spacey.
  • MICMACS (Dir. Jean-Pierre Jeunet): A ‘fantastical satire’ on the arms trade starring André Dussolier, Dominique Pinon and Yolande Moreau
  • Nowhere Boy (Dir. Sam Taylor Wood): A biopic about the early years of John Lennon, starring Kristin Scott Thomas, Aaron Johnson, Anne-Marie Duff and David Morrissey.
  • A Prophet (Dir. Jacques Audiard): Hugely acclaimed French prison drama that many tipped for the Palme d’Or this year.
  • The Road (Dir. John Hillcoat): Long anticipated adaptation of Cormac McCarthy’s bleak best-selling novel with Viggo Mortensen and Charlize Theron.
  • A Serious Man (Dir. The Coen Brothers): Drama set in 1967 about a Jewish academic living in a Minneapolis suburb.
  • Toy Story 2 in 3D (Dir. John Lasseter, Ash Brannon): A 3D reissue for Pixar’s 1999 sequel to the ground breaking animated film that established them as the leading animated studio of the modern era.
  • Underground (Dir. Anthony Asquith): A reissue of this 1920 film about love, treachery and murder on the London Underground.
  • Up in the Air (Dir. Jason Reitman): Adapted from Walter Kim’s 2001 novel about a US businessman (George Clooney) addicted to air travel, this has already been attracting Oscar buzz.
  • The White Ribbon (Dir. Michael Haneke): The winner of this year’s Palme d’Or at Cannes is the tale of mysterious events in a German village on the eve of World War I.

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FILM ON THE SQUARE

These are the other notable films from around the world that will be screening in cinemas in Leicester Square during the festival.

  • 44 Inch Chest (Dir. Malcolm Venville)
  • About Elly (Dir. Asghar Farhadi)
  • Adrift (Dir. Heitor Dhalia)
  • Air Doll (Dir. Hirokazu Kore-eda)
  • Astro Boy (Dir. David Bowers)
  • Balibo (Dir. Robert Connolly)
  • Bellamy (Dir. Claude Chabrol)
  • Bluebeard (Dir. Catherine Breillat)
  • Bunny and the Bull (Dir. Paul King)
  • Cold Souls (Dir. Sophie Barthes)
  • Cracks (Dir. Jordan Scott)
  • La Danse: The Paris Opera Ballet (Dir. Frederick Wiseman)
  • Eccentricities of a Blonde-Haired Girl (Dir. Manoel de Oliveira)
  • Enter the Void (Dir. Gaspar Noé)
  • Extract (Dir. Mike Judge)
  • From Time to Time (Dir. Julian Fellowes)
  • Glorious 39 (Dir. Stephen Poliakoff)
  • The Informant! (Dir. Steven Soderbergh)
  • Lebanon (Dir. Samuel Maoz)
  • Life During Wartime (Dir. Todd Solondz)
  • The Limits of Control (Dir. Jim Jarmusch)
  • The Milk of Sorrow (Dir. Claudia Llosa)
  • Mother (Dir. Bong Joon-Ho)
  • No One Knows About Persian Cats (Dir. Bahman Ghobadi)
  • Paper Heart (Dir. Charleyne Yi)
  • Precious: Based on the Novel Push by Sapphire (Dir. Lee Daniels)
  • Samson & Delilah (Dir. Warwick Thornton)
  • A Single Man (Dir. Tom Ford)
  • Taking Woodstock (Dir. Ang Lee)
  • Tales from the Golden Age (Dir. Hanno Höfer, Cristian Mungiu, Constantin Popescu, Ioana Uricaru)
  • Tell Me Who You Are (Dir. Souleymane Cissé)
  • The Time That Remains (Dir. Elia Suleiman)
  • Vincere (Dir. Marco Bellocchio)
  • We Live in Public (Dir. Ondi Timoner)
  • When You’re Strange: A Film About The Doors (Dir. Tom DiCillo)

For a full list of films showing at the festival, including the New British Cinema, French Revolutions, Cinema Europa, World Cinema, Experimenta, Treasures from the Archives and Short Cuts and Animation strands go to the official LFF website.

> The Times report on this year’s lineup
> Official LFF website
> Check out our LFF reports from last year

Categories
Cannes Festivals News

Cannes 2009 Winners

Cannes 2009 winners

Here is the full list of winners at the 62nd Cannes film festival.

