DIFF 2017: Day Ten

April 11, 2017

The Dallas International Film Festival ran March 31 through April 9 (it will return for its 12th year in 2018)

 This is the end. The final day of DIFF 2017. Despite periodically feeling more like a marathon than entertainment, it’s always a bit sad when the closing credits roll on the festival’s final movie. My tally for this year’s festival is 30 films watched, 14 of which were documentaries. Just like every year, the DIFF programming provided a diverse schedule of films from around the globe, and a deep lineup of documentaries that range from biographical to social interest. For a list of the winners, please visit www.dallasfilm.org Below is a recap of the three films I watched on Sunday April 9, 2017:

FRANTZ

Director Francois Ozon won me over as a fan for life with his 2003 writing-mystery Swimming Pool. His latest stands in stark contrast to that gem, as there are no mind games for the viewer, other than those the characters play on each other. Actually, this is quite a straightforward story of romance, loss and hope; and it’s an example of expert filmmaking from a director in full control of story, setting, character and camera.

It’s 1919 in historic and ancient Quedlinburg, Germany. WWI has recently ended and the loss of her soldier fiancé is still so fresh for Anna (an excellent Paula Beer) that she makes daily treks to lay flowers on the grave of Frantz. She spots an unknown foreigner paying respects to Frantz, and since it’s a small town, the two are soon enough sitting together in the parlor of Frantz’ parents’ house where Anna lives. It’s an awkward encounter between a grief-stricken German family and a Frenchman paying respects to the family of a fallen “friend”.

That these folks are so quick to accept and encourage these recollections of Adrien (Pierre Niney) speaks loud and clear to human nature in times of grief – we desperately cling to any connection, positive memory, or new strand of information. Then again, Adrien’s perspective is every bit as interesting as that of the parents and Anna. He seeks forgiveness and inclusion, yet is unable to come clean on his motives and past.

More human nature is on display as we initially see how the Germans treat the (outsider) Frenchman, and then later as Anna travels to France, we see how the French treat this (and presumably all) German. Anger, mistrust and deceit are ever-present amongst this group of people who seemingly only want a touch of happiness, and it’s fun to note the parallels between the initial story in Germany and the later time in France.

Director Ozon flips between black & white and the periodic use of color when hope and new direction exists. It provides a personal and dramatic look to the film, along with visual clues as to what’s really occurring on screen, and is nicely complemented by the flowing score from Phillipe Rombi (Swimming Pool, Joyeux Noel). Ozon also selects one of Manet’s lesser known paintings, Le Suicide, as a link between the past and the terrific ending that reinforces the movie’s message, “life goes on”.

 

STEP (documentary)

Director Amanda Lipitz proves that a documentary can be both inspiring and sad. She takes us inside the Baltimore Leadership School for Young Women and introduces us to the senior girls on the Step dance squad known as the “Lethal Ladies”. The school was founded in 2009 with the goal of sending every student to college, in spite of the challenges and barriers faced in this inner city community. This is the school’s first senior class, and everyone – students, teachers, parents, administration – is on edge.

Emotions overflow throughout the film. The normal roller coaster ride that accompanies high school girls is somehow magnified when the pressures of becoming the first one in the family to attend college collide with such harsh realities of poor grades, no food in the fridge, no power in the home, and inconsistent support from parental units. There is also the goal of winning the year-end Step competition against schools that have a more successful track record, and who likely don’t face the extremes of Baltimore street violence and poverty that is normal for these girls each day.

Ms. Lipitz’ film, a Sundance award winner, never backs away from the emotion of the moment and yet still manages to maintain the long-game perspective of trying to get each of these students graduated and accepted into college. She dives into the home lives of a few of these girls and though all of the parents want the best for the kids, it’s quite obvious that the type of home support and structure varies widely even amongst these few we follow.

The real beauty of this environment is that the school provides structure, guidance and support all along the way. The Step coach pushes them hard daily towards being the best they can be going into the competition. The girls push themselves and each other, and overcome some personality conflicts, all for the sake of a stronger team. The school principal has one-on-one meetings to light a fire when necessary, and you’ve likely never seen a more dedicated high school college counselor who doles out hugs and motivation in whatever dosage is necessary.

The key message here is that it takes a combination of inner-strength and drive, and a support system of family, teachers, coaches, administrators and friends for kids to have a chance at finding a way to succeed at life … whether that’s at Johns Hopkins or a local community college program. This is a special film with a real-world case study of students looking for a way up, and of those looking to provide the necessary boost.

ABACUS: SMALL ENOUGH TO JAIL (documentary)

We are all sick and tired of the phrase “too big to fail”. The 2008 financial crisis very nearly crippled the United States economy, and regardless of how you feel about the bailout funded by taxpayers, there is no question that some of the participants got off with nary a scratch … and some even received giant bonuses in spite of their fraudulent activities. All of that has been written about and reported on ad nauseam. Highly acclaimed documentarian Steve James (Hoop Dreams, The Interruptors) turns his camera not on “too big to fail”, but rather “small enough to jail”.

The only financial institution to be criminally indicted in the wake of the 2008 crisis was a small community bank in New York’s Chinatown. Thomas Sung founded Abacus Federal Savings Bank and his daughter’s have been running it for years. We learn that Mr. Sung was partly inspired to give up his law profession in order to serve the Chinese community by watching George Bailey (James Stewart) do the same thing in the classic film It’s a Wonderful Life.

Once we see how the 5 year legal process and more than 2 month long trial wrap up, it’s pretty tempting to call this a witch hunt for the purpose of publicity by New York District Attorney Cyrus Vance, Jr. So much of what occurred seems to have been done for the TV cameras and the newspaper headlines … especially the humiliating and public chain gang walk in shackles that, as one journalist pointed out, has never been done before and could not have been done with another minority group. Mr. Vance clearly needed a conviction as a political stepping stone. His biggest mistake was in choosing the wrong target. Of course he couldn’t attack the numerous giant financial institutions based in NYC, but he was unprepared for the fight and backlash that he received due to the Abacus pride and principles, and beliefs in one’s people.

Director James doesn’t focus so much on the incompetence of the DA office as he does the far more interesting bank owners and family members. Their determination and conviction to having run their business in the right way goes beyond inspiration and dips into reverence. It’s not David vs Goliath but it is a clash of contradictory values. It would have been interesting to hear even more from the journalists who covered the process and trial, but we get enough to understand their surprise at how the case was handled by the government.

We depend on our government to do the right thing, and when it doesn’t, we deserve to get angry. This film is one of those that will generate some fiery post-movie discussions … discussions that need to be had.

