IDA (2014, Poland)

June 29, 2014

Ida Greetings again from the darkness. Writer/director Pawel Pawlikowski (My Summer of Love, 2004) films in his homeland of Poland (set in 1962) and presents a familiar topic from a most unusual perspective. This film has been very well received on the festival circuit and it’s easy to see why: it’s beautifully photographed, very well acted, includes terrific music and presents an emotional story for thoughtful viewers.

We first meet Anna as a novitiate nun on the verge of taking her vows. Her Mother Superior has one requirement: Anna must visit her lone surviving relative. Her Aunt Wanda is everything Anna is not: worldly, cynical, direct. In the first few minutes of their visit, Wanda (Agata Kulesza) informs Anna (Agata Trzebuchowska) that though she is a nun-to-be, she was born Jewish with the name Ida, and she was sent to a Catholic orphanage when her parents were killed.

After this bombshell, the two set out on a journey to discover the truth and trace their family roots. It’s a journey of discovery not just for Ida, but also for Wanda, who carries her own burden. Questioning one’s faith and one’s true identity is nothing new, but this makes for quite an unusual buddy road trip. Wanda is rarely without a drink in hand and Ida has had no previous exposure to the real world outside the convent.

This is the debut of Agata Trzebuchowska and her porcelain look and big eyes convey a quality with which we find ourselves comfortable with, while Ms. Kulesza evokes empathy from the viewer despite her harsh edge and beaten down outlook on life and people. Hers is a standout performance.

Two exceptional pieces of music are used to perfection: Coltraine’s “Naima” and Mozart’s “Jupiter” symphony. The storytelling and look of the film might be austere (stunning black and white photography) but this music hits us hard in two separate scenes. For those who appreciate dramatic art films, this is one to see .

**NOTE: there is an appearance from real life singer Joanna Kulig

watch the trailer:

 

 

 

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Posted by David Ferguson

THE LUNCHBOX (Dabba, India, 2013)

April 26, 2014

lunchbox Greetings again from the darkness. What a terrific first feature film from writer/director Ritesh Batra. Don’t mistake this for the typical Bollywood release in the U.S. There are no song and dance numbers here. Instead it’s a very intimate portrait of how two people awaken to their own situations by connecting with each other through notes in a lunchbox.

“Lunchbox” takes on a life of it’s own when referring to the dabbawallahs – the infamous lunch delivery men in Mumbai. The opening credits provide us a ride-along with the key lunchbox as it takes multiple forms of transportation prior to arriving at its destination. Only this time, a rare mistake occurs. The lunchbox from Ila lands on the busy desk of Saajan, rather than her husband. See, Ila is trying to re-capture the attention of her distracted husband. Instead, she finds a soul mate in Saajan via note exchange and tasty dishes.

While Ila is a desperate and frustrated housewife, Saajan is a melancholy widower who is headed to retirement in hopes that it helps him forget all that he now tries to cover up through his cigarette habit and retreat from society. The real magic here stems from the slow process of self-realization that occurs for the two characters. There is humor and emotion aplenty, yet both performances of Irrfan Khan (Saajan) and Nimrat Kaur (Ila, and her extremely expressive eyes) are remarkably understated and believable and touching. We immediately care for both.

Nawazuddin Siddiqui offers support as the very interesting and entertaining Shaikh … a character that could easily support his own film. We also see Lillete Dubey as Ila’s mother. Ms. Dubey also appeared in the terrific Monsoon Wedding (2001). Equally impressive is the city view of Mumbai. The overcrowded streets, trains and buses leave us understanding how difficult daily life is for these folks.

Not since Lost in Translation has a platonic relationship been so effectively told on screen. This story and these characters remind us just how important human connection is … letting someone share your dreams is a rewarding step.

watch the trailer:

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Posted by David Ferguson

THE CONGRESS (Le Congres, France, 2014)

April 13, 2014

DALLAS INTERNATIONAL FILM FESTIVAL (2014)

congress Greetings again from the darkness. As a fan of director Ari Folman’s Oscar nominated Waiting for Bashir (2008), I was excited to see this one on the line-up at Dallas International Film Festival. While some will find The Congress a bit messy and difficult to follow, it certainly reinforces Folman’s innovative and creative approach to story telling and filmmaking.