MAIN COMPETITION

Palme d’Or
The White Ribbon, Dir. Michael Haneke (Germany-France-Austria-Italy)

Grand Prix
A Prophet, Dir. Jacques Audiard (France)

Special Jury Prize
Alain ResnaisWild Grass (France)

Director
Brillante Mendoza, Kinatay, Philippines

Jury Prize
Fish Tank, Dir. Andrea Arnold (UK)
Thirst, Dir. Park Chan-wook (South Korea-U.S)

Actor
Christoph WaltzInglourious Basterds (U.S.-Germany)

Actress
Charlotte GainsbourgAntichrist (Denmark-Germany-France-Sweden-Italy-Poland)

Screenplay
Mei FengSpring Fever (Hong Kong-France)

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SHORT FILMS

Palme d’Or
Arena, Joao Salaviza, Portugal

Special Mention
The Six Dollar Fifty Man, Mark Albiston, Louis Sutherland, New Zealand

UN CERTAIN REGARD

Main Prize
Dogtooth, Dir. Yorgos Lanthimos (Greece)

Jury Prize
Police, Adjective, Dir. Corneliu Porumboiu (Romania)

Special Prize
No One Knows About Persian Cats, Bahman Ghobadi, Iran
Father of My Children, Mia Hansen-Love, France

OTHER MAIN JURY AWARDS

Camera d’Or
Samson And Delilah, Dir. Warwick Thornton

Special Mention
Ajami, Dir. Scandar Copti, Yaron Shani (Israel-Germany)

Critics’ Week Grand Prix
Farewell Gary, Dir. Nassim Amamouche (France)

FIPRESCI AWARDS

Competition
The White Ribbon, Dir. Michael Haneke (Germany-Austria-France-Italy)

Un Certain Regard
Police, Adjective, Dir. Corneliu Porumboiu (Romania)

Directors’ Fortnight
Amreeka, Cherien Dabis (Canada-Kuwait-U.S.)

> Official festival site
> IFC with all the winners and a lot of links

Categories
Cannes Festivals News

The White Ribbon wins the Palme d’Or

The White Ribbon

The White Ribbon has won the Palme d’Or at this year’s Cannes film festival.

Directed by Michael Haneke, it explores the strange and disturbing things that start to happen in a German village on the eve of World War I.

Shot in black and white, it has no musical score and focuses on the generation that would grow up to embrace national socialism.

The story is narrated by schoolteacher in the village and the cryptic and sombre style has already led some critics to compare it to Hidden (2005).

The winners in the major categories were:

> Read more about The White Ribbon at IFC
> Michael Haneke at Wikipedia
> Official Cannes site

Categories
Cannes Festivals Interesting

Cannes 2009: New Media Panel

Jeffrey Wells of Hollywood Elsewhere recorded some parts of a debate about film journalism and the internet chaired by Eugene Hernandez of indieWIRE.

It featured the following: James Rocchi (MSN Movies and AMCtv.com), Sharon Waxman (The Wrap), John Horn (LA Times), Anne Thompson (Variety) and Karina Longworth (Spout).

Part of me rolls my eyes at yet another ‘new media’ debate as the new in ‘new media’ is actually a bit old, but this did contain some nuggets of interest.

Anne Thompson shot a bit of footage at the beginning:


Find more videos like this on AnneCam

Plus, you can read her brief take on the panel here.  

Then Jeff Wells shot the following two sections, which I’m guessing pick up somewhere around the middle until the end.

There are a few points raised here that are worth chewing over.

  • News Speed: Sharon Waxman seems to think the days of long form pieces are over, but I don’t think this is the case. For sites like hers, which wants to be all over the latest breaking news, speed is of the essence. But only part of your audience is interested in that – there is still room for longer, more reflective articles which take more time to prepare. Karina’s point about ‘drowning in noise’ from too many articles is a good one. There is too much duplication amongst movie blogs (and I guess other sites too) but more posts equals more page views, so I’m guessing the trend will carry on.
  • Trade Journalism: Sharon launched The Wrap back in January as a kind of rival to Variety (the biggest movie trade journal), Deadline Hollywood Daily (an influential blog by Nikki Finke that regularly breaks Hollywood news to the point where Variety were reportedly thinking of buying it) and MovieCityNews (a movie news hub with daily links and blogs). The idea, I think, is a good one and although I don’t tend to visit it that much at the moment, it has the potential to grow and certainly become a rival to the trades if the creators play their cards right. I had a feeling someone would bring up that fake Avatar trailer business (and James did), which for the unenlightened was when the wrap posted a trailer for the new James Cameron movie that wasn’t in fact the real thing but a fan made one. But Sharon’s response was right – own up, admit mistake and move one. When you are posting a lot of daily stories, mistakes will happen – the important thing is to have an honest and open corrections policy. 

 

 

On this wrapping up segment, things get a little more serious as the wider future of journalism is discussed.