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Posted by David Ferguson

DIFF 2017: Day Nine

April 10, 2017

The Dallas International Film Festival ran March 31 – April 9

 The penultimate day of the festival has arrived. It’s second Saturday and the end is in sight. Today also means the category winners have been announced and most will receive another screening during one of the TBA slots from the original programming schedule. This gives festival attendees a chance to catch up on any must-see films they might have missed during the week. Below is a recap of the two films I watched on Saturday April 8, 2017:

BEFORE I FALL

A middle-aged man is probably not the best choice to comment on the film version of a popular YA novel. In fact, there may be no more tortuous sound to male ears than the first 10 to 15 minutes of incessant teen girl jabbering served up here during the carpool ride to school. Lauren Oliver’s novel is adapted by Maria Maggenti, and Ry Russo-Young directs this mash-up of Groundhog Day, Mean Girls and Heathers. Even though not much new ground is covered with this one, it’s handled in a way that the message isn’t lost, and even comes across as quite sincere.

Zoey Deutch delivers a strong and forthright lead performance as Samantha, and it’s on her shoulders which the success of most scenes rest. Ms. Deutch is the daughter of actress Lea Thompson (Back to the Future) and director Howard Deutch (Pretty in Pink), and appeared recently in Richard Linklater’s Everybody Wants Some! She is a star in the making and has the ability to come across as likeable, even when playing a character who isn’t.

Samantha is part of a four girl squad perched atop the social pyramid at their “Pacific northwest” high school. Filling out the royal panel are Cynthy Wu as Ally, Medalion Rahimi as Elody, and Halston Sage (Paper Towns) as Lindsay the evil Queen of the full-of-themselves quadrangle. These girls spend most of each day congratulating each other on their perfections and scalding other high schoolers who they view as less-worthy. Elena Kampouris, as Juliet the “psycho”, endures especially harsh comments and treatment … finally peaking at a keg party where she ends up in a scene reminiscent of Carrie, only with Solo cup booze in place of pig blood.

Of course, if this were a full movie about how poorly teenage girls treat each other, there would be no need for cameras to roll. The hook is that after that keg party, Samantha is killed in a car crash. But rather than go sadly and quietly into the grave, she ends up re-living the day over and over until she completes her self-analysis personality adjustment.

Supporting actors include Jennifer Beals as Samantha’s mother, Erica Tremblay (her brother Jacob starred in Room) as Samantha’s little sister, Logan Miller and Kian Lawley as the secret admirer and jerky boyfriend, Liv Hewson with nice boots and a key bathroom scene, and Diego Boneta (Rock of Ages) as the teacher whose Sisyphus lesson provides the obvious literary reference for Samantha’s again and again week.

The film easily slides into the Me and Earl and the Dying Girl sub-genre, and we should all be in complete support of any project that encourages teenagers to re-evaluate their daily choices and make the changes necessary to become a better person. The message to “be nice” is something worth rooting for.

 

I AM NOT MADAME BOVARY (Wo bu shi Pan Jim Liam)

Have you ever watched a movie through a telescope? How about a porthole? Such is the effect of the highly unusual circular aspect utilized by Director Xiaogang Feng and cinematographer Pan Luo. Most of the movie is delivered through a round view using maybe one-third of the screen, and is meant to position us with the same restricted view of the world as the small town villagers. The exceptions are a couple of larger square/rectangle scenes in Beijing and the widescreen wrap-up at the end.

Bingbing Fan stars as Lian, and we follow her quest for what she views as justice in her decade-long battle with Chinese bureaucracy. Here is my attempt at explaining the set-up: She and her husband agreed to get a “fake” divorce so that they could obtain a better apartment through public housing distribution. During this time, her husband met and married another woman, and now she wants the original divorce overturned so that they can get a “real” divorce. It’s a matter of principle and justice. Her 10 year legal positioning leaves a wake of mayors, politicians, judges, and officials.

While Lian’s pursuit of justice may seem a bit confusing and not the least bit humorous, the reactions of the bureaucrats provide many comical exchanges as it becomes quite clear that self-preservation and saving their own jobs and positions are what matters most. Over the years, many take their best shot at reasoning, tricking and even threatening Lian in an effort to get her to give up the cause. She remains resolute. An example of the humor includes the snowball effect where one of the Chinese officials asks if “you have ever wondered how a sesame seed becomes a watermelon”. Whether this is brilliant philosophy or poorly translated subtitles matters little – the meaning is clear and fitting.

Writer Zhenyun Liu makes a risky choice in holding back the true motivation of Lian’s battle until near the end. Knowing this earlier likely would have made us more supportive of Lian, but instead the decision leaves us as confused as the bureaucrats … the likely reason for this decision. The score features terrific use of drums and percussion, and the film provides the best yet description of marriage: tolerate until it hurts. The widescreen epilogue reminds us that even the most painful parts of the past may fade … but not without a good fight!

 

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Posted by David Ferguson

DIFF 2017: Day Eight

April 9, 2017

The Dallas International Film Festival runs March 31 – April 9, 2017

 It’s the second Friday of DIFF which means a high profile new release in the prime time slot. This year it’s The Lost City of Z. The epic and historical tale hit theatres nationally next week, so it’s nice to get an early peek. Below is a recap of the 2-and-a-half films I watched on Friday April 7:

 

THE LOST CITY OF Z

We aren’t likely to watch a more beautiful or expertly photographed film this year. Director James Gray’s project looks and feels like a throwback to days of epic filmmaking, and cinematographer Darius Khandji’s (Se7en, Evita, The Immigrant) fills the screen with green and gold hues that deliver both a sense of realism and a touch of romanticism. The quibble here is with the emphasis on the biographical rather than the more interesting and compelling and adventuresome expeditions to the “new” world.

Our hero (and the film’s portrayal provides no other description) is military man and explorer Percy Fawcett played by Charlie Hunnam. Based on the book by David Grann, the film divides focus into three areas: the stuffy, poorly lit backrooms of London power moguls; the 1916 WWI front line where Fawcett proves his mettle; the jungles of Amazonia wherein lies Fawcett’s hope for glory and redemption. It’s the latter of these that are by far the most engaging, and also the segments that leave us wishing for more detail.

The three Fawcett expeditions form the structure for the quite long run time (2 hours, 21 minutes). In 1906 the Royal Geographic Society enlisted Fawcett for a “mapping” journey to distinguish boundaries around Bolivia in what had become a commercially important area due to the black gold known as rubber. Fawcett was not just a manly-man, he was also obsessed with overcoming his “poor choice in ancestors” and gaining a position of status within society. Using his military training and personal mission, that first expedition (with help from a powerful character played by the great Franco Nero) was enough to light Fawcett’s lifelong fixation on proving the existence of Z (Zed) and the earlier advanced society.

Back home, Fawcett’s wife Nina (Sienna Miller) shows flashes of turn-of-the-century feminism, though lacking in judgment when she suggests a ridealong with her husband on his next expedition. Though the couple spends little time together, given the years-long trips, they do manage to produce a hefty brood of kids, the eldest played by Tom Holland (the new Spider-Man).

