Prior to the commencement of Cold Souls a short film was shown - it ws dark, brooding and slow moving (A long short!). It was responsble for lulling me near to sleep.
Cold Souls was a complex and entertaining film with Paul Giamati finding a service that stores your soul (lightens you). This was tied (Somehow) to an underground business in Russia trading in extracted souls. It was darkly funny and intense but slow moving. A friend who had come along and a number of my neighbours fell asleep. About halfway through I felt compelled to leave and take my friend home.
Showing posts with label Film Festival. Show all posts
Showing posts with label Film Festival. Show all posts
Saturday, June 13, 2009
SFF Day 11: Beautiful Kate
Ben Mendelsohn and Brian Brown are brilliant and believable as son and father in this evocative film. Mendelsohn's Ned returns home to the family property to pay his (lack of) respects to his dying father. Rachel Griffith as the younger sister greets his arrival, she stayed at home after all had gone and is quietly steadfast througout.
Ned deals with his errupting memories and emotions as the family tries to come to terms with the loss of Ned's twin sister and his brother many years earlier. This film is utterly engrossing you are carried along on this ride and feel every emotion as the story unfolds. Beautifully shot with magnificent frames. Rachel Ward's direction (and script) is full of life, humanity and pain, she has done a great job of translating the original Idaho set story to the Flinders Ranges.
This is the first film I have seen within the competition stream that seemed to get a genuine warmth in its applause. The cast and crew were greeted warmly and provided an entertaining and insightful Q&A.
My favourite film of the festival so far!
Ned deals with his errupting memories and emotions as the family tries to come to terms with the loss of Ned's twin sister and his brother many years earlier. This film is utterly engrossing you are carried along on this ride and feel every emotion as the story unfolds. Beautifully shot with magnificent frames. Rachel Ward's direction (and script) is full of life, humanity and pain, she has done a great job of translating the original Idaho set story to the Flinders Ranges.
This is the first film I have seen within the competition stream that seemed to get a genuine warmth in its applause. The cast and crew were greeted warmly and provided an entertaining and insightful Q&A.
My favourite film of the festival so far!
Friday, June 12, 2009
SFF Day 10: Cheri
Michelle Pfeiffer is perfectly cast as the aging courteson in 1920's Paris whose relationship with the son of a fellow courtesan increases in complexity as the film progresses.
The film is beautifully shot and has the right mix of support characters who rain reality down of the couple who progress through the film in an almost dreamlike state sustaining their illusions (to each other and themselves) for the duration of the fim until the inevitable but well played out conclusion.
An ambitious film that delivers on much and wove its spell slowly but steadily.
The film is beautifully shot and has the right mix of support characters who rain reality down of the couple who progress through the film in an almost dreamlike state sustaining their illusions (to each other and themselves) for the duration of the fim until the inevitable but well played out conclusion.
An ambitious film that delivers on much and wove its spell slowly but steadily.
Thursday, June 11, 2009
SFF Day 9: The September Issue
After stepping out of the previous film we came back over about 10 to 9 for a 9:15pm film only to find a queue stretching up Market Street and along George Street to the lights opposite the QVB. This should be quick we thought - alas it was not to be so.
The previous film and Q&A ran over...they didn't start the queue moving until around 9:35pm so we stood outside in the cold for around 40 minutes.
When we finally came in the theatre slowly filled. Claire Stewart came out to introduce the film and in true SFF fashion after an unpleasant experience (Queuing for a film) the audience hissed and she responded with a "well I waited at Sundance freezing my arse of in the cold" (before apologising - she did apologise) an interesting response from the director of a festival in trouble! As a long-term subscriber time delays are just part of the festival - this was one of the biggest I have experienced whilst waiting outside however and a lot of the punters for this one were single ticket holders - will they come back next year? If the festival is dependent on the single ticket buyers to ensure it's livelihood - timeliness to schedules, queue and seating management/ticketing are big hot spots.
Anyway the film about the process of putting together the September 2007 issue of Vogue is fascinating watching. The audience were waiting for glimpses of Wintour ala the character based on her in "The Devil Wears Prada", they were disapointed. The film does give insight into the power this woman weilds in the fashion field. Meeting with designers before their shows and saying no or yes (More often no) controlling the input into the next seasons shows almost as much as she controls every detail of the issue itself. Many of the staff are not willing to express a counter opinion (with one refusing to express an opinion at all in case it disagreed with her).