  • People Are Not Paying For News: John Horn brings up this point that has been raised many times before but never satisfactorily answered (maybe there just isn’t an answer yet). When you apply it to current affairs and the whole news ecosystem it is a scary thought. Will ‘serious news’ as we have known it just wither and be propped by publicly funded organisations (e.g. BBC) or trusts (e.g. The Guardian). Obviously the ongoing financial crisis makes it all worse, but when (if?) that goes away, what sort of media landscape are we really looking at in 5-10 years time? 
  • The Costs of Print: Anne points out that the inefficiencies of print (cutting down trees, squirting ink on papers and shipping them around the country on trucks) can be replaced by a new demand for online journalism. I broadly agree, but an age where efficient websites have actually replaced inefficient print publications still (even now) seems like a tempting mirage in the desert – it’s visible but somehow a long way off. 
  • New Models and Smaller Institutions: Sharon’s idea that journalists have to pool their talents and assets to create new models is a good one, but for a generation raised in the old analogue system (if we can call it that) it isn’t so easy to change and adapt to a new one that is still in a state of flux. However, the idea that smaller organisations tight on costs will replace bigger and more inefficient ones is probably correct in the long term.

The main thing that struck me about these discussions is that we have finally reached the point where we can actually see the end of print newspapers.

That’s because titles like the Rocky Mountain News and Seattle PI have actually closed their print operations (although both still have websites) and heavyweights like the LA Times and New York Times are in dire financial trouble.

Although I tend towards the view that print newspapers dying out is part of an evolutionary economic process, this video about the closure of the aforementioned Rocky Mountain News made me really sad.

Final Edition from Matthew Roberts on Vimeo.

Film journalism is just one slice of a larger media pie, but the issues remain the same.

From my perspective things look incredibly bleak for mainstream outlets and only slightly less alarming for smaller, more independent operators.

On a final note, given that the event was moderated by indieWIRE at the American Pavillion (the hub of US activity at Cannes), why wasn’t there official audio and/or video of this on either of their sites?

Am I missing something? 

Props must go again to Jeff Wells, who has audio of the whole event which can be downloaded as an MP3 here.

> indieWIRE
> American Pavillion
> Jeff Jarvis on the death of newspapers 

Categories
Cannes Festivals

Cannes 2009 Reactions: Antichrist

Antichrist

Danish director Lars Von Trier has returned to Cannes and caused an almighty stink with his new film Antichrist.

The plot involves a grieving couple (Willem Dafoe and Charlotte Gainsbourg) who retreat to an isolated cabin in the woods, where they hope to repair their broken hearts and troubled marriage.

Mike Collett-White of Reuters reports on the boos and jeers that greeted the screening: 

“Danish director Lars von Trier elicited derisive laughter, gasps of disbelief, a smattering of applause and loud boos on Sunday as the credits rolled on his drama ‘Antichrist‘ at the Cannes film festival.

Cannes’ notoriously picky critics and press often react audibly to films during screenings, but Sunday evening’s viewing was unusually demonstrative.

Jeers and laughter broke out during scenes ranging from a talking fox to graphically-portrayed sexual mutilation.

Wendy Ide of The Times is appalled:

Lars von Trier, we get it. You really, really don’t like women.

The Danish arch-provocateur who challenged the movie world to get back to basics with the Dogme movement, and famously fell out with Bjork in the Palme d’Or-winning Dancer In The Dark, returns from a creative wilderness period resulting from a bout of chronic depression.

He has described Antichrist, a melodramatic psychological horror film, as being a therapeutic and deeply personal piece of work – which suggests that there is a special circle of hell which exists solely in Lars von Trier’s head.

But the cynical might suggest that it’s not the work that von Trier finds so cathartic, but the attention that results from the shockingly graphic mutilations in the movie’s overwrought final act.

It’s fair to say that one particular scene is easily the most controversial image ever to be screened in competition in Cannes.

It’s calculated to affront and it does. So on that level at least the film must be considered a success.

Todd McCarthy of Variety (who was upset in 2003 with Dogville) was not pleased:

Lars von Trier cuts a big fat art-film fart with “Antichrist.”

As if deliberately courting critical abuse, the Danish bad boy densely packs this theological-psychological horror opus with grotesque, self-consciously provocative images that might have impressed even Hieronymus Bosch, as the director pursues personal demons of sexual, religious and esoteric bodily harm, as well as feelings about women that must be a comfort to those closest to him.

Traveling deep into NC-17 territory, this may prove a great date movie for pain-is-pleasure couples.

Otherwise, most of the director’s usual fans will find this outing risible, off-putting or both – derisive hoots were much in evidence during and after the Cannes press screening – while the artiness quotient is far too high for mainstream-gore groupies.