1912 brings the second Amazonia expedition, the one in which renowned Antarctic explorer James Murray (a snarly Angus Macfayden) joins Fawcett and his by now loyal and expert travel companion Henry Costin (a terrific Robert Pattison). The trip proceeds as one might expect when an ego-driven, unqualified yet wealthy passenger is along for only the glory. Murray’s history is well documented and here receives the treatment he earned.

It’s the third trip in 1925 that Fawcett makes with his son that will be his last, and the one that dealt the unanswered questions inspiring Mr. Grann to research and write his book. It’s also the segment of the film that leaves us wanting more details … more time in the jungle. With the overabundance of information and data available to us these days, the staggering courage and spirit of those willing to jump in a wooden canoe on unchartered waters and trek through lands with no known back story, offer more than enough foundation for compelling filmmaking. It’s this possibility of historical discovery that is the real story, not one man’s lust for medals and confirmation. More jungle could have elevated this from very good to monumental filmmaking.

 

CHEER UP (documentary)

Well I was due for my first major disappointment, and it came courtesy of a documentary with an interesting synopsis. The leader of Finland’s “worst” cheerleading squad travels to Texas to gain tips and training ideas to improve her squad’s performance. I only lasted 40 minutes of the listed 86 minute run time, and I’m still not sure if this is director Christy Garland’s final version of the film, or if this was simply a rough cut rushed for a festival screening. And that’s where I will leave my comments

 

SKY ON FIRE (Chongtiang Huo)

A late night screening of an action movie from China/Hong Kong has a responsibility to the genre to check certain boxes, none of which included thought-provoking or socially conscious issues. Instead, success depends on a visual onslaught of explosions, car chases, helicopter flights, sleek and modern tall building sets, loud and massive gun battles, and confined area martial arts duels.

Writer/director Ringo Lam and his cast (Daniel Wu, Hsiao-chuan Chang, Amber Kuo) subject themselves to all of the violent perils listed above, and even toss in cancer and the battle for revolutionary healing drugs to ensure there is never a moment of peace and quiet during the film.

The “ex-stem cells” are the McGuffin that creates the good guys vs bad guys scen ario. Will this medical breakthrough be used to cure cancer and other diseases, or will they be weaponized for power? So while that’s the question asked in the film, my movie-buddy JJ asked the real question … has Michael Bay already begun work on an Americanized version? Surely that mammoth skyscraper explosion is already on his Bay-splosion radar.

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Posted by David Ferguson

DIFF 2017: Day Seven

April 9, 2017

The Dallas International Film Festival runs March 31 – April 9, 2017

 It’s Thursday and we are in the home stretch for the festival. Only four days remain, and a second wave of new films and filmmakers has hit the schedule. By the end of today, I will have watched 22 DIFF movies with 3 full and exciting days to go. Below is a recap of the three movies I watched on Thursday April 6, 2017:

 

 

IT’S ONLY THE END OF THE WORLD (Juste la fin du monde)

All it takes is either Vincent Cassel or Marion Cotillard in the cast, and a movie becomes a must-see for me. Combine both of them with some other terrific French actors: Lea Seydoux, Nathalie Baye and rising star Gaspard Ulliel, and then have the project directed by daring young filmmaker Xavier Dolan (Mommy, 2014), and the pieces are in place for an important and stimulating cinematic experience. Then again, sometimes having the pieces just isn’t quite enough.

Based on the play from Jean-Luc Lagarce, the film begins with Louis (Mr. Ulliel) on a flight back home for the first visit with his family in 12 years. Louis is now a successful writer, and the reason for his trip home is to deliver some important news … news that requires a face-to-face gathering. As he enters the home, it’s obvious there are significant underlying issues with these folks. The family dynamics are light-years beyond strained, and what follows is 99 minutes of yelling, bickering and blaming. It’s a miserable experience for Louis, and unfortunately for us viewers as well.

Ms. Cotillard’s Catherine is subservient wife to Mr. Cassel’s Antoine, the bitter brother who doesn’t seem overly joyous that Louis has finally decided to visit. Ms. Seydoux is the little sis who barely has memories of Louis living at home, but desperately wants to form a bond while he’s present. The matriarch is played by Ms. Baye who has the best and most honest line of the film. She tells Louis: “I don’t understand you. But I love you.” That line could have been the title of the film as it seems that none of these people have any understanding or empathy for the other family members, though there is a connection that only relatives can share.

Mr. Dolan films everyone up close creating a sense of claustrophobia and annoyance that takes the dialogue to near breaking point on a few occasions. He also employs some extremely creative camera angles with some of these ultra-tight shots. Lastly, you aren’t likely to see a more fitting or effective use of a cuckoo clock in any movie this year. Its role as a metaphor is clear, and just as clear … these people are themselves cuckoo!

 

ELLA BRENNAN: COMMANDING THE TABLE (documentary)

Actress Patricia Clarkson narrates this profile of restaurateur-extraordinaire and incredibly dedicated, successful and influential businesswoman Ella Brennan. For anyone who has eaten at Commander’s Palace in New Orleans, the flavorful impact of Ms. Brennan is surely known. However, there is so much more to her story and documentarian Leslie Iwerks does a thorough and entertaining job of serving up the details.

Whether or not you consider yourself a “foodie”, you’ve likely heard of Emeril Lagasse and Paul Prudhomme – two of the first celebrity chefs. Both got their start thanks to Ms. Brennan, and both still credit her for much of their success. The story begins in the 1940’s when Ella was just out of high school and her much older brother Owen put her to work in his restaurant. She studied vigorously, both through books and observation.

To fully appreciate this amazing woman, the era must be considered. Women in business were rarely provided opportunities, and from an industry perspective, food was not yet a national obsession. Ms. Brennan bucked both by building a business and generating national interest in various types of food, flavors and meals.

When a family feud caused a split and the loss of Brennan’s restaurant on Royal, Ella opened Commander’s Palace, a now globally famous eatery that is must-dining for locals and tourists alike. Director Iwerks chronicles changes in menus and chefs, and focuses on Ms. Brennan’s commitment to running a business the right way, and being a vital part of the community. Never is this more evident than in the aftermath of Katrina in 2005. Her story is the ultimate success story of a self-made woman who preserved through good times and bad, and her legacy is not likely to be forgotten in the culinary world.

 

SPETTACOLO (documentary)

For those of us a little rusty on our Italian, it’s pronounced spe-TAK-ola and it means “the show” or “the play”. That is the perfect title for a documentary on the Tuscany region farming town of Monticchiello. On April 6, 1944, the townspeople took a stand against the German invasion during WWII, and for more than 50 years the town has staged a live presentation to maintain their bravely-earned voice.

More than an annual tradition, the play is a lifelong commitment that proves how art and participation can connect those within a community. Co-directors Jeff Malmberg (Marwencol) and Chris Shellen take us through the early stages of planning where discussions are held to determine this year’s “hot topic”. This determines the focus of the play and what will be discussed and presented. What follows is script writing from long time director Andrea Cresti, stage building, and hours upon hours of rehearsal. Along the way, we learn how the younger generation is showing little interest in the tradition, casting doubt on not just the future of the play, but also the identity of the town.

