Among
Sylvain Richard's best ever films = Pan's Labyrinth; The
Wall; Elephant Man; Scarface (with Al Pacino); Passion Of The Christ;
2001 Space Odyssey; 21 Grams; Brokeback Mountain; Aliens;
Metropolis; 5 favourite directors = Alfred Hitchcock, Martin Scorcese, Takashi Miiki, Oliver Stone and Clint Eastwood. .
2.8
-- THE GOOD, THE BAD AND THE WEIRD,
Kim Jee-woon
Set in Manchuria’s exotic and barren landscape, this Oriental
Western comedy is a rollercoaster ride in search of buried
treasure (from the Qing Dynasty). In the midst of robbing
the train, Tae-gu, the thief (The Weird), comes into possession
of a mysterious map. Chang-yi, a cold blooded hit man (The
Bad), is also seeking to possess the map. In the midst of
the ensuing gunfight, a mysterious man jumps into the center
of it and rescues Tae-gu; that man is Do-won, the bounty hunter
(The Good), and so proceeds a race to get to the location
of the buried treasure. The Good, The Bad and The Weird chasing
each other and being chased: Korean Resistance, mountain bandits
and the Japanese army.
3.0 --
RUSH:
BEYOND THE LIGHTED STAGE,
Scot McFayden, Sam Dunn
Fascinating and insightful portrait of Rush, one of the most influential and important Canadian bands. Spanning their 40-year career and featuring archival footage along with interviews with the band members (Geddy Lee, Alex Lifeson and Neil Peart) and many of today’s most respected musicians, the film delves into various aspects of the band: their background, musical development and the phenomenon behind what could be the world’s biggest cult band. Though many of their shows have been sold-out, they have been ignored by critics and overlooked by Rock and Roll Hall of Fame.
2.0 --
MOTHER,
Bong Joon-Ho
Dark and melodramatic, this latest from director Boon Joon-Ho
explores how far a mother would go in order to protect her
son. In a small country village a widow lives with her slow-witted
son, Do-Joon, who goes ballistic when he is called a retard.
She is very devoted to him and wants to protect him from harm.
Since trouble seems to follow Do-Joon everywhere it is no
surprise that when a local high-school girl is found murdered,
he is quickly accused and convicted. Mother, refusing to accept
the guilt of her son, starts her own investigation, going
by her own rules, to prove her son`s innocence; she will go
to any length to do so. Un-engaging and even inducing at certain
moments, this film rates far below Alfred Hitchcock`s brilliant
classic in the 'mother-son' genre ``Psycho.` A shoddy script,
confusing editing and extremely slow pace contribute to this.
2.1 -- MOTHER,
Bong Joon-ho
[reviewed by Nancy Snipper] Being called a retard pushes the buttons on Do-joon, a mentally slow teenager whose great protector is his overly-anxious mother. When a young girl is murdered, Do-joon becomes the town's only scapegoat, until his mother takes the strong arm of the law into her own hands -- a law she has devised to find the real culprit. Intrigue intertwined with characters' unpredictable behaviour makes this melodramatic movie somewhat compelling. Despite the attempts of Korean director Bong Joon-ho to create a film noir feeling, the only thing black about the film was what was in front of my closed eyes when I fell asleep during a rare moment when the mother wasn't ranting. This was her forte as was her subservient smiles. A manipulative mother for sure who got on my nerves as did her son. Still, I thought the ending would have been far more effective had the mother directed her fury at the real culprit whose name I will not reveal. That would have been a great Hitchcockian twist to surpass all the other dark moments in the film.
2.8 --
LEBANON,
Samuel Maoz
An Israeli war film set entirely in a tank. Four Israeli soldiers
are cooped up in the tank, their mission, to clear a Lebanese
area from hostile fighters. The view through the gun sight
(every change is accompanied by the hydraulic whine) effectively
and gruesomely portrays the carnage outside: inside we sense
mounting emotional tension (fear, anxiety and anger) as conditions
worsen. Heat, bad atmosphere, equipment failure and quarrelling
all contribute. An anti-war film that is loosely based on
the director’s personal experiences as a conscript during
Israel’s war with Lebanon in 1982.