Xan Brooks of The Guardian thinks he loves it:

I stumble out in a daze, momentarily unsure whether I loved it or loathed it. Abruptly I realise that I love it.

Von Trier has slapped Cannes with an astonishing, extraordinary picture – shocking and comical; a funhouse of terrors (of primal nature, of female sexuality) that rattles the bones and fizzes the blood before bowing out with a presumptuous dedication to Andrei Tarkovsky that had sections of the crowd hooting in fury

… Pound for pound, (”A Prophet”) is surely the strongest film of the competition so far. Why, then, is it “Antichrist” that keeps me awake last night, whirling like a dervish in the darkness of the room?

Richard Corliss of Time thinks the first half works better than the second:

The first half of Antichrist has enough storytelling vigor and sheen convince any critic, including those who thought von Trier went off the rails with his Dogville and Manderlay epics, that, hey, the guy can make a normal movie, and with the highest skill.

There are visions here worth savoring, pure von Trier weirdo-magic, like the sight of Gainsbourg lying on the forest ground, willing herself to blend with the green … but von Trier doesn’t have the craft to bring the moviegoer along in the most extreme parts of Antichrist.

The thought was that we were being subject to the spectacle, not of a woman going mad, but of a director.

Jonathan Romney of Screen International has mixed feelings:

Von Trier deserves credit for audacity, not least in making a genuine two-hander: apart from the couple’s sporadically glimpsed child, Gainsbourg and Defoe are the only players, other humans appearing with faces digitally blurred.

Dod Mantle’s elegant DV photography, using RED and Phantom cameras, makes for visual distinction, both in the stylised sequences and in the straighter chamber-drama sequences.

But you can’t help wondering why a director this sophisticated would want to put his audience through the mill quite so crudely.

Lisa Schwarzbaum of Entertainment Weekly was impressed by the visuals after being repulsed by the gore:

“Blood spurts, bones are broken, genitals are mutilated… hellooo? Are you still with me?”

“The movie looks almost tauntingly great, of course, with von Trier’s longtime collaborator (and ‘Slumdog Millionaire‘ Oscar winner) Anthony Dod Mantle as cinematographer.

So it’s one good-looking, publicity-grabbing provocation, with an overlay of pseudo-Christian allegory thrown in to deflect a reasonable person’s accusations of misogyny.

As a kicker, the director dedicates the picture to the memory of the great Russian filmmaker Andrei Tarkovsky – a final flip of the bird to the Cannes audience.”

Charles Ealy of the Austin Movie Blog feels he witnessed film history:

“It’s not often that you leave a movie and feel like you’ve just experienced a moment in cinematic history.

“The movie’s violence has an emotional impact that hasn’t been seen since Gaspar Noé‘s ‘Irréversible,’ which premiered here a few years ago. That’s because you care about the characters, long before the violence comes.”

Elizabeth Renzetti for The Globe and Mail compares it to Don’t Look Now:

It’s as if ‘Don’t Look Now‘ took a huge hit of peyote and moved to the mountains.”

Von Trier “seems, however nuttily, to be making some point about women, nature and history – though I’m honestly not sure if I know what it is or if he does, either.”

The film is “loaded with a big trunkful of crazy … Ingmar Bergman meets ‘Saw,’ let’s say.”

Jeffrey Wells of Hollywood Elsewhere was gobsmacked at what he saw:

…easily one of the biggest debacles in Cannes Film Festival history and the complete meltdown of a major film artist in a way that invites comparison to the sinking of the Titanic.

There’s no way Antichrist isn’t a major career embarassment for costars Willem Dafoe and Charlotte Gainsbourg, and a possible career stopper for Von Trier.

It’s an out-and-out disaster — one of the most absurdly on-the-nose, heavy-handed and unintentionally comedic calamities I’ve ever seen in my life.

On top of which it’s dedicated to the late Russian director Andrei Tarkovsky, whose rotted and decomposed body is now quite possibly clawing its way out of the grave to stalk the earth, find an axe and slay Von Trier in his bed.

Gunnar Rehlin interviewed von Trier for Variety and got a fantastic quote from the Dane: 

“I’m not religious. I’ve tried to be, but I can’t. If I believe in anything, it is some sort of good power.

People can be very nice to each other, and I think that the foundation to survival is kindness and cooperation.

But I would not want to be one of God’s friends on Facebook.”

At the press conference, which you can see on the official festival site, things got really funny as Baz Bamigboye of the Daily Mail lost it (around 2.40), indignantly asking Von Trier to ‘justify’ why he made it.

Outrage, controversy and the Daily Mail are pissed off. 

Who isn’t dying to see this now?