In an effort to help us better understand the folks involved and just what it means to the community, the film moves at a very deliberate … ok, pretty darn slow place. Of course, this is Tuscany, so the topography and landscape are breathtaking – including one stunning shot of summer’s sunflowers. The film captures the difficulty in maintaining tradition, and as Mr. Cresti states, it might be better if the play ends before losing all meaning.

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Posted by David Ferguson

DIFF 2017: Day Six

April 8, 2017

The Dallas International Film Festival runs March 31 – April 9, 2017

 It’s hump day Wednesday and I’m feeling a bit refreshed after only two movies yesterday. Flashing the wisdom that should accompany my age, I have followed up two-for-Tuesday with another two movie day today. Both films are narratives, so my documentary addiction is on hold until tomorrow. Below is a recap of the two films I watched on Wednesday April 5, 2017:

 

BUSTER’S MAL HEART

A film festival wouldn’t be complete without at least one mind-blowing avant-garde cinematic experience. I’m not the kind that needs every ending neatly bow-wrapped, and I often enjoy having conventional story structure challenged and even dissolved. Writer/director Sarah Adina Smith seems to thrive in such an environment in this twisty psychological thriller covering three timelines (one of which may be a dream) … or a split personality … or two/three men from one … or some combination … or something else entirely that I might have missed. (I’m not too proud to admit this distinct possibility).

When a filmmaker bravely dives into the bizarre, casting becomes crucial. Ms. Smith nails it with Rami Malek, DJ Qualls and Kate Lyn Sheil. Thanks to the popularity of TV’s “Mr. Robot”, Malek is now a leading man – albeit a tad unconventional. Here he plays Jonah, a struggling family man with a wife (Ms. Sheil) and young child. Working as a night Concierge at a hotel, Jonah tries to make the best of the lack of sleep and minimal contact with his family. In addition to Jonah, Malek plays Buster, a slippery and hirsute mountain man who negotiates his way through the Montana mountains by hanging out in the multi-million dollar vacation homes vacated by their owners for the snowy winter months.

The film bounces between 3 periods for Jonah/Buster: the elusive mountain man running from the law, the bleak nights of the family man, and a dream-like sequence where he is adrift at sea in a row boat. Throughout the film, references to “sphincter” and multiple proclamations that “The Inversion is coming” lead us to believe there could be a sci-fi connection or an apocalyptic ending headed our way. Instead, it’s “the belly of the whale” that might unlock the mystery or mysteries serenaded by the thunderous techno-bass bass. It’s a head-scratcher for sure, but one that manages to keep us engaged despite our whirlwind of theories and uncertainly.

 

KATIE SAYS GOODBYE

The latest exciting new filmmaker to burst on the scene is writer/director Wayne Roberts, whose wonderful indie is my favorite narrative of the festival so far. Of course there will be those who decry yet another film exploitation of women as a victim of society. However, there is definitely another way to view the story of Katie, the good-hearted dreamer played beautifully by Olivia Cooke (“Bates Motel”).

Initially, Katie’s unflappable optimism seems unlikely, if not impossible. She walks miles to work along a dusty highway. She lives in a trailer park with her deadbeat mother (Mireille Enos), whom she supports both financially and emotionally. She works double-shifts as a waitress at a truck stop, where she’s known to toss in a couple extra bucks when a particularly frugal customer stiffs the other waitress. She also works a side job as a prostitute for locals and a regular trucker named Bear (Jim Belushi). Despite a life filled with *stuff*, Katie doggedly pursues her dream of saving enough money to move to San Francisco and become a hair stylist. Of course, she has to save enough money for her trip AND for her mother to live on. Her dream seems lofty, yet almost achievable.

When Katie falls for Bruno (Christopher Abbott), the new guy in town, she tries her best to fall in love and pull him into her dreams for a better life. It doesn’t take long before Bruno is made aware of Katie’s side job, and her fantasy world begins to crumble. On a daily basis, Katie happily (of course) drinks up the truck stop wisdom of diner owner Maybelle (Mary Steenburgen), who spouts such gems as “A man with a smile will hurt you”. Good intentions abound here, but we realize … even if Katie doesn’t … that the reality of people’s self-interest is the immovable object that so often tears down the dreamers of the world.

As with much of life, one’s enjoyment of the film is likely contingent upon the perspective you bring. A caustic, cynical view will have you waving off Katie’s lot in life as exploitive movie-making; while those who can share even a spoonful of Katie’s spirit, will find themselves rooting exuberantly for her dreams to come true … or at least to sustain her refreshing outlook on life and people.

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Posted by David Ferguson

DIFF 2017: Day Five

April 6, 2017

The Dallas International Film Festival runs March 31 – April 9. 2017

 

It’s “Two For Tuesday” and I welcome the first of two straight evenings with only two films on my schedule. Addtionally, neither Tuesday nor Wednesday features a documentary, so my odds of re-gaining faith in humanity are increased a bit. The two movies I watched on Tuesday April 4 are recapped below:

 

A QUIET PASSION

We open with a young woman standing strong during a critical moment at seminary school. It’s kind of a clunky start in an overly-dramatic and stagey sense for the film, but Emma Bell sets the standard for the future behavior of Emily Dickinson. What follows is a period drama with minimal costuming effects, but rather a fitting onslaught of language and words – much of which comes courtesy of Ms. Dickinson’s mighty pen.

I’ve often viewed Emily Dickinson as an early feminist whose beliefs and intentions were stifled by the era in which lived, as well as the depression that seemed to cloak most of her days. She clearly stood for women’s equality at a time when her own poems were published anonymously to avoid scandal and backlash for the paper. Writer/director Terence Davies (The Deep Blue Sea, 2011) has no interest in glamorizing either the times or the writer, and Cynthia Nixon seizes the opportunity to capture the essence of a gifted woman who at best, could be described as a societal misfit.

The terrific cast also includes Keith Carradine as Emily’s proud father, Jennifer Ehle as her sister Vinnie, and Duncan Duff as brother Austin. Emily’s rare forays beyond familial boundaries are mostly via garden strolls with her wise-cracking friend Miss Buffum, played with zeal by Catherine Bailey. There is also a tremendous 3:00am scene between Emily and her sister-in-law Susan (Jodhi May), which provides the best possible self-analysis by Ms. Dickinson (outside of her writings). She confesses to her new family member, “You have a life, I have a routine.” This insightful line seems to carry no sadness for Emily.

The first third of the film features some low-key zingers that rival anything from Whit Stillman’s superb Love & Friendship, though the balance of the film takes a turn towards the serious and focuses more on Faith and Death and Emily’s controversial stances. She embraces the description of “no-hoper” and continues on with her observations of a life she barely leads. While the language and words are the stars here (along with Ms. Nixon), there is a very cool effect as the characters seamlessly age before our eyes in a series of portraits, vaulting the timeline headfirst into Emily’s descent into self-imposed isolation. It’s a very well done biopic that requires your ears be in prime form.