The first half of the movie is live action and the second half is animated. The best description I can offer is as a social commentary, not just on Hollywood, but society as a whole. While Her makes the case for virtual relationships, this movie makes the case for virtual everything else! Robin Wright plays Robin Wright, an aging movie star who is offered a chance to stay young and be popular forever. Just sign this contract, and Miramount Studios owns your complete public image. No more acting, just kick back and enjoy your money … and watch what we do with your image and career.

The cast is very strong, but the movie has a feeling of having been rushed through production … at least from the live action side. In addition to Ms. Wright, Danny Huston chews some scenery as a cut throat studio head. His blunt description of Ms. Wright’s “bad choices” since The Princess Bride speak to not only many actors, but for many in the audience as well. Harvey Keitel plays the agent, Jon Hamm appears through voice only in the animated sequence, Kodi Smit-McPhee (Let Me In, The Road) plays Wright’s son and central plot figure, and Sami Gayle plays his sister. Paul Giamatti appears in both live action and animated form as the family doctor.

Some will be reminded of A Scanner Darkly, and others of Cool World. The best this movie has to offer is not in its (creative) presentation, but rather in its ability to provoke thought about the look of future society and the impact of technology … as well as the whole issue of identity and what makes us who we are. It’s a brain-scrambler if you stick with it.

watch the trailer:

 

 

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Posted by David Ferguson

OSCAR NOMINATED SHORTS: Documentary (2013)

February 24, 2014

lady in 6 Thanks to the historic Texas Theatre, what is normally a gap in my annual movie-going experience has been filled.  The documentary shorts category is especially difficult to program for both theatres and cable channels.  Run times are typically around 40 minutes, and the subject matter is not always the most uplifting in nature. The Oscar nominated group this year includes the world’s oldest Holocaust survivor, Yemen’s uprising, a violent hate crime, a terminally ill prisoner, and a cantankerous artist who avoids most interaction with people.  Not exactly a festive day at the theatre!

Despite the subject matter, documentary shorts are an exceptionally interesting genre because they must quickly capture our interest with a person or topic, and then provide enough depth that we feel the need to discuss or think about it long after the short run time has finished.  Oh, and the filmmaker is usually working with a miniscule budget, often handling the camera and editing, and most any other detail with very little help.  It’s truly a genre of passion not profit.

DOCUMENTARY SHORTS

These are not my Oscar predictions (coming in a couple of days), but rather a brief recap of each in the order of my preference – starting with my favorite.

LADY IN NUMBER 6

Filmmaker Malcolm Clarke wonderfully captures the spirit of the oldest Holocaust survivor, Alice Herz-Sommer. She was 109 during filming and she happily passes on the joy she finds in every day life, despite a most cruel and unusual past. Alice’s parents were friends with Franz Kafka in Prague, and as a little girl, she would listen to the stories he told. Her remarkable prowess on the piano led her to a remarkable career as a performer, but more importantly saved her life at Theresienstadt concentration camp. Alice Herz-Sommer passed away the day after her story so inspired me.  She was 110.

KARAMA HAS NO WALLS (Czech)

The 2011 uprising/revolution in Yemen is seen up close through the lens of two cameramen (and director Sara Ishaq) right in the middle of the peaceful demonstration-turned-violent attack. When the soldiers, snipers and thugs begin attacking the civilians, we see people die in the streets. We see their friends carry bodies away. The attack resulted in 53 deaths and numerous injuries. It’s incredibly discomforting to watch, especially on the heels of the Oscar nominated feature documentary The Square, which details the similar uprising in Egypt.  Kamara (Dignity) indeed.

PRISON TERMINAL: THE LAST DAYS OF PRIVATE JACK HALL

This is a very unique story that takes place within the walls of Iowa State Penitentiary, one of the countries maximum security prison. It’s not unusual for “lifers” to die in prison, but what is unusual is a hospice wing funded by private donations and staffed by many volunteer prisoners.  We see this in action by following war hero turned convicted murderer Jack Hall.  The film gives an overview of how prison hospice can provide a dignified death, and we see this through an extremely close and personal  vigil of Mr. Hall through the lens of director Edgar Barens.