> Antichrist at the IMDb
> Lars Von Trier at Wikipedia
> Official site for Antichrist

Categories
Animation Cannes Festivals

Pixar’s Up at Cannes

Here is a short video feature of the world premiere of Pixar’s Up at the Cannes film festival this week.

The film opened to largely rave reviews.

> Official site for Up
> Critical reactions to the film at the festival
> Up at IMDb
> More about Pixar at Wikipedia

Categories
Cannes Festivals

Cannes 2009 Reactions: Bright Star

Abbie Cornish and Ben Wishaw in Bright Star

Bright Star is the latest film from director Jane Campion and it explores the last years of John Keats (Ben Whishaw) and his relationship with Fanny Brawne (Abbie Cornish).

It is screening in competition and initial reviews seem to suggest it is a return to form for ther Kiwi director who hasn’t made a film since 2003’s In the Cut (now best remembered for Meg Ryan’s awkward interview on Parkinson).

Here is a summary of the initial critical reaction: 

Todd McCarthy of Variety thinks it is an impressive return for Campion:

The Jane Campion embraced by 1990s arthouse audiences but who’s been missing of late makes an impressive return with “Bright Star.”

Breaking through any period piece mustiness with piercing insight into the emotions and behavior of her characters, the writer-director examines the final years in the short life of 19th century romantic poet John Keats through the eyes of his beloved, Fanny Brawne, played by Abbie Cornish in an outstanding performance.

Beautifully made film possesses solid appeal for specialized auds in most markets, including the U.S., where it will be released by Bob Berney’s and Bill Pohlad’s as-yet unnamed new distribution company, although its poetic orientation and dramatic restraint will likely stand in the way of wider acceptance.

Peter Bradshaw of The Guardian thinks Campion could be up for another Palme d’Or (she won in 1993 for The Piano):

Jane Campion has put herself in line for her second Palme d’Or here at the Cannes film festival with a film which I think could be the best of her career.

Campion brings to this story an unfashionable, unapologetic reverence for romance and romantic love, and she responds to Keats’s life and work with intelligence and grace.”

Allan Hunter of Screen International is impressed by

Sixteen years after The Piano, Jane Campion has found renewed artistic inspiration in a tragic romance to match the haunting intensity of that Palme D’Or winning feature.

Bright Star deftly avoids the stilted, starchy quality often found in lesser period dramas. Characters appear comfortable in their clothes and settings, the dialogue flows easily from their lips and there is a quiet, everyday intimacy to the way events unfold.

We are invited into this world rather than kept at arm’s length because nothing jars or seems out of place. The keen attention to detail is never obtrusive  but instead creates a complete, credible universe.

Beautifully crafted in every department from the composure of the camerawork to the precision of the costume and production design, Bright Star is a film to savour.

Jeffrey Wells of Hollywood Elsewhere admires it with some reservations:

It’s been done quite perfectly — I was especially taken with Grieg Frasder‘s vermeer-lit photography — with immaculate fealty for the textures and tones of early 19th Century London, and a devotion to capturing the kind of love that is achingly conveyed in hand-written notes that are hand delivered by caring young fellows in waistcoats.

But it struck me nonetheless as too slow and restricted and…well, just too damnably refined. I looked at my watch three times and decided around the two-thirds mark that it should have run 100 rather than 120 minutes. 

The pacing is just right for the time period — it would have felt appalling on some level if it had been shot and cut with haste for haste’s sake — but there’s no getting around the feeling that it’s a too-long sit. It’s basically a Masterpiece Theatre thing that my mother will love. I’m not putting it down on its own terms. I felt nothing but admiration for the various elements. 

Dave Calhoun of Time Out thinks it has an admirable lightness of touch:

[it is] free of the hysterics so often associated with films about writers and deftly avoids the distracting surface tendencies that can plague British period pieces set in the 18th and 19th centuries. 

“It’s also remarkable in its lightness of touch: the film barely tries to persuade us that Keats is a valid object of this girl’s affection or that he is a fine literary talent; we are left to learn both incidentally.

They’re wise choices, leaving Campion to concentrate on character and emotion rather than any special pleading about genius and its offshoots.”

Ray Bennett in The Hollywood Reporter predicts an arthouse hit:

With much grace and at considerable leisure, 1993 Palme d’Or winner Campion (“The Piano”) tells the story of the brief love affair between the gifted but early dead poet John Keats and Fanny Brawne.

Ben Whishaw plays Keats with impeccable tragedy and Abbie Cornish portrays winningly the beautiful seamstress Fanny, whose passion is constrained only by the rigorous mores of the times.

Cynics need not apply and it’s doubtful that “Bright Star” will be the shining light at many suburban cineplexes, but festivals will eat it up, art house audiences will swoon and it will have a lucrative life on DVD and Blu-ray, not to mention the BBC and PBS.