Interstingly the relationship with creative director and former model Grace Coddington (which is passively adversarial) is the true gem of this film. Two women with such different views and wasy of expressing themselves have had a begrudging evolving professional relationship for many years. Interstingly the mutual respect given almost grudgingly is glimpsed at the end of the film. Coddington is willing to openly challenge Wintour (and in her own way) use whatever means necessary to stay true to the artistic vision she presents (including the documentary crew).
The influence she weilds with designers (both established and new) and the insight she has is fascinating. All this is done with a level of detachment at all times - as shown by the amount she gives away (almost nothing) with the film crew and the staff.
Wintour comes across as the strategic visionary one step ahead of fashion or writing it herself (it is hard to tell. Coddington comes across as the artistic visionary with an eye for fascinating stunning shots. An amazing counterpoint.
An amazing film for its insight into a world most of us will never see. The rushing pieces set to music (of outfits and accessories moving around) were probably unnecessary but fun. I enjoyed this film.
I haven't had the chance to mention my own personal ticketing issues I had the pleasure of finding someone in my seat - the festival had sold mine, and my neighbours seats on Tuesday night (Which is interesting as we have subscriptions with the same seat to all the evening sessions!) . Luckily it has only been the once during the festival.
The previous film and Q&A ran over...they didn't start the queue moving until around 9:35pm so we stood outside in the cold for around 40 minutes.
When we finally came in the theatre slowly filled. Claire Stewart came out to introduce the film and in true SFF fashion after an unpleasant experience (Queuing for a film) the audience hissed and she responded with a "well I waited at Sundance freezing my arse of in the cold" (before apologising - she did apologise) an interesting response from the director of a festival in trouble! As a long-term subscriber time delays are just part of the festival - this was one of the biggest I have experienced whilst waiting outside however and a lot of the punters for this one were single ticket holders - will they come back next year? If the festival is dependent on the single ticket buyers to ensure it's livelihood - timeliness to schedules, queue and seating management/ticketing are big hot spots.
Anyway the film about the process of putting together the September 2007 issue of Vogue is fascinating watching. The audience were waiting for glimpses of Wintour ala the character based on her in "The Devil Wears Prada", they were disapointed. The film does give insight into the power this woman weilds in the fashion field. Meeting with designers before their shows and saying no or yes (More often no) controlling the input into the next seasons shows almost as much as she controls every detail of the issue itself. Many of the staff are not willing to express a counter opinion (with one refusing to express an opinion at all in case it disagreed with her).
Interstingly the relationship with creative director and former model Grace Coddington (which is passively adversarial) is the true gem of this film. Two women with such different views and wasy of expressing themselves have had a begrudging evolving professional relationship for many years. Interstingly the mutual respect given almost grudgingly is glimpsed at the end of the film. Coddington is willing to openly challenge Wintour (and in her own way) use whatever means necessary to stay true to the artistic vision she presents (including the documentary crew).
The influence she weilds with designers (both established and new) and the insight she has is fascinating. All this is done with a level of detachment at all times - as shown by the amount she gives away (almost nothing) with the film crew and the staff.
Wintour comes across as the strategic visionary one step ahead of fashion or writing it herself (it is hard to tell. Coddington comes across as the artistic visionary with an eye for fascinating stunning shots. An amazing counterpoint.
An amazing film for its insight into a world most of us will never see. The rushing pieces set to music (of outfits and accessories moving around) were probably unnecessary but fun. I enjoyed this film.
I haven't had the chance to mention my own personal ticketing issues I had the pleasure of finding someone in my seat - the festival had sold mine, and my neighbours seats on Tuesday night (Which is interesting as we have subscriptions with the same seat to all the evening sessions!) . Luckily it has only been the once during the festival.
SFF Day 9: Visage/The Face
(I skipped Day 8 due to the craft show and family events)
Last night I skipped out on M&S's knitting group early to go see The Face. A commissioned film by the Louvre. I have been very lax with the research on the films this year and in all honesty if I had of done my research I would never have bothered to see this film.
The director made a film that stands to this day over 10 years later as one of my worst Film Festival Experience. A Thai film called The River - was met with such disdain that there was booing and (my favourite bit) someone yelled jump at the end of the movie when one of the lead characters was standing on a balcony.