FACING FEAR

What may be the most incredible story and coincidence (destiny??) of any of the nominees, this film tells how the lives of Tim Zaal and Matthew Boger collided not once, but twice. A very young Mr. Boger was kicked out of his house by his mother. She refused to have a gay son living under her roof.  A few years later, Mr. Zaal and his band of neo-Nazi skin-heads chased down a random gay man (Mr. Boger) on the streets of L.A. simply to beat him to death.  By pure coincidence (or was it?), the two cross paths again in the museum where Mr. Boger works. As a reformed hate crime zealot, Mr. Zaal is the scheduled speaker of the day.  Director Jason Cohen captures this story of reformation, redemption, forgiveness and too many other emotions to name.

CAVEDIGGER

Ra Paulette is not a particularly likeable guy.  But he cares little what you think. His artistry lies in his unusual ability to dig caves into the hills and mountains, creating spectacular living spaces.  In an all too familiar story line, this artist is one of the worst businessmen you have ever seen. Since he can’t estimate his work or take direction from his clients, his jobs often get cut short and left unfinished. In his constant search for his Magnum Opus, he leaves friends and a wife in the piles of rubble he pulls out of the earth.  Despite his best efforts, director Jeffrey Karoff can’t make us like Mr. Paulette, no matter how much we marvel at his talent.

**NOTE: If you are interested in learning a bit more about the life of Alice Herz-Sommer, then please go to this link and read NPR’s article.  The link also takes you to the trailer for The Lady in Number 6,  http://www.npr.org/blogs/thetwo-way/2014/02/24/281965889/oldest-known-holocaust-survivor-dies-pianist-was-110

 

 

 

 

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Posted by David Ferguson

CUTIE AND THE BOXER (2013, doc, UK)

February 23, 2014

cutie Greetings again from the darkness. This finishes off my viewing of the five Oscar nominated documentary features. Filmmaker Zachary Heinzerling starts us with the 80th birthday of Ushio Shinohara. His wife Noriko has provided individual serving cakes and his has a number 3 candle on it. The candle has no significance other than they “don’t have 80 candles“. The rest of the movie is about what this couple does and does not have.

Ushio has had quite a career as an artist, starting with his Neo-Dadaism movement in Japan and carrying over to his popularity in New York City (he moved there in 1969) with his sculptures made from discarded items and his “boxing” paintings, of which we get to see the in-action video. It’s no secret that Ushio and Noriko are struggling financially … they discuss past due rent and utilities. We then learn that Ushio had once been quite popular and influential in the art world. His work has been displayed at many of the most famous museums and galleries, and Andy Warhol’s pop art was inspired by Ushio’s work.

But this story is about much more than the roller coaster ride of an artist. It’s even more about a 40 year marriage/relationship/partnership and the accompanying frustrations of one artist living in the shadow of another. We often sense the resentment coming from Noriko as she fills us in on her perspective, and we witness firsthand the challenges of living with Ushio. Neither of these people are especially likable, but afterall, they are artists! Home movies take us back to the early years (the 1970’s) and the destructive force of Ushio’s alcoholism and ego. When Noriko offered her assistance to the older (by 22 years) artist and then soon became pregnant, her passion for art was shelved. All these years later, her frustrations come pouring out through a mostly autobiographical story book illustration of Cutie (Noriko) and Bullie (Ushio).

We only get brief glimpses of their son Alex, but enough to see that he is also a struggling artist, and regrettably, also an alcoholic. Maybe the single biggest moment occurs when Ushio utters “the average one should support the genius“. In other words, Noriko is correct when she accuses him of viewing her as a “free assistant” and a “free chef“. So while Ushio says “art is messy“, it’s also obvious that life is every bit as messy, and that art and life offer no separation for this couple.

watch the trailer:

http://www.youtube.com/watch?v=YXS6Aby5AUg

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Posted by David Ferguson

DIRTY WARS (2013, doc, Spain)

February 16, 2014

dirty wars Greetings again from the darkness. This is one of this year’s Oscar nominated documentaries, and it comes from director Rick Rowley and investigative journalist Jeremy Scahill. You might know Scahill as the author of the best selling book, “Blackwater: The Rise of the World’s Most Powerful Mercenary Army”. Here, he is on the front line of looking into the U.S. covert operations in the Middle East.