Here is a clip of the film from AFP:

Check the official Cannes site which has audio and video from the press conference.

More photos of the film can be seen here at Filmofilia.

> Bright Star at the IMDb
> Jane Campion at Wikipedia

Categories
Cannes Festivals

Cannes 2009 Reactions: Fish Tank

Fish Tank

Fish Tank is the second film by British director Andrea Arnold and is also her second visit to Cannes after she went home with the Jury Prize for Red Road in 2006.

Her latest is about a rebellious English teenager (Katie Jarvis) who’s life appears like it could change for the better when her mother’s new boyfriend (Michael Fassbender) strikes a chord with her.

Here is a summary of the critical reaction, which appears to be largely positive.

Allan Hunter of Screen International thinks it is a strong second feature: 

“Andrea Arnold confidently navigates the pitfalls of the ‘difficult’ second feature with ‘Fish Tank,’ which confirms her status as a torchbearer for the social realist traditions of Ken Loach and the Dardenne brothers.” 

“The heartbreaking tale of a teenage misfit has a grim inevitability to the plotting which is offset by Arnold’s talent for multi-layered characters and naturalistic dialogue and her eye for finding the poetic moments in even the bleakest of lives.”

Leslie Felperin of Variety praises it but also points out that the people it is about will probably not get to see it:

Brit helmer Andrea Arnold’s sophomore feature offers such an entirely credible and – there’s no way around it – grim portrait of a sullen teenage girl living in a rough housing project in England’s Essex that it almost seems banal.

However, what makes pic feel special is its unflinching honesty and lack of sentimentality or moralizing, along with assured direction and excellent perfs.

Paradoxically, though immediately accessible to auds from the background depicted, “Fish Tank” is destined to swim only in arthouse aquariums, while likely adult-only ratings will keep teens – who really should see this – from getting in the door legally.

Only Catherine Hardwicke‘s ‘Thirteen‘ and a handful of other films have dared to evoke so frankly the nature of teenage femme sexuality, as young women test their power with a mixture of precocity and naivete.”

Peter Bradshaw of The Guardian is full of praise, especially for Jarvis and Fassbender:

Andrea Arnold’s Palme d’Or contender is a powerful film of betrayed love in a bleak landscape, powered by fizzing performances from Michael Fassbender and newcomer Katie Jarvis.

Fish Tank is a powerfully acted drama, beautifully photographed by cinematographer Robbie Ryan, who intersperses bleak interiors with sudden, gasp-inducing landscapes like something by Turner.

Arnold takes elements of tough social-realist drama which are, if not cliches exactly, then certainly familiar — but makes them live again and steers the movie away from miserabilism, driven by a heartfelt central performance.

The performances of Jarvis and Fassbender are outstanding and their chemistry fizzes — and then explodes. It is another highly intelligent, involving film from one of the most powerful voices in British cinema.

Dave Calhoun of Time Out thinks that it is another chapter in the rise of Arnold as one of Britain’s most significant new directors:

It’s hugely satisfying to report that ‘Fish Tank’ shows Arnold going from strength to strength, offering new depths of filmmaking while at the same time building on a view of the world and a way of telling stories that are distinctly her own.

She also coaxes a performance of extraordinary emotion from young British newcomer Katie Jarvis.

‘Fish Tank’ is another intimate portrait of a female character living on the margins of a city.”

Jeffrey Wells of Hollywood Elsewhere admires the film but is left cold by the themes: 

The chops in Fish Tank are accomplished and impressive. Arnold, who directed and wrote, knows exactly what she’s doing — she’s the real deal as far as having a voice and a vision of life is concerned.

I liked that she and cinematographer Robbie Ryan shot the film in 1.33, which is usually a result of an intention or a deal to air it on analog TV.

Fassbender, a very hot guy now, is natural and believable, charming and genuine. Ryan’s hand-held camera work is unpretentious and the images are appropriately plain — i.e., naturally lit but not excessively grim.

It feels right all the way, in short, but it didn’t leave me with much save the quality of the work.

Eugene Hernandez of IndieWIRE feels Katie Jarvis is a major new talent:

Jarvis’s bio reads simply: ‘Katie makes her acting debut in ‘Fish Tank.’

Starring as Mia in every scene in ‘Fish Tank,’ Katie Jarvis is the first major acting discovery of the 2009 Cannes Film Festival.”

The film (as Wells notes) was shot in the unusual 1:33 aspect ratio, which is rare these days outside of Gus Van Sant movies like Elephant, and can be seen in this clip:

 

The official festival site has video and audio from the press conference.