The film read as interesting, fascinating even with great references and potentially beautiful homages. Unfortunately it was a frustrating meandering waffle (Try another w word if you are so inclided many of my subscription colleagues did). My own fault. Filled with unrestrained water flows (again!) , some beautiful inexplicable sequences in the snow, part of a dinner party for 17 (with only 3 guests) and funerals. And of course the girl taping up mirrors and windows.
The film maker introduced it as his dream - I could not take this journey - definitely not my cup of tea. If you enjoyed his earlier films more power to you.
We retired to the Swisotel to fortify ourselves for the doc following with a few beverages (it was a good idea).
Last night I skipped out on M&S's knitting group early to go see The Face. A commissioned film by the Louvre. I have been very lax with the research on the films this year and in all honesty if I had of done my research I would never have bothered to see this film.
The director made a film that stands to this day over 10 years later as one of my worst Film Festival Experience. A Thai film called The River - was met with such disdain that there was booing and (my favourite bit) someone yelled jump at the end of the movie when one of the lead characters was standing on a balcony.
The film read as interesting, fascinating even with great references and potentially beautiful homages. Unfortunately it was a frustrating meandering waffle (Try another w word if you are so inclided many of my subscription colleagues did). My own fault. Filled with unrestrained water flows (again!) , some beautiful inexplicable sequences in the snow, part of a dinner party for 17 (with only 3 guests) and funerals. And of course the girl taping up mirrors and windows.
The film maker introduced it as his dream - I could not take this journey - definitely not my cup of tea. If you enjoyed his earlier films more power to you.
We retired to the Swisotel to fortify ourselves for the doc following with a few beverages (it was a good idea).
Tuesday, June 9, 2009
SFF Day 7: Red Cliff
I lasted about forty minutes into this film.
John Woo introduced it (but wasn't having a Q&A after) very sweetly but essentially this is a film about big (really really big - if you are so inclined insert swear word here) armies fighting bloody but noble war.
Described by another subscriber departing as I did...a Boy's own adventure. It lacked the majesty of Hero.
For those who love the films of John Woo unfortunately I am not one.
John Woo introduced it (but wasn't having a Q&A after) very sweetly but essentially this is a film about big (really really big - if you are so inclined insert swear word here) armies fighting bloody but noble war.
Described by another subscriber departing as I did...a Boy's own adventure. It lacked the majesty of Hero.
For those who love the films of John Woo unfortunately I am not one.
SFF Day 7: Missing Water
Tonights offering was the moving and cleverly presented Missing Water. Having grown up with many whose families fled Vietnam in the late 70's and eighties this film bought back many many memories of the stories I had heard.
The film presents the entire journey of one group of refugees escaping from Vietnam in the 80's. It is intense, emotional and chaotic and intensely drawn out (as the journeys were). The 4 main actors who represent the fleeing sisters, a former university student turned fisherman and "uncle" are note perfect and always believable. the film feels like a shoot of a stage presentation (but that is fine as the emotion is true and sustained). A must see film.
What makes it even more intense is it is all presented within the walls of a sewing factory through the eyes of one who is remembering. The equipment and surrounds deteriorate as the film commences (just like the boats did)
The film presents the entire journey of one group of refugees escaping from Vietnam in the 80's. It is intense, emotional and chaotic and intensely drawn out (as the journeys were). The 4 main actors who represent the fleeing sisters, a former university student turned fisherman and "uncle" are note perfect and always believable. the film feels like a shoot of a stage presentation (but that is fine as the emotion is true and sustained). A must see film.
What makes it even more intense is it is all presented within the walls of a sewing factory through the eyes of one who is remembering. The equipment and surrounds deteriorate as the film commences (just like the boats did)
Monday, June 8, 2009
SFF Day 6: Paper Soldier
This Russion offering set in the 60's jumps around so much that it is almost impossible to engage.
The film feels at times like they have filmed conversations at a party at random and then again in a workplace at random. Lots of elements appear (like the bath tub) that never seem to go anywhere.
A lot of walk outs. Including mine a little over halfway through the film.
I can tell you the lead characters wife wanted a baby, his girlfriend (in Kazaksthan) bought a bath tub (Never used it as far as we are aware). He had a headache and he was working on the Russion space mission.
Erratic Film.
I didn't stay for Liza with a Z as they live via satelite inverview was cancelled.
The film feels at times like they have filmed conversations at a party at random and then again in a workplace at random. Lots of elements appear (like the bath tub) that never seem to go anywhere.