The film covers 3 years of Scahill’s work at uncovering drone strikes and top secret attacks on suspected terrorists. Suspected being the operative word. Scahill slowly pulls back the curtain to discover the activities of JSOC – the Joint Special Operations Command (formed in 1980). While the Osama bin Laden mission brought some rare media coverage for JSOC, Scahill’s work shows just how deep the secret and often unmonitored missions of this group go.

Scahill’s point is that the U.S. has significant ongoing covert operations in countries and areas of undeclared war, and it sometimes spills over to U.S. citizens. This point is driven home by the story of Anwar al-Awlaki, a U.S. citizen killed for being a suspected terrorist. His 16 year old son was killed by a drone soon afterward. Per Scahill, many innocents have been killed (more than a million) and the U.S. is creating enemies from some allies. He even found that some refer to these soldiers as the “American Taliban”.

The film and Scahill’s commentary certainly raise some compelling points and makes for intriguing conversation. My issue is with the structure of the film and the manner in which the topics are presented. In light of the criticism he has received, Scahill has stated “The truth is just true sometimes. Objectivity doesn’t exist“. Scahill himself spends an inordinate amount of time on screen. This is typically an indication that a documentary is lacking sufficient proof and documentation. Additionally, his Hollywood-type narration is quite distracting and complimented by a mood-influencing musical score from the Kronos Quartet. If the story goes as deep as Scahill would have us believe … that there really is no end in sight … a less gimmicky approach was in order.

watch the trailer:

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Posted by David Ferguson

GLORIA (2013, Chile)

February 9, 2014

gloria Greetings again from the darkness. One of my favorite comparison points with non-U.S. films is to imagine how Hollywood might take the same story and twist it for mass appeal. It’s pretty easy to imagine this one as a flat-out comedy with Diane Keaton or Goldie Hawn in the lead. Chilean writer/director Sebastian Lelio takes a much more interesting approach giving us a real world perspective on a divorced middle-aged woman seeking companionship and emotional fulfillment.  It’s easy to understand why this one has been a film festival favorite.

Paulina Garcia plays Gloria, a professional woman who embraces the free-spirited lifestyle that being long divorced allows. She has two adult children who are doing just fine in life, and a neighbor with noisy habits and a bothersome hairless cat. Gloria enjoys singing outloud to the car radio, and drinking and dancing at a local nightclub while maintaining hope that a worthy life companion is still in the cards. In other words, she is neither superwoman nor emotional train wreck. And thanks to the exceptional talents of Ms. Garcia, we are drawn to Gloria and care what happens.

We witness Gloria’s flirtatious glances across the dance floor to Rodolfo (Sergio Hernandez). We next witness a middle-aged bedroom encounter that doesn’t take advantage of the body-double directory. Once the girdle is removed (his), the two adults enjoy the moment, while vividly reminding us that all actors (and certainly all people) don’t look like Brad Pitt and Angelina Jolie. Companionship has always been based on emotions, not aesthetics … despite Hollywood’s efforts to prove otherwise.

One of the more interesting aspects of following the relationship between Rodolfo and Gloria is that, in life, we all carry baggage. Sometimes our own baggage is easier to deal with than that of others. The birthday party for Gloria’s son and the ongoing crisis with Rodolfo’s ex-wife and daughters convey just how difficult it can be to recognize the effects of such scenarios.

The class of this sub-genre is the 1978 film An Unmarried Woman with Jill Clayburgh. Of course, in that one, Ms. Clayburgh was significantly younger than the Gloria character here. Still, some of the obstacles are similar and both feature terrific lead performances from actresses. The role of music in Gloria’s life is especially poignant. At one party, there is a wonderful duet of “Aquas de Marco” (Waters of March) originally written by Antonio Carlos (Tom) Jobim. The song and the movie are about the daily progressions of life. The ending is especially spot on thanks to Gloria’s response to the original version of “Gloria” by Umberto Tozzi (re-made in the U.S. by Laura Branigan).

It’s quite easy to view this story through Gloria’s eyes and fully understand her “grow some” comment. However, for a different perspective, try looking at things through Rodolfo’s eyes. Maybe Gloria is a bit more self-centered than what she appears at first glance. There are a couple of scenes … the mirror and the peacock … that hint at this same ideal. This appears to be Mr. Lelio’s way of telling us that life is just not that simple and that we all have defense mechanisms that impact how we are perceived by others. It’s just not as clear-cut as the initial reaction.