> Fish Tank at the IMDb
> Andrea Arnold at Wikipedia

Categories
Cannes Festivals

Cannes 2009 Reactions: Up

Up

Pixar’s Up opened this year’s Cannes Film Festival today and the reaction amongst critics has been overwhelmingly positive.

The film is about a retired balloon salesman (Edward Asner) who travels to South America, using 10,000 balloons to make his house fly there aswell as unwittingly taking a young stowaway (Jordan Nagai) with him. 

Directed by  Pete Docter (Monsters, Inc.) it features the voices of Edward AsnerChristopher Plummer, Jordan Nagai and John Ratzenberger.

Todd McCarthy of Variety thinks it is a:

“…captivating odd-couple adventure that becomes funnier and more exciting as it flies along. Tale of an unlikely journey to uncharted geographic and emotional territory by an old codger and a young explorer could easily have been cloying, but instead proves disarming in its deep reserves of narrative imagination and surprise, as well as its poignant thematic balance of dreams deferred and dreams fulfilled. “

Mike Goodridge of Screen Daily is similarly impressed, praising it as:

“a marvel of a movie which will enchant cinemagoers around the world and remain a family favourite for decades to come. A highpoint of ingenuity and storytelling in the Pixar canon and indeed the animated form, this is a fitting opening to this year’s Cannes Film Festival; indeed it will be hard for any other film there to match the storytelling genius and gorgeous 3D imagery which Docter and his team have achieved.

Roger Ebert of the Chicago Sun Times compares it to Miyazaki:

“…this is a wonderful film. It tells a story.The characters are as believable as any characters can be who spend much of their time floating above the rain forests of Venezuela. They have tempers, problems, and obsessions. They are cute and goofy, but they aren’t cute in the treacly way of little cartoon animals. They’re cute in the human way of the animation master Hayao Miyazaki.”

Peter Bradshaw of The Guardian thinks:

“It really is a lovely film: smart, funny, high-spirited and sweet-natured, reviving memories of classic adventures from the pens of Sir Arthur Conan Doyle and Jules Verne, and movies like Frank Capra’s It’s a Wonderful Life and Albert Lamorisse’s The Red Balloon, though I sometimes felt that my heart was being warmed by tiny invisible laser-missiles fired from the screen and digitally guided directly into my thorax.”

Richard Corliss of Time predicts it will be one of the year’s best films:

“…though it’s not yet summer, we can declare that Up, like WALL-E, will prove to be one of the most satisfying movie experiences of its year.

Dave Calhoun of Time Out thinks it doesn’t quite reach the heights of Pixar’s last two films:

“While this 3D joy doesn’t reach the same heights of wonder as either ‘Wall-E’ of ‘Ratatouille’, it’s sharp, short and sweet – a lively, concise fantasy that never takes its eye off real human experience. At least one other critic admitted wiping the tears away from under her chunky 3D glasses.”

Jeffrey Wells of Hollywood Elsewhere is also impressed:

“Even by Pixar’s high standards it’s a notch or two above the norm. Visually luscious and spunky and intriguing at every turn, it’s an amusing (i.e., somewhat funny), sometimes touching, briskly paced film that’s about…well, pretty much everything that relatively healthy, forward-thinking middle-class people care about.”

The official press conference can be seen on the festival site.

> Up at IMDb
> More about Pixar at Wikipedia
> My interview in February with Pixar head honch John Lasseter

Categories
Cannes Festivals News

Cannes Film Festival Lineup 2009

Cannes 2009 logo

The official lineup for the 2009 Cannes Film Festival was announced today at a press conference in Paris.

The main talking point for some will be the lack of American filmmakers in competition for the Palme d’Or.

The festival runs from May 13th until 24th and here is the lineup in full. 

OPENING FILM

  • Up (U.S.A, Dir. Pete Docter and Bob Peterson)

IN COMPETITION

CLOSING NIGHT FILM

  • Coco Chanel & Igor Stravinsky (France, Dir. Jan Kounen)

OUT OF COMPETITION

MIDNIGHT SCREENINGS

SPECIAL SCREENINGS

  • Petition (China, Dir. Zhao Liang)
  • L’epine dans le coeur (France, Dir. Michel Gondry)
  • Min ye (France-Mali, Dir. Souleyumane Cisse)
  • Jaffa (Israel-France-Germany, Dir. Keren Yedaya)
  • Manila (Philippines, Dir. Adolfo Alix Jr. and Raya Martin)
  • My Neighbor, My Killer (U.S.A, Dir. Anne Aghion)

UN CERTAIN REGARD

THE JURY

LA CINEFONDATION AND SHORT FILM JURY

One little interesting note.

At the end of the press conference Cannes president Gilles Jacob said:

…the Festival de Cannes has decided to continue helping independent creators as best it can.