A lot of walk outs. Including mine a little over halfway through the film.
I can tell you the lead characters wife wanted a baby, his girlfriend (in Kazaksthan) bought a bath tub (Never used it as far as we are aware). He had a headache and he was working on the Russion space mission.
Erratic Film.
I didn't stay for Liza with a Z as they live via satelite inverview was cancelled.
SFF Day 6: Prime Mover
David Caesar brings us this truckin' film reuniting Emily Barclay and Michael Dorman.
The first half of the film is well crafted with the right mix of reality and the surreal. Romantic ideals, and the lead characters passion to own his own truck carry you along in a whirlwind. William McInnes is brilliant as the truck-driving depot owner and Mendelshon is fanstastic as a fellow trucky. Barclay is completely convincing as the young girl in love who follows her man to a caravan park beyond the back of Bourke.
The film loses its way a little in the second half with the surreal parts overpowering and derailing the reality. The film careens to its inevitable ending, perhaps not elegantly, but satisfyingly nonetheless.
A film that was good (but perhaps could have been brilliant!)
The first half of the film is well crafted with the right mix of reality and the surreal. Romantic ideals, and the lead characters passion to own his own truck carry you along in a whirlwind. William McInnes is brilliant as the truck-driving depot owner and Mendelshon is fanstastic as a fellow trucky. Barclay is completely convincing as the young girl in love who follows her man to a caravan park beyond the back of Bourke.
The film loses its way a little in the second half with the surreal parts overpowering and derailing the reality. The film careens to its inevitable ending, perhaps not elegantly, but satisfyingly nonetheless.
A film that was good (but perhaps could have been brilliant!)
SFF Day 6: The Missing Person
Michael Shannon is the buring light that drives this film through to it's conclusion. Utterly convincing as a gin-soaked Private Investigator formerly of New York now of Chicago he is unmissible in this film.
The supporting cast are given very little to do, but they do what they can with what they have. No-one is who they seem, nothing is what it seems. Reminiscient of 70's films in colour and movement this film is a Noir for the new era. The film opens with the phone call offering the PI money to do something relatively easy. As the film goes on the money becomes ridiculous and you continue to have confidence in Russow as the PI staying ahead of them (in spite of evidence to the contrary).
I loved this film!
The supporting cast are given very little to do, but they do what they can with what they have. No-one is who they seem, nothing is what it seems. Reminiscient of 70's films in colour and movement this film is a Noir for the new era. The film opens with the phone call offering the PI money to do something relatively easy. As the film goes on the money becomes ridiculous and you continue to have confidence in Russow as the PI staying ahead of them (in spite of evidence to the contrary).
I loved this film!
Day 5 : Louise and Michel
The highlight of this film was the introduction by the film-makers funny, timely and well paced.
A French Comedy that could have been incredibly funny, but wasn't. A group of workers who arrive at their factory one day to find the management have absconded with everything. They vote to pool their union payouts to do something. Louise (an ex-criminal) suggests hiring a hitman to kill the boss and they all agree (inexplicably).
She hires an incompetent Security Guard to carry out the hit. The film then bumbles along with fits of incompetence violence and not much comedy at all.
Alas I left before the end...I think I laughed twice in just over an hour.
A French Comedy that could have been incredibly funny, but wasn't. A group of workers who arrive at their factory one day to find the management have absconded with everything. They vote to pool their union payouts to do something. Louise (an ex-criminal) suggests hiring a hitman to kill the boss and they all agree (inexplicably).
She hires an incompetent Security Guard to carry out the hit. The film then bumbles along with fits of incompetence violence and not much comedy at all.
Alas I left before the end...I think I laughed twice in just over an hour.
SFF Day 5: Last Ride
Filmed entirely in the Flinders Ranges this film covers some of the most breathtaking countryside in Australia. It is beautiful to watch the scenery unfortunately I can't say the same for the movie.
The film has a lot of the right ingredients an evolving story a talented cast and yet it leaves you emotionless. Tom Russell who plays Hugo Weaving's character's son chook evokes Greg Rowe from Storm Boy - often pearing out from below his overlong fringe a child who considers almost all his actions in fear of his fathers reaction.
The film follows a father and son on the run from place to place after a violent crime the father has committed. His explosive temper and moments of violence are episodic and come closer together as the film progresses. The crime and its circumstances are clumsily revealed in flashbacks.