**NOTE: this was Chile’s submission for Foreign Language Oscar, but it did not make the final cut.

watch the trailer:

 

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Posted by David Ferguson

OSCAR NOMINATED SHORTS: Live Action and Animated (2013)

February 9, 2014

Greetings again from the darkness. Yes, it’s almost Oscar time again! This past weekend, I took my annual trek to the Magnolia Theatre to check out this year’s nominated Short Films – Animated and Live Action.  If you have never taken advantage of this opportunity, I would encourage you to do so. It is always an interesting 3-4 hours that keeps your mind (and eyes) spinning, while reminding us that short films are quite a different skill set than feature films.  Though I didn’t find this year’s films to be exceptionally memorable, it’s still insightful to view the variance in styles and substance from different countries and filmmakers.  I must say the nominations were a bit heavy on drama, with only a couple of exceptions.  Even the animation films were mostly adult in nature, which is unusual.

Below is my quick recap of each, with each category in order of my preference (not my Oscar predictions):

LIVE ACTION

voorman Helium (Denmark) – a young, terminally ill boy is bed-ridden and trying to come to terms with waiting to die. A kindly orderly befriends him and weaves a fantastical ongoing story to ease the boy’s acceptance of the afterlife.  It’s a combination of fine acting and special effects.

That Wasn’t Me (Aquel No Era Yo, Spain) – aid workers are taken hostage in Sierra Leone and we witness the brutal atrocities of war with an emphasis on child soldiers.  It is extremely well made, but torturous to watch.

Do I Have to Take Care of Everything? (Finland) – a light-hearted look at the chaotic morning of a family running late for a wedding, and the added stress brought on by a Supermom. This was a nice dose of levity amongst the darker films.

The Voorman Problem (UK) – Martin Freeman and Tom Hollander (pictured left) star in a an unusual prison-based vignette where, this time, it’s not the doctor who thinks he is God.

Just Before Losing Everything (Avant Que De Tout Perdre, France) – a frustrating situation where a mother tries to extricate herself and her kids from an abusive home place.  I say frustrating because no one will pick up the phone and call the freakin’ cops.  I understand the fear, but this sets a horrible example for those in this situation.

ANIMATED

get a horse lg Room on the Broom (UK) – this is the simplest story of the group, and it’s designed to be a children’s story with a message.  An extremely friendly witch and her constantly annoyed cat team up with a dog, a bird and a frog to defeat a fire-breathing dragon. It’s from the people who brought us The Gruffalo, and has celebrity voice acting from Gillian Anderson, Simon Pegg and Sally Hawkins.

Mr Hublot (France) – the most intricate and stunning animation of the group features an obsessive-compulsive recluse whose life changes dramatically after he adopts a robodog.

Get a Horse! (U.S.) – the Disney entry is undoubtedly the most-seen of the group since it was shown prior to Frozen, one of the year’s biggest box office hits.  It’s a fabulous combination of old and new, as it starts out in classic Black & White and morphs into full color.  Mickey (Walt Disney’s voice) and Minnie Mouse are on a joyride with Horace Horsecollar and Clarabelle Cow until Peg-leg Pete starts causing trouble. The only problem with this one is the frenetic pace that makes it impossible to catch all the sight gags.

Feral (U.S.) – speaking of retro, this is Daniel Sousa’s hand-drawn, slightly dark story of the attempt to civilize a young boy raised in the woods.  While it looks beautiful, the story seems incomplete.

Possessions (Japan) – in the footsteps of Japan’s fantastic history of anime, a traveler takes refuge from a storm in a most unusual temple.  The colors are amazing, but the story lacks a real message … every item has a soul??

**NOTE: since it was presented as “Commended”, I would like to mention Pixar’s The Blue Umbrella, which somehow did not make the final cut.  It was shown prior to Monsters University and is a visual delight, and includes the usual Pixar emotions.

here is the teaser trailer for The Blue Umbrella:

2 Comments | Animation, Comedy, Drama, Fantasy, Sci-Fi, Short film, War, World Cinema/Foreign | Tagged: , , , | Permalink
Posted by David Ferguson

THE SQUARE (2013, doc, UK)

February 1, 2014

square Greetings again from the darkness. This is the third of this year’s five Oscar nominated documentaries I have seen, and thanks to the historic Texas Theatre, I’ll get to see the last two as well. This one is directed by Cairo born and Harvard educated Jehane Noujaim. She sets out to capture the Egyption Revolution, as part of the Arab Spring, and now in it’s third year. This is a look from inside the core of the revolution, not a washed-over network news report.