LATIN-AMERICAN FILM FESTIVAL (FCLM)
2.0
-- LIVERPOOL,
Lisandro Alonso
Seaman Farrel receives permission to go ashore when the freighter
he works on arrives at the port of Ushuaia -- southernmost
tip of Argentina. After a 23-year absence, he wants to return
to his birthplace to see if his mother is still alive. We
learn that Farrel drinks profusely, frequents prostitutes
and has no friends but the film is devoid of meaningful action
and purpose.
2.7
-- UNDERTOW,
Javier Fuentes-Leon
Miguel is a respected fisherman in a small seaside village
in Peru who also performs the traditional burial ceremony
that allows the deceased to 'rest in peace.' He has a beautiful
wife, Mariela, and they are expecting their first child but
he harbours a scandalous secret -- he is in love with Santiago
who is a gay painter. Santiago suddenly dies (drowns) but
Miguel can still here and see him. Miguel has to decide on
whether to hold on to Santiago by not giving him the proper
ceremony, thereby condemning him to eternal torment, or reveal
his same-sex love to his wife and the village. "Undertow"
is an original ghost story that addresses the issue of conscience.
3.1
-- CINCO DIAS SIN NORA (FIVE DAYS WITHOUT NORA),
Marianna Chenillo
During the past 30 years, Nora has on many occasions attempted
suicide After preparing an elaborate Passover meal, she finally
succeeds. José, her ex-husband who lives next door, is charged
with the funeral preparations. Reuben, his son, is a practicing,
devout Jew while José is an atheist. Rueben wants to
bury his mother according to Jewish tradition, but José couldn’t
care less. Since Nora died from suicide there are complications.
What results is a deliciously hilarious black comedy that
addresses religion’s approach to suicide and the viability
of tradition in daily life. Though the film tackles these
issues from a Jewish perspective, the dilemma is universal:
does a victim of suicide have a right to a proper burial?
This is a heart warming and delightful film that touches faith
and family.
3.0 -- CINCO DIAS SIN NORA (FIVE DAYS WITHOUT NORA), Marianna Chenillo
[reviewed by Nancy Snipper] The table is set for Passover, and guess who's coming for dinner? No one -- not even Nora, the hostess who set the table in elegant fashion, because she's lying dead in her bedroom. She's taken an overdose, but she's left meticulous instructions to her maid, sister, her ex-husband José and her son, Reuben with his family that the show must go on. And what a show it is! All the fabulous food is sitting in the fridge waiting to be prepared, and the wine is ready to be poured. But José is a non-believer, and the clash that ensues with the rabbi and José, a stubborn atheist is enough to send us all to the grave -- laughing. Things really get complicated and more hilarious when the Catholic wreath and coffin shaped in a cross, ordered by José arrive at the apartment while the young Jewish convert sent by the rabbi can't believe his eyes. He's in charge of watching over Nora`s body and delivering non-stop prayers over a four-day period. It seems Nora will never leave this world with a proper Jewish burial in a proper Jewish coffin. The rabbi has seen to that. According to the Jewish religion, no Jew is permitted to be buried during the Passover holiday, and when it finally ends, Nora is denied a proper Jewish funeral in a proper Jewish coffin; suicide is a grave sin that cannot be dismissed, especially by Nora's rabbi who has influence in the community. But all`s well that ends well, and this film ends particularly well for everyone. Even in death, Nora has brought everyone she has loved together over a delicious meal. Superb acting and the funniest take on death caught in between two religions.