MR. ROOSEVELT

The most pleasant surprise of the festival so far comes courtesy of writer/director/actress Noel Wells (“Master of None”). It’s a wonderful little gem filmed in Austin, Texas and it somehow only gets better after an excellent and very funny opening sequence.

Ms. Wells plays Emily, a Los Angeles-based editor who receives an emergency call from her ex-boyfriend Eric (Nick Thune) requiring her to return to Austin. Her lack of liquidity, and still-simmering flame for Eric, result in her accepting an invitation to stay at the home of Eric and his seemingly perfect and passive-aggressive girlfriend Celeste (Britt Lower). Varying situations and interactions lead to some uncomfortable and awkward moments that deliver a new style of humor.

Support work and additional fun is provided by Andre Hyland and Bina Chauhan as Emily’s new friends and support system. Their hijinx include time at Hippie Hollow, a rowdy house party, and some sexual freelancing jumpstarted by the phrase “You’re funny” … Emily’s ultimate turn-on.

The film is shot on 16mm Kodak film (announced pre-credits) and it clearly establishes Ms. Noel as a filmmaker to watch, reminding a bit of the underrated Miranda July. Not only does she have skills as a director and actress, the line “You’re a good person with bad execution” proves she has a real knack as a comedic writer. Good stuff from an exciting new face.

 

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Posted by David Ferguson

DIFF 2017: Day Four

April 5, 2017

The Dallas International Film Festival runs March 31 – April 9, 2017


The first weekend of DIFF 2017 has come and gone, and though my eyes are a bit bloodshot, it’s been a lot of fun taking in quite a few interesting and thought-provoking documentaries and some independent films from passionate filmmakers. While some festival attendees take a little time off after a busy weekend, my plan is to see multiple movies each day until the festival ends. Below is the recap of the three movies I watched on Monday April 3, 2017:

UNREST (documentary)

With all of the remarkable advancements in the medical field, there are still gaps that can make a bad situation even worse. Jennifer Brea was once a brilliant, lively, active person whose dream as a youngster was to “swallow the world whole”. As a PhD student at Harvard, she seemed well on her way. When she was hit with a 107 degree fever, doctors were unable to properly diagnose, so they informed Jennifer that the resulting fatigue must be psychological in nature (aka ‘It’s all in your head’). Though she survived, her life has never been the same.

With the support of her husband Omar, Jennifer decided to document her journey – both medical and personal. During a doctor’s appointment, Omar coaches Jennifer with something along the lines of, “If you say too little, they can’t help you. If you say too much, they will assume you are a mental case.” The stigma attached to Chronic Fatigue Syndrome persists despite affecting more than one million Americans. Officially chronicled as Myalgic Encephalomyelitis (ME), Chronic Fatigue Syndrome has struck many athletes and other active, vibrant folks. Since 85% of those affected are female, and no clear cause or diagnosis is available, there remain medical professionals who lump this functional disorder into the same classification as “hysteria” from the old days. It can’t be easily identified so they assume it’s psychological. Because of this, many of these people suffer in silence with little treatment.

Despite being bedridden many days, along with a high sensitivity to light and sound, Jennifer has capitalized on technology to connect with other ME sufferers. They share their stories via Skype and YouTube, and a support system slowly forms for these people who feel so isolated and forgotten. Home remedies and theories of causation are shared. Mixed results occur, but these are fighters.

A global #MillionMissing protest is organized to bring attention to those who suffer in greater numbers than Multiple Sclerosis. Research is limited, though there seems to be a clear link between the immune system and the brain. Jennifer’s story and film are a reminder that those things we don’t understand deserve more than a shrug, especially when so many beautiful people are living in misery. She proudly proclaims, “I’m still here”, and we believe she will find a way to persevere.

 

WHAT LIES UPSTREAM (documentary)

“Issues” documentaries walk a dangerous line. If done properly, they can be informative, educational and even act as calls to action. On the other hand, they can be biased, manipulative and even blatant propaganda (Hello there, Michael Moore). Because of this, my defense shields are usually at high alert when I sit down to take in a film such as this latest from Cullen Hoback (Terms and Conditions May Apply, 2013).

Mr. Hoback identifies as an investigate filmmaker, and that’s a pretty accurate description of his process. He spent two years in West Virginia’s “chemical valley” after a 2014 chemical spill by Freedom Industries. It was only because of the smell and color of the drinking water that the public became aware of the spill identified as MCHM. Trucked in bottled water became the only safe source for drinking, cooking and bathing for the more than 300,000 who were impacted. As frightening as this seems, the true horror comes from what Hoback uncovers in his interviews and legwork.

It’s only once this network of government, industry and agencies begins to unravel that our eyes widen and we get an inkling of the real danger. Mr. Hoback never shies away from dramatizing a moment or event, but that doesn’t soften the frustrations we experience while being informed that companies and factories provide their own water testing results to agencies such as EPA, who then provide a review of the data as compared to “acceptable standards”. When the CDC is called in to examine medical records of those impacted by the polluted waters, a quick “no issues here” rubberstamp is provided and no further digging is done.

Two recurring players in this saga are Dr. Gupta and Randy Huffman. Mr. Huffman is a director of West Virginia Department of Environmental Protection, while Dr. Gupta is originally an outspoken caution flag waver who sees the obvious oversights and mistakes occurring in safety tests and communication. It’s interesting to see the transformation of Dr. Gupta from caring medical scientist to self-protective politician during this period; while Mr. Huffman seems to move from clueless government head to concerned leader. Of course, all of the specifics seem to fall into a gray area due to Mr. Hoback presentation style, but clearly something isn’t right.

The biggest takeways here are that it seems the agencies are more protective of their turf than of public safety. Industry and lobbyists are apparently more directly involved with actually writing bills than we previously imagined. Misrepresentations and outright fraudulent data (along with faulty testing processes) can put the public’s safety in peril … at least until the water smells so bad that everyone notices. Given that much of the details and data are sketchy here, it leaves little doubt that we should be vigilant in our questioning of those responsible for our safety.

 

TROPHY (documentary)

Totally unexpected is a documentary on big game hunting that doesn’t come down squarely on one side of this argument. Co-directors Christina Clusiau and Shaul Schwarz do an admirable job of laying out the facts and leaving the viewer to contemplate how these moving pieces create a blurred line between conservation and commerce.

Expect a couple of scenes that might be difficult to watch – after all, it is a documentary on hunting animals. There are plenty of facts and statistics provided, with one of the most staggering being since 1970, the world has lost 60% of its wild animals. Rhinos alone are down from 500,000 to 30,000, and we meet a rhino breeder who seems to have devoted his life and fortune to saving the species. On the surface, his stance seems difficult to debate, but African law prevents the sale of rhino horn, which means this breeder is sitting on millions of dollars of stored horns, while poachers profit by picking off his animals and selling on the black market. Not so clear now, is it?