Since our new website has greater bandwidth, we would like to offer this platform to any of the films in the Official Selection that would like to make use of it, when comes the time of their theatre release.

The idea is to present to the audience, and especially young audiences, the first 5 minutes of the film and not the usual typical trailer that extinguishes all desire.

Was it Altman or Renoir, I forget, who said that the great artists are at their best in the first and last reel? Let’s hope that Internet users everywhere might drop their games and be tempted to rush to their nearest theatre to find out what happens next.

Let’s hope so, for the sake of the artists. We make no distinction between their films.

They are all there, somewhere, in the atmosphere that surrounds us all. They are all there and available, chemically, digitally, electronically, in binary, in VOD, virtually, we can feel them, they surround us. They are looking out for us.

Let’s not abandon them.

You can read the full speech here.

> Official site for the Cannes Film Festival
> IndieWIRE with a transcript of Cannes president Gillies Jacob at the launch press conference 
> Find out more about the festival at Wikipedia

Categories
Festivals

Birds Eye View Film Festival 2009

This year’s Birds Eye View Film Festival has been announced and will run from March 5th until 13th at the BFI and ICA in London.

The festival celebrates international women filmmakers and is back for a fifth time.

This edition will take place over 9 days and will feature over 70 events with films from around the world.

There will also be an exclusive masterclass and retrospective from director Mary Harron (American PsychoThe Notorious Bettie Page), one-off live music events from cutting edge female artists, moving image innovation, fashion films, training workshops, parties and a good deal else besides.

Check out their official site at www.birds-eye-view.co.uk/festival

Categories
Festivals

Sundance 2009: Festival Wrap Roundtable

Categories
Festivals

Sundance 2009: The Awards and After Party

Categories
Festivals

Sundance 2009: The Full List of Award Winners

Sundance Film Festival

The Sundance Film Festival is over for another year and here is the full list of winners at the audience and jury awards, presented on Saturday in Park City, Utah.

  • Grand jury, U.S. drama: Push: Based on the novel by Sapphire
  • Audience, U.S. drama: Push: Based on the novel by Sapphire
  • Grand jury, U.S. documentary: We Live in Public
  • Audience, U.S. documentary: The Cove
  • Grand jury, world cinema drama: The Maid (La Nana)
  • Audience, world cinema drama: An Education
  • Grand jury, world cinema documentary: Rough Aunties
  • Audience, world cinema documentary: Afghan Star
  • Waldo Salt screenwriting award: Nicholas Jasenovec and Charlyne Yi, Paper Heart
  • Directing, U.S. drama: Cary Joji Fukunaga, Sin Nombre
  • Directing, U.S. documentary: Natalia Almada, El General
  • Directing, world cinema drama: Oliver Hirschbiegel, Five Minutes of Heaven
  • Directing, world cinema documentary: Havana Marking, Afghan Star
  • Screenwriting, world cinema drama: Guy Hibbert, Five Minutes of Heaven
  • Editing, U.S. documentary: Karen Schmeer, Sergio
  • Editing, world cinema documentary: Janus Billeskov Jansen and Thomas Papapetros, Burma VJ
  • Cinematography, U.S. drama: Adriano Goldman, Sin Nombre
  • Cinematography, U.S. documentary: Bob Richman, The September Issue
  • Cinematography, world cinema drama: John De Borman, An Education
  • Cinematography, world cinema documentary: John Maringouin, Big River Man
  • Special jury prize for originality, world cinema drama: Louise-Michel, directed by Benoit Delepine and Gustave de Kervern
  • Special jury prize, world cinema documentary: Tibet in Song, Ngawang Choephel, director
  • Special jury prize for acting, world cinema: Catalina Saavedra, “The Maid (La Nana)”
  • Special jury prize, U.S. documentary: Good Hair, Jeff Stilson, director
  • Special jury prize for spirit of independence: Humpday
  • Special jury prize for acting: Mo’Nique, Push: Based on the novel by Sapphire
  • Jury prize, U.S. short filmmaking: Short Term 12, Destin Daniel Cretton, director
  • Jury prize, international short filmmaking: Lies, (Dir. Jonas Odell)
  • Alfred P. Sloan prize: Adam, (Dir. Max Mayer)

Official website for the Sundance Film Festival
A list of previous Sundance winners at Wikipedia

Categories
Festivals

Sundance 2009: In The Loop

Above are some interviews from the Sundance premiere of In The Loop which is a new satire directed by Armando Iannucci.

It is a loose spinoff of the TV series The Thick of It, and stars stars Tom HollanderJames GandolfiniChris AddisonPeter CapaldiGina McKee and Steve Coogan.