3.0 -- THE MAID,
Sebastian Silva,
[reviewed by Nancy Snipper] Never was there a meaner maid than Raquel. She mistreats the children of the Chilean family she lives with, and is jealous of the three other maids who enter the house at various times to assist her. She never smiles, but this is not a gloomy dark film, for the funniest scenes arise when Raquel masterminds amusing scenarios in order to banish the unlucky maids. She locks them out of the house, disinfects the bathroom with a pungent chlorine detergent, so they can't bathe, even goes so far as to get rid of the family cat, hoping the younger Peruvian maid helping her will be blamed for its disappearance. However, when Raquel's health takes a turn for the worse -- she temporarily loses feeling in her legs -- Lucy, another maid of a different ilk enters the house and almost immediately finds a way to soften Raquel's hardened heart. Twenty years of taking care of the family finally pays off for Raquel who has always remained overly possessive of her position as maid to the appreciative family. Lucy jogs at night, and when she returns to her own family far away in Chile, Raquel discovers she is a maid with a new outlook. She takes her first independent step outside the house; she goes jogging. She is, in fact, moving forward into personal freedom. In the role of the maid, Catalina Saavedra was moving, amusing, riveting -- in short -- exceptional. Raquel captured our hearts despite her gritty personality. Her dull uniform, grim face and sad eyes masked the deep soul of a 41-year-old -- an 'old maid' yearning to find a way to unlock her loneliness.
3.0
-- THE MAID,
Sebastian Silva
A comedy drama, character study of a housemaid. Racquel has
worked for the Valdez family for 23 years. More than just
a maid but not quite family, Racquel has become the de facto
head and takes her duties seriously. Film opens as the family
celebrates her 41st birthday. From excessive use of chlorine,
Racquel suffers migraines and dizzy spells. The family decide
to hire a second maid to assist. Feeling threatened, Racquel
torments the new maid until she leaves in tears. Another,
more experienced, is hired. A fight ensues and the patriarch’s
model ship is destroyed. The second maid is dismissed. A third
is hired and a bond of friendship develops and Racquel begins
to transform. A well scripted, insightful and engaging film
about family, class and self-discovery. The performances (in
particular Catalina Saavedra as Racquel), were all very credible.
2.8
-- GIGANTE,
Adrián
Biniez
Jared is a 35-year-old security guard working the night shift
in a supermarket on the outskirts of Montevideo, along with
Julia, a 25-year-old cleaning lady. Jared, who is shy and
lonely, is infatuated with her and monitors her throughout
his whole shift. When off work he secretly follows her. Minimalist
dry humour gives the characters an engaging charm.
3.0 -- GIGANTE,
Adrian Biniez,
[reviewed by Nancy Snipper] Jara's job is a security guard; he remains glued to the multiple spy screens that film the supermarket night workers below. Little do they know, their antics fall under his eagle-eye. Sometimes, their actions prove entertaining: a ton of toilet paper piled up to the ceiling gets knocked over, and all kinds of liquid products fall on the floor -- to name a few of the mishaps that happen. But on the odd occasion, misunderstandings and unresolved issues cause Jara distress, particularly when it concerns one girl whom he begins to 'stalk' using his trusty screens. Becoming bolder by the week, Jara begins to follow her. Wondering what her days consist of, he finds out they are as lonely as his nights are. Both of these quiet people have that in common; surely this is a match waiting to happen. But it doesn't. There's one big problem. Jara, a hefty, burly fellow with limited people skills is painfully shy. Yet his introverted personality belies both his inner and physical strength. He is a patient, kind soul and a brave man ready to take on the big cheese at the company for blatant abuse. Still, this hero can't muster his strength to face the mysterious yet simple maiden whom he is aching to meet. Eventually though, he finds a way to approach her while she sits like a lonely waif on Montevideo's long stretch of urban beach. The film ends when this meeting finally takes place, and even then their backs are to the camera, but distant gestures and profiles of laughter let the viewer know, their fate is happily sealed. ‘Gigante’ is a masterpiece in character study and one that any shy man can relate too.
1.5
-- THE HEADLESS
WOMAN,
Lucretia
Martel
An upper middle class woman has an accident on her way home.
She hits something -- animal or child? The intent of director
of the highly acclaimed "Holy Girl" is to explore the
intricacies of class in a male dominated society. The result
disappoints due to: to poor lighting, too many close-ups,
choppy editing and poor character development.