Other stories involve elephants, alligators, and others. We visit the massive Safari Club hunting convention in Las Vegas, as well as stock auctions where breeders battle over the next generation. The safari clubs argue that much of the money big game hunters pay is distributed back into the conservation efforts of the country, though the corruption of politicians can’t be ignored.

The contrast between shooters and hunters, killers and sportsmen, is noted and legitimate information is provided. Focus goes to the “Big 5”: hunters trying to bag each of water buffalo, leopard, elephant, lion and rhino. The process is slow and expensive, and the industry has evolved to breeding that is designed to facilitate the future of the species and the industry.

Hunter’s remorse is admitted, as is a connection to the animals by the otherwise stoic and businesslike breeders. When one hunter quotes the bible in saying that man shall have dominion over animals, it’s a reminder that no matter one’s stance, there is a defense to be made. The big question is, can the industry be run in a manner that allows the animals to survive, the villagers to benefit, and the vendors to profit? In theory, this seems doable … but reality and self-interest often destroy best intentions.

 

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Posted by David Ferguson

DIFF 2017: Day Three

April 4, 2017

The Dallas International Film Festival runs from March 31 – April 9, 2017

 This was my first 5 movie day since last year’s festival, and it comes on the heels of the four from yesterday. Sometimes a film festival can be an endurance challenge, but the Dallas International Film Festival offers such a diverse selection of films, it feels like a mistake to miss an opportunity to view unique films, some of which might struggle to get distribution. Below is a recap of the five films I watched on Sunday April 2, 2017:

SCORE: A FILM MUSIC DOCUMENTARY (documentary)

Admittedly, this is one of the films that jumped off the schedule when first going through the programming for this year’s DIFF. The magic of music in movies has always fascinated me, and many movies and their scores are so inter-connected that you simply can’t think of one without the other: Jaws; Star Wars; The Magnificent Seven; The Good, The Bad, and The Ugly; Psycho; Gone with the Wind; James Bond; Batman; Titanic; Chariots of Fire; Jurassic Park … chances are, just reading that list caused you to hear the themes!

Director Matt Schrader, in his directorial debut, takes us back to the beginning to explain that silent films weren’t ever really silent. There was invariably live or recorded musical accompaniment to help muffle the sound of the projector. But it was Max Steiner’s score for King Kong in 1933 that really changed the game. His music transformed the film from schlocky special effects B-movie into a tense, thrilling cinematic experience.

This is so much more than a history of important and beautifully written scores. Director Schrader interviews most of the well-known film composers working today. He gains insight into their writing process, commentary on the ground-breakers who came before them, and a look at how technology, new instruments, new styles, and a different approach are always in the works.

Some of those interviewed include Rachel Portman (the only female included here), Randy Newman, Danny Elfman, Atticus Ross and Trent Reznor, and Thomas Newman (son of Alfred). There is also a well-deserved segment reserved entirely for the great John Williams, and we get reminders of the revolutionary composers like Jerry Goldsmith (Planet of the Apes, Chinatown) and Bernard Hermann (Psycho), as well as Henry Mancini (The Pink Panther), Monty Norman (Bond), and Ennio Morricone (westerns). A quick segment that proves quite entertaining is Mark Mothersbaugh (formerly of Devo) telling the story of how he used a toy piano for the score of Rugrats, but somehow no longer has possession of the little piano anymore.

Oscar winning composer Hans Zimmer is a recurring voice throughout and provides some structure to the numerous interviews and segments. It’s pretty funny to see this highly accomplished, world-renowned composer in his early days as a keyboardist for The Buggles’ “Video Killed the Radio Star” (the first video played on MTV). More importantly, Mr. Zimmer discusses the insecurities and pressures that go along with the job, and how change (such as his aggressive sounds) isn’t always welcomed openly.

The technical aspects of creating the score are certainly not ignored. We get a glimpse inside Abbey Road Studios, and how thrilling it is for the composer to hear the live orchestra bring the music to life that first time. It also serves as a reminder that film composing employs a significant number of the live orchestral musicians working today, and that we all hope technology doesn’t replace that imperfect beauty of the real thing.

If there is a disappointment in the film, it’s that the recently deceased James Horner seems woefully short-changed, with only a brief post credits segment featuring director James Cameron who, as usual, spends the time talking more about himself than the impact of Horner. Adding a scientific perspective was a nice touch. Hearing that our brains respond to movie music in a similar manner to chocolate and sex made a great deal of sense; as I’ve often wondered if film scores are more manipulative or complementary in nature. This documentary is a must for movie lovers, and on a personal note, made me miss my friend Adam very much. He would have certainly enjoyed this one and had a great deal to say about it.

 

THE SECRET LIFE OF LANCE LETSCHER (documentary)

Most documentaries with an artist as the subject offer little more than a retrospective of the work. It’s rare that we get to explore the mind and creative process in a way that brings us a little closer to their world, while also magnifying the gap. This is Sandra Adair’s first foray into directing, though she is an Oscar nominated Film Editor (Boyhood), and she works wonders in getting Lance Letscher to open up and share his ideas, insecurities and reactions.

The first question we might ask is, why does he do this? Working in solitude with an Exacto knife and surrounded by piles of books, album covers, board games, signs and magazine pages, Mr. Letscher creates some amazingly detailed collages out of everyday materials – most of which have been discarded by previous owners.

Much of the film revolves around a commissioned project for a large outdoor piece to hang on the building that houses a book store on South Congress Avenue in Austin. Having not typically worked with metal, Letscher lets us in on some of the frustrations he has – which leads to a form of artistic procrastination. When things do finally click, it’s enthralling to see how quickly his vision comes to life.

Also fascinating is seeing how his right brain and left brain work in conjunction to create these diagrams of thought. He claims his subconscious mind is responsible for much of his creations, but we slowly come to realize Letscher is a rare blend of art and engineering. This blend results in such unusual projects as gliders/planes and motorcycles, in addition to his customary collage work.

Director Adair does not limit the framework to art. We get to know part of what makes Letscher the man tick. He jokes about his childhood nickname “Trance”, while later coming clean on his father’s depression and suicide – and how that has impacted him as a father, husband and artist. He acknowledges his tendency to take the “path of greater resistance” even during the process of layout-revision-glue-press. The use of music and intimate camera work create a polished documentary on a man who is doing more than keeping Austin weird – he is keeping it beautiful and interesting.

 

A BAD IDEA GONE WRONG

With all of the documentaries I have scheduled during the festival, it was important to mix in a comedy here and there. This little indie shot in Ft Worth is directed by Jason Headley and stars Matt Jones (“Breaking Bad”), Will Rogers, and Eleanore Pierta. It’s a pretty humorous look at a couple of bumbling house burglars with different objectives, who find themselves in what looks like a no-win situation.