The film didn't engage me (either in fear, foreboding or in the inevitability of the end). It had moments but was exhausting and repetitive. I felt quite detached and unimpressed at the end of the film.
The film has a lot of the right ingredients an evolving story a talented cast and yet it leaves you emotionless. Tom Russell who plays Hugo Weaving's character's son chook evokes Greg Rowe from Storm Boy - often pearing out from below his overlong fringe a child who considers almost all his actions in fear of his fathers reaction.
The film follows a father and son on the run from place to place after a violent crime the father has committed. His explosive temper and moments of violence are episodic and come closer together as the film progresses. The crime and its circumstances are clumsily revealed in flashbacks.
The film didn't engage me (either in fear, foreboding or in the inevitability of the end). It had moments but was exhausting and repetitive. I felt quite detached and unimpressed at the end of the film.
Saturday, June 6, 2009
SFF Day 4: 500 Days of Summer
Joseph Gordon Levitt (of Brick and 3rd Rock from the Sun) stars alongside Zooey Deschanel in this quirky hysterical Romantic- Comedy that manages to be a true Comedy film. Both the leads are dazzling with Gordon-Levitt making you believe every emotion his character experiences.
This film is funny and delightful as it takes a non-linear path through the romance between the two lead characters - Tom (a wanna be architect who is working writing greeting cards) and Summer who turns up as the personal assistant to the boss.
The use of weather, light and fantastic graphical sequences to create moods for each segment and move between time capsules works brilliantly as well as underlining the emotional pitch of the film. The retro-music soundtrack (and even the dance sequence) bring more soft and complementary layers to the film.
This film takes your heart and makes it laugh, cry and ache in pain whilst time-travelling backwards and forwards from the day they meet until the film comes to its incredibly uplifting slightly unpredictable ending.
A true delight. I want to watch this again. Light and fluffy with just the right depth and heart a perfect late Saturday night film.
Marc Webb is the director who comes from the land of Music videos and documentaries - one to watch! The two writers Scott Neustadter and Michael H Weber are relative novices as well.
This film is even more amazing as a result.
This film is funny and delightful as it takes a non-linear path through the romance between the two lead characters - Tom (a wanna be architect who is working writing greeting cards) and Summer who turns up as the personal assistant to the boss.
The use of weather, light and fantastic graphical sequences to create moods for each segment and move between time capsules works brilliantly as well as underlining the emotional pitch of the film. The retro-music soundtrack (and even the dance sequence) bring more soft and complementary layers to the film.
This film takes your heart and makes it laugh, cry and ache in pain whilst time-travelling backwards and forwards from the day they meet until the film comes to its incredibly uplifting slightly unpredictable ending.
A true delight. I want to watch this again. Light and fluffy with just the right depth and heart a perfect late Saturday night film.
Marc Webb is the director who comes from the land of Music videos and documentaries - one to watch! The two writers Scott Neustadter and Michael H Weber are relative novices as well.
This film is even more amazing as a result.
SFF Day 4: Bronsan - My First Walk Out
The third film today was my first walkout. I lasted 40 minutes.
This film was perpetually violent with the majority of time split between prison and a mental institution. Small insights were never built on or followed through.
I realised the lead character (who got a 7 year sentence for robbery) found his alter-ego (Charlie Bronson) and his calling (being the most dangerous inmate in all Britain) early. I just didn't need it reinforced quite so much.
I just couldn't sit through any more. Not my cup of tea.
This film was perpetually violent with the majority of time split between prison and a mental institution. Small insights were never built on or followed through.
I realised the lead character (who got a 7 year sentence for robbery) found his alter-ego (Charlie Bronson) and his calling (being the most dangerous inmate in all Britain) early. I just didn't need it reinforced quite so much.
I just couldn't sit through any more. Not my cup of tea.
SFF Day 4: The Burning Season
A documentary of good quality this film follows an Australian entrepeneur of Chinese Korean descent who is committed to finding a viable economic answer to climate change whilst halting deforestation.
The film is surprising as the contact with Indonesian province Governers is impressive and offers significant insight. The coverage of the machinations behind the scenes at the Bali Climate Change Conference (and obviously only a part of these) is enough to make your head spin. You wonder how close it came to certain things not happening? The audience gets a chance to boo the Black hatted America delegation and then cheer them when they agree they won't challenge the language! The motivation of the young Australian and a number of others is utterly inspiring. You get caught up in whether the scheme is going to come together at all.