2.7
-- ILLUSIONES
ÓPTICAS,
Cristián
Jiménez
A dry, absurdist, dark comedy that explores the very real
confusing of reality and illusion. Set in the winter in Valdivia
(Southern Chile), we follow the connecting stories of individuals
as they cope with their perception of reality. This is the
director's first feature. The appeal and development of the
characters was uneven: those least engaging -- and some of
the subplots -- could have removed from the final edit.
2.6 -- ERA UMA VEZ (ONCE UPON A TIME IN
RIO),
Breno Silveira
Dé, a young man, lives in the favela
(Brazilian slum) of Cantagalo in Ipanema. Surrounded by poverty
and violent crime, he is trying to make an honest living by
selling hot dogs on the beach. One day he meets Nina, the
only daughter of a wealthy lawyer. They fall in love. What
results is an inferior "Romeo and Juliette" tale mixed with
"City of Men."
2.9
-- BLOOD
APPEARS,
Pablo
Fendrik
A slow-paced, multi-layered, tragedy about an Argentinean
cab driver, whose eldest son -- now living in Houston -- calls,
in desperate need of $1,000 to return home. Meanwhile, the
cabbie's younger son is planning to steal the family’s life
savings, which the wife keeps hidden away, in order to buy
drugs and run away. Film features violent imagery, over-the-top
characters and an explosive conclusion.
2.7
-- PARQUE
VIA,
Enrique
Rivero
Beto is a widower who takes cares of an empty mansion owned
by a wealthy elderly woman who wants to sell the place. Grown
accustomed to his daily routine, Beto lets very little of
the outside world into his own: the daily news -- comprised
of violent headlines; the owner; and a prostitute that visits
once a week. With the thought of losing his job and having
to deal with the real world, Beto's response will translate
into a slow-cooking, black comedy.
3.2 -- THE WIND JOURNEYS,
Ciro Guerra
The final journey of Ignacio Carrillo, a master accordionist
whose legendary instrument is said to have been cursed by
the devil. Accompanied by Fermin, a teenage boy who wants
to learn how to play, Ignacio sets off to return the accordion
to its previous owner in order to remove the curse. Beautiful
shots of Colombian mountains and coast. The traditional Latin
American music played on the accordion and percussion is worth
the price of admission.
************ End of FCLM******************.
2.7
--
FISH TANK,
Andrea Arnold
Director`s second feature film (Red Road) centers on Mia (Convincing
performance from first timer Katie Jarvis) -- a rebellious
free-spirited teen who lives in a working class neighbourhood
in Essex, England with her single mom and younger sister.
She is excluded by her mates and doing poorly with her grades.
One day Connor (Michael Fassbinder), her mother`s new boyfriend,
bumps into her in the kitchen. The promise of love(?) -- will
it change Mia forever. A powerful and convincing look at British
working class mentality and the search for love in the faces
that surround us. Lighting was a bit dark. Heavy working class
accent difficult to comprehend especially when dialogue was
fast and furious.
2.4
--
REVANCHE,
Götz
Spielmann
Hardened ex-con Alex works in a brothel in Vienna as an assistant.
He and Tamara -- a Ukrainian prostitute who also works at
the brothel -- become involved. The pimp approaches her to
work in a more private setting. She refuses. Alex robs a local
bank. Tamara is killed during their attempted escape. Alex
hides out at his father's farm which just happens to be located
next to the home of the cop and his seemingly contented wife.
A slow paced and brooding film that lacks emotional content;
unconvincing, unexpected conclusion.
2009
FILM REVIEWS
2.3
-- IN THE ATTIC: WHO HAS A
BIRTHDAY TODAY?,
Jeri Barta
A delightful yet typically Czech full length
animation about a group of toys residing in an attic, going about
their day to day routine unaware that an evil tyrant desires to kidnap
the beautiful Buttercup -- a doll who takes care of all the household
chores -- to be his wife. After it happens all of her friends get up
and set off on a treacherous mission to rescue her from the tyrant --
a huge ceramic head surrounded by bugs with human heads. Ingenious
animation of real life objects yet story line was all too common and
formulaic (i.e. many such films abound).