Mr. Jones has a certain stoner quality that makes most everything he says seem like a punchline – even when it’s kind of brilliant. Mr. Rogers captures the essence of guy who is stuck holding on to a past relationship and being unable/unwilling to let go. He finds meaning to seemingly innocuous details that lead him to believe his ex-fiancé still pines for him.

The real fun begins when these two doofuses manage to set the house alarm that effectively locks them in the house they are robbing. Oh, and then they stumble on sleeping Darcy, the housesitter/pet taxi driver who may or may not be as welcome in the home as are the boys themselves.

Niagara Falls and a hide-a-key rock are key players in this comedy that’s good for a few laughs, while also providing a bit of romance-under-stress.

 

BERLIN SYNDROME

A well-made intense, suspense-filled thriller is about as much fun as one can have watching a movie. Director Cate Shortland (Lore, 2012) delivers just that with this hostage-psychopath saga based on the novel from Melanie Joosten. It also features a best-yet performance from Teresa Palmer.

Clare (Ms. Palmer) is touring Berlin alone (with her camera and backpack) as she seeks life experiences away from her Australian homeland. She spends her days enjoying the culture and architecture of the city and one day crosses paths with Andi (Max Riemelt). He charms her through broken English and they end up with a passion-filled evening. Of course, thanks to the film score, we know something is rotten in Berlin – and in particular with Andi. His innocent looks mask a true psychopath, and he ends up imprisoning Clare in the remote apartment while he goes about his daily life as a teacher. In fact, his outside-the-apartment life could have used a bit more definition. How does this guy fit in? We get only glimpses.

If this sounds like Brie Larson’s Room without the kid, you would be on the right path. The difference being, Clare has only herself to think of – along with survival and escape. In Room, the mother had the well-being of her son to consider. This makes for a more mano y mano situation – a true battle of wits. It’s brutal to watch at times, and is one of those films that forces you to ask, what would you do? At what point do you give up hope of escaping and concentrate on making the best of a situation? The frustrations and anger are palpable, and it shows how difficult it is to use rational thought when combating psychotic behavior.

 

MUSTANG ISLAND

This low budget Texas indie from director Craig Elrod is based on his 2014 short film Molly. The unorthodox pacing and deadpan delivery provide some quirky and funny moments, in spite of what seems to be a film full of sad characters.

Bookend close-up shots of the two female characters who are key to the story open and close the film. What happens in between probably seemed kind of lame on the written page, but actually works in the hands of a cast that executes most every scene.

Macon Blair plays Bill, and when we first see him, he’s crying while driving his car right into a parked boat. Bill’s a bit of a sad sack and there isn’t much grace to how he handles Molly (Molly Karrasch) breaking up with him. In fact, he’s a bit irrational when he talks his brother John (John Merriman) and simpleton friend Travis (Jason Newman) into tracking Molly to her family beach house on Mustang Island.

Of course, Molly isn’t there, so the boys break in and make themselves at home. What follows is more wrecks, a stolen truck, and an encounter with a bizarre and hilarious “Dance Party” dude (Byron Brown). More importantly, a connection between Bill and a local waitress named Lee (an excellent Lee Eddy) helps him forget the original reason for the trip … at least until Molly shows up!

The movie is plodding at times, but the good parts make up for it – provided you are a fan of deadpan humor and offbeat pacing. Shot in Galveston rather than Mustang Island, the local feel of the beach community is evident and crucial to the tone of the film – as is the spot on score from composer Benjamin Prosser.

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Posted by David Ferguson

DIFF 2017: Day Two

April 3, 2017

The DALLAS INTERNATIONAL FILM FESTIVAL runs March 31- April 9, 2017

It’s the first weekend of the festival and that means two full days of movie watching, and a breakfast that must hold me all day. It also means very little writing time, so the updates will be slightly delayed. Below is a recap of the four movies I watched on Saturday April 1 (no April Fools jokes here):

 

 

44 PAGES (documentary)

Most of us were first introduced to Goofus and Gallant while trying to mind our parents stern direction to “be still” as we sat in the sterile doctor or dentist waiting room as kids. Highlights Magazine was our only tangible hope for entertainment in a world before smart phones ipads. Filmmaker Tony Shaff captures the vital role played by this publication as he documents the 9 month process of putting together the magazine’s 70th anniversary edition.

The first surprise is that filming doesn’t take place in some Madison Avenue skyscraper, but instead in a turn of the century mansion in tiny Honesdale, Pennsylvania (pop 5000). That’s right, the creative folks work in the same little town where the Myers founded Highlights so many years ago … and some of those in the bloodlines remain involved with the business.

If you are imagining a scene that’s a throwback to a Norman Rockwell painting, you wouldn’t be far off. Their mission is: For the benefit of children, and the motto is “Fun with purpose”. The job of the staff is to think like kids, and I challenge you to avoid even a touch of envy as you feel the spirit of editor Judy Burke and her ever-present smile as she enthusiastically tackles every task of every day.

No Santa Claus and no witches are just some of the parameters that give structure to the general content aimed at ages 6 to 12. You won’t find a single advertisement in an issue, and that brings up the viability of a publication business that is dying on the vine in many market segments. We see how the Highlights group is evolving into apps and the digital world, and even a new Robotics section, while still holding tight to the paper page.

The music was a bit loud and distracting at times, but mostly director Shaff succeeds at providing a blend of nostalgia and contemporary as we get to know the staff and witness their efforts to stay relevant and true to their belief that the magazine does indeed matter.

 

DEALT (documentary)

One of the sub-genres of film documentaries involves profiling those folks who are doing extraordinary things in life. Sometimes these people are changing the world, sometimes they are sharing their talents, and other times they are overcoming challenges that most of us don’t have. Richard Turner of San Antonio, Texas is one of those who checks all three boxes.

Mr. Turner is the world’s best card mechanic … a magician, if you will – although he doesn’t much like that word. Now you might be asking how a card trickster is changing the world, and it’s a fair question. The answer becomes clear when we see him sharing some card secrets with a young visually-impaired girl late in the film. That’s correct, Mr. Turner is himself blind, and if you assume that a blind man cannot possibly execute highly complex and entertaining card tricks, you are encouraged to learn more about this remarkable man.

Director Luke Korem expertly provides the necessary background for us to understand how Turner has become the star he is, and equally fascinating is how he simultaneously delivers a personal profile of the family man – the flawed man – who has slowly, but surely come to accept his weaknesses after a life of denial. “Blind” was another word he spurned for years, as he was driven to let his skills stand on their own against all others. So while we “ooh and ahh” and gape in amazement at his card skills, our hearts are touched by the relationships he has with his wife Kim, his son Asa, and his self-reflective drive that allowed him to reach 5th degree black belt. Mr. Turner likely practiced his card skills for 16 hours today … how was your day?

 

CITY OF JOY (documentary)

Bukuvu in the Democratic Republic of Congo is an area you may or may not be familiar with. Would you be surprised to learn that the area is among the richest in the world for highly sought-after natural resources (conflict metals) for use in many global products such as computers and smart phones? This peaceful and happy community was rocked in 1996 when the war over these resources began.