It should first be noted that this revolution began as more of a protest. Citizens just fed up with the Mubarek regime began congregating in Tahrir Square in hopes of influencing change and a transition to a society of conscience. Ms. Noujaim and her multitude of cameras follows a hand full of these protesters and the changes that occur inside the revolution. These changes occur as Mubarek falls, the military takes over and betrays the movement, and then the Muslim Brotherhood takes control when Mohamed Morsi wins the election. This causes the loss of solidarity in the movement as it becomes clear that the Brotherhood consorted with the military to gain power, proving their mission was quite different.

One of the faces of the revolution is Egyptian actor Khalid Abdalla whom you might recognize from the fine 2007 film The Kite Runner. Abdalla speaks excellent English and is clearly passionate about the vision. His comments also drive home the difference in a protest and the politics of a true revolution. We only get a couple of on camera comments from government and military officials, but the real insight and spirit of the film is captured in the faces, words and actions of those involved in the sit-ins, despite the many violent attempts to shut them down (Ms. Noujaime was also arrested and detained).

One of the more staggering visuals comes from an aerial view of Cairo as the camera captures the masses as they descend on the streets during the third uprising that we see. It’s breathtaking and in stark contrast to the news reports we saw in the U.S. Unfortunately, there is still no resolution in this as Egypt is still in flux and preparing for yet another election. That brings even more power to the “in the moment” point of view that this film delivers.

watch the trailer:

https://www.youtube.com/watch?v=twB2zAOzsKE

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Posted by David Ferguson

WINGS OF DESIRE (1987, Germany, Der Himmel uber Berlin)

January 26, 2014

wings of desire Greetings again from the darkness. Angels have been frequently cast as characters in movies such as Heaven Can Wait, It’s a Wonderful Life, Angels in the Outfield and the American remake of this one … City of Angels with Nic Cage. Director Wim Wenders (Paris, Texas 1984) has always taken a poetic approach with filmmaking, even with his documentaries such as Pina (2011). His slow, thought-provoking style is not to everyone’s liking, but he has real talent for inspiring us to question ourselves, question others, and question life.

Damiel (Bruno Ganz) and Cassiel (Otto Sander) are two long-term angels who drift through the streets and libraries of WWII Berlin observing and listening to the internal thoughts and mental meandering of citizens … the wishes, the hopes, the happiness, the tragic, the loneliness … all emotions experienced in a typical day. The angels try to ease pain by offering a soothing hand on the shoulder, but they can have no direct impact and aren’t always successful. Damiel finds himself drawn to a Marion (Solveig Dommartin), a circus trapeze artist whose line “Most of the time I’m too aware to be sad” could easily have been the words of the angels.

There is an over-lapping subplot with Peter Falk playing himself as an actor in a German film. His character provides an instant infusion of interest and mystique, which the story later resolves. As Damiel gets closer to making the no-going-back decision to become human and bond with Marion, we see more of the fleeting moments that make up our lives. The angels see all, but can do very little. It’s this existence that makes Damiel’s decision understandable.

Famed cinematographer Henri Alekam’s floating camera, mixed lighting and dramatic contrast of black & white (angels view) and color (human view), add to the meditative effects of the film. There is a healthy dose of philosophy, metaphysics and spiritual questioning that goes on, including the three specifics asked by the film: Why am I me and not you? Why and I here and not there? When did time begin and where does space end? If such thoughtfulness is inspiring to you, then this Wim Wenders (Cannes’ Best Director winner) and Peter Handke (German playwright) script should keep you drifting with your thoughts for quite some time.

***NOTE: if you are unfamiliar with Bruno Ganz, not only is this film recommended, but so is his chilling turn as Adolph Hitler in Downfall from 2004.

watch the trailer:

https://www.youtube.com/watch?v=Ic8iGIdv80o

Leave a Comment » | Drama, Fantasy, World Cinema/Foreign | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

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