3.4 -- GENIUS WITHIN: THE INNER LIFE OF
GLENN GOULD,
Michel Hozer, Peter Raymont
[reviewed by Nancy Snipper] Who was the real Glenn Gould?
This black and white documentary attempts to show his hidden
side through testimony given by his two best friends, colleagues,
lovers and letters which blatantly lacked compassion. A complicated
curmudgeon, he possessed off-the-wall humour, oodles of silent
moments, and a fascination for studio engineering. His need
for solitude and nature defined him as an artist beyond his
musicianship. A wife stealer and a louse of a son, Gould however
did have long lasting loves: his true companions were the
gloves and coat he never stopped wearing and the dilapidated
chair he toted around for his performances. He was one hell
of a pianist, best remembered for his "Goldberg Variations"
and his staccato-like hammering of the piano keys. Locked
in his own loneliness, no one was able to reach him in a meaningful
way when his paranoia and obsessive compulsive behavior kicked
in, along with his hypochondria and pill-popping. Clearly,
Gould was able to emote much easier with a piano than people.
(Asperger
syndrome, though not mentioned in the movie, may have
been partly to blame). The most touching scene in the film
is when he asked his sound engineer to become his brother
through legal adoption. A tragic genius for sure whose legacy
-- one imagines -- will live on as long as Bach’s has.
3.0 -- GENIUS WITHIN: THE INNER LIFE OF
GLENN GOULD,
Michel Hozer, Peter Raymont
A must see, intimate portrait that documents the inner man
we know as Glenn
Gould, who took the classical world by storm at the
age of 22 with his electrifying 1955 recording of Bach`s "Goldberg Variations."
Excellent montage, blending archival footage with his own
words and those of entourage.
2.8
-- A TOWN CALLED PANIC
(PANIQUE AU VILLAGE),
Stephane
Auber, Vincent Patar
First feature length stop-action animation based on cult
TV series that aired in 2003 prior to receiving critical acclaim
in the festival circuit. About a cowboy and Indian who reside
with a horse. Everything they do results in catastrophe and
this holds true for this feature. It is Horse's anniversary
and they order bricks to build a BBQ. What transpires is a
hilarious, hyper-active romp as one disaster leads to another.
Family fare at its best featuring plastic toy figurines set
in a countryside made out of paper mache.
2.7
-- HERB AND
DOROTHY,
Megumi
Sasaki
A film that clearly shows that great collectors only need
to have a love and passion for their collection, that the
true collector is guided by aesthetic and not monetary considerations.
Manhattan couple Herbert and Dorothy Vogel live in a one-bedroom
appartment. He is a postal worker, she a librarian. Together,
they have built up one of the most important collections of
minimalist and contemporary art: a who's who of post-modern.
Comments and observations on collecting ring true no matter
what you collect -- and to which I can personally attest.
2.5
-- A WINK AND A
SMILE,
Dierde
Allan Timmons
Fascinating documentary that profiles the burlesque scene
in Seattle, Washington. Incudes a look at Miss Indigo Blue's
"Academy of Burlesque" whereby ten students of various ages,
body shape and background learn the art. Clips of performances
a little short.
3.8
-- DAY AFTER
PEACE,
Jeremy
Gilley
An extremely important film documenting one man`s quest
to establish a day of non-violence and ceasefire as a stepping
stone for peace (Sept. 21st was voted by UN to be that day).
Deeply emotional and moving. A powerful testament to the power
of individual determination. http://www.peaceoneday.org/en/welcome
2.4 -- LITTLE ASHES,
Paul Morrison
An account of the stormy friendship between artist Salvador
Dali, poet/ playwright Federico Garcia Lorca and film maker
Luis Buñuel. Begins in 1992 at a Madrid university
and ends in 1936 when Lorca was executed. A potentially powerful
filmed marred by unacceptable linguistic oversights: strong
Spanish accents speaking in English; recital of poetry in
Spanish with voice over in English. Strong performances by
entire cast and a well written script.