Filmmaker (and Editor-extraordinaire) Madeleine Gavin takes us inside a brutal and horrifying world that is controlled by militias hired by governments and multi-national governments in an effort to protect territories and resources. These local militias are the local power and care little for the citizens of these areas. Their strategy is too much to watch: they move into a village and rape the women of all ages, thereby breaking down the family structure, causing locals to move out, leaving the village to the militia to patrol.

Rape is the main weapon of this economic war, and these survivors are broken women. Enter a remarkable woman named Christine Schuler-Deschryver and a courageous Dr. Mukinege. In 2007, the City of Joy organization was founded and the compound opened in 2011. Their mission is to turn these rape survivors into community leaders.

Dr. Mukinege runs the Panzi hospital where the women come to get healed physically. Ms. Schuler-Deschryver is the director of the City of Joy where the women stay for 6 months to gain emotional strength by telling their stories and transforming the pain into leadership. We learn of Christine’s ambivalence towards celebrity photo opps, and contrast that with Eve Ensler (The Vagina Monologues) who is actively involved with the center. This is an incredibly important and powerful documentary that educates us on the horrible atrocities, as well as the inspirational side. By the end of 2017, more than 1000 women will have graduated from City of Joy. The real hope is that one day the center is not needed.

 

THE RELATIONTRIP

I just need to simply accept the fact that I’m too old to ever really understand the new world of hipster relationships and dating. Getting to really know someone, and all the nuances and time and effort that go with that, has been replaced by speed-dating events and apps designed for swiping away any connection based on a profile pic. Still, I should be able to find the humor in this bass-ackwards new world of courting.

Co-directors C.A. Smith and his real life partner Renee’ Felice Smith open up the film with a clearly disgruntled and discombobulated couple in a car – and without a word, we flashback to “four days earlier”. Beck (Ms. Smith) and Liam (Matt Bush) are seemingly proud independent loaners who have their meet-cute at a late night concert of Liam’s band named The F*** Dragons. What follows is a hyper-speed relationship development that starts out as a ‘friendship friend trip’ and ends according to the film’s title.

Along the way, the audience shares the discovery of personal baggage with Liam and Beck. Liam is weighed down by past girlfriends, a devotion to video games, and mommy issues taking directly from a Woody Allen movie (kind of funny thanks to massive Sally Struthers ankles). Beck has body-insecurity and lacks personal confidence, personified through a funky, wise-cracking muppet and a swimsuit habit that is a bit extreme.

The film uses some surreal elements and effects to make some interesting points, and a creative peanut butter and jelly metaphor that provides hope that this is the beginning of a filmmaking partnership to keep an eye on. In the meantime, I’ll try to view this new relationship world as evolution and not disappointment.

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Posted by David Ferguson

DIFF 2017: Day One

April 2, 2017

The 2017 Dallas International Film Festival runs March 30-April 9

 The usual excitement of festival Day One was tempered somewhat by this incessant cough that I can’t seem to shake, and the realization that I will be a nuisance to others in the theatre. However, my goal of 30 movies in 10 days will not be stopped so I loaded up on Robitussin, cough drops and a giant bottled water, and headed off to my first scheduled movie. Of course, it was Friday afternoon so Dallas traffic forced me to into a fall-back plan before I had even seen one movie. Pulling off to the Angelika rather than continue creeping on Central expressway towards the Magnolia ended up as a fortuitous turn of events. The three movies I watched are recapped below.

WAKEFIELD

While I wasn’t a big fan of Robin Swicord’s directorial debut (The Jane Austen Book Club, 2007), she bounces back nicely with this Bryan Cranston vehicle with one of the more creative scripts featuring internal dialogue that I’ve ever seen. Cranston is showing a knack for selecting interesting interesting projects, and he excels here as the high-powered attorney who spontaneously decides to drop out of society in a most unusual manner.

There is a ton of social commentary on display here with targets including married life, suburban living, career pressures, and self-doubt … substantially summed up with a line from Cranston’s character, “Most everyone has had the impulse to put their life on hold.” As he proceeds through his new ‘unshackled’ and ‘primal’ lifestyle while observing unnoticed through the stained glass window in his garage attic, much of his focus seems to be on discovering just who he is at his core, and what is the truth behind his relationship with his wife (Jennifer Garner). It’s as if he is asking “What am I?” while staying close to his previous life in a voyeuristic way. The score is in the style of a 1980’s Brian DePalma movie, which just adds to the unique cinematic experience.

 

TOMMY ‘S HONOUR

Jason Connery (Sean’s son) directs this story about old Tom Morris and his son Tommy written by Pamela Martin from the book by Kevin Cook. It’s a bit surprising that the story focuses as much or more on the melodrama and personal story of the younger Tommy than the historical influences, but there is links action to give us a feel for the times.

Jack Lowden and his dimples portray Tommy, while Ophelia Lovibond plays his love interest Meg. Their relationship drives the story, and we are reminded that small-minded people were every bit as prevalent 140 years ago as they are now. Tommy’s mother, their community, and even the minister of the Church pass harsh judgment on Meg and her unfortunate past. Combine that with the element of “Gentlemen”, which are anything but, and we get an understanding of how Tommy’s actions changed not just the game of golf, but also influenced the softening of the class difference. His push to bring respect and fairness to professional golfers erased the similarities with how race horses and golfers were treated the same from a wagering perspective.

This was the time of the original “13 Rules of Golf”, and when rowdy crowd hovered right next to the golfers as they played. Other than the closing credit graphics, Old Tom Morris (Peter Mullan) isn’t really given his due as a course designer, but this is really the story of his son, and though the film is a bit too long, it’s a story that deserves to be told.

 

CITY OF GHOSTS (documentary)

Oscar nominated director Matthew Heineman delivered the stunning documentary Cartel Land in 2015, and here he once again proves his expertise as the messenger of important stories that need to be told.

The film begins in the Syrian city of Ragga in 2012, and we see the beginning of the revolution against the Assad regime. The sayings “Death is Death” and “Danger has a special taste” come into play, and by the end of the film, there is a clarity that is devastating.

The courageous and dedicated Citizen Journalists are divided into two groups: the internal who risk their lives in Ragga uploading news stories and videos of ISIS actions and, the external who are based in Turkey and Germany and post regularly to social media outlets. Their combined efforts and risk taking allow the real story to be told from their home city mostly cut-off from the outside world – as evidenced by the satellite graveyard.

RBSS (Ragga is Being Silently Slaughtered) is the movement spreading the truth about ISIS atrocities – including public beheadings, shootings, and bombings. It’s a terrifying story, never more so than during the professionally produced recruiting ISIS videos featuring young children. These brave folks have had friends, family and neighbors slaughtered which inspires them to continue fighting the guns and bombs with the power of words. It’s breathtaking.

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Posted by David Ferguson

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