At the same time you get an insight into the impact the attempted ban on burning has on the small farmers and the orangutang population. The parts of the film dealing with the orangutangs is tear-jerking and the sheer numbers of the population that have been displaced is staggering.
Special mention must go to the graphic sequences - these are fantastic - both engaging and full of impact.
A good solid film with a great message it did lack the elements that bring an audience to it's feet.
The film is surprising as the contact with Indonesian province Governers is impressive and offers significant insight. The coverage of the machinations behind the scenes at the Bali Climate Change Conference (and obviously only a part of these) is enough to make your head spin. You wonder how close it came to certain things not happening? The audience gets a chance to boo the Black hatted America delegation and then cheer them when they agree they won't challenge the language! The motivation of the young Australian and a number of others is utterly inspiring. You get caught up in whether the scheme is going to come together at all.
At the same time you get an insight into the impact the attempted ban on burning has on the small farmers and the orangutang population. The parts of the film dealing with the orangutangs is tear-jerking and the sheer numbers of the population that have been displaced is staggering.
Special mention must go to the graphic sequences - these are fantastic - both engaging and full of impact.
A good solid film with a great message it did lack the elements that bring an audience to it's feet.
SFF Day 4: Altiplano
First Up if anyone from the festival programming team happens to read this slow movies and 2:30 - 3:30 in the afternoon is nap inducing in a darkened cinema.
My first film today was the Belgium offering that connects a photo-journalist in Belgium (returned after a tragedy in Iraq) and a young bride in the Andes Altiplano region.
The film is part magic realism, part striking reality. Beautifully shot with long slow shots aplenty and a tale of multiple tragedies the film is engulfing (if a little hard to find the microsleeps). This is a film that is unlikely to get a commercial release, the true heart of a film-festival. The rituals and beliefs are played out as the isolated village surrounded by big corporate mines deals with an increasing amount of rapid onset unexplained blindness, illness and death.
The film does not follow a wholly traditional narrative path, but does have strong resolution.
This is a chance to see a culture that is not well known outside the Peruvian Andes...I was priveledged to experience this film.
My first film today was the Belgium offering that connects a photo-journalist in Belgium (returned after a tragedy in Iraq) and a young bride in the Andes Altiplano region.
The film is part magic realism, part striking reality. Beautifully shot with long slow shots aplenty and a tale of multiple tragedies the film is engulfing (if a little hard to find the microsleeps). This is a film that is unlikely to get a commercial release, the true heart of a film-festival. The rituals and beliefs are played out as the isolated village surrounded by big corporate mines deals with an increasing amount of rapid onset unexplained blindness, illness and death.
The film does not follow a wholly traditional narrative path, but does have strong resolution.
This is a chance to see a culture that is not well known outside the Peruvian Andes...I was priveledged to experience this film.
Friday, June 5, 2009
SFF Day 3: In the Loop
Late last night I sat with anticipation, as a huge fan of UK Series The Thick of it, to watch In The Loop. I wated to love this film.
The film is satirical, well executed and truly laugh out loud funny. With ridiculous scenarios and Peter Capaldi sprouting a wave of insults and swearing as chief of spin for the UK Prime Minister. The film follows the lead up to invading Iraq, and it is perhaps this storyline, where the machinations of pro-war and con-war factions have been examined and post-mortemed by the public and the media, that results in this not being as fresh and fun as it could have been.
It does viciously satarise both the UK and the US political machines brilliantly with not a single redeemable character in site. It doesn't maintain it's pace in the last third and the arc finishes exactly like a TV Episode. That said there is much to love from Gandolfini's anti-war general. Tom Hollander channelling Yes Minister and Mimi Kennedy as the power-hungry, alienated Assistant Secretary of State.
If you haven't seen the TV series I suspect you would love this film. I just liked it.
(Find the dvd's!)
The film is satirical, well executed and truly laugh out loud funny. With ridiculous scenarios and Peter Capaldi sprouting a wave of insults and swearing as chief of spin for the UK Prime Minister. The film follows the lead up to invading Iraq, and it is perhaps this storyline, where the machinations of pro-war and con-war factions have been examined and post-mortemed by the public and the media, that results in this not being as fresh and fun as it could have been.
It does viciously satarise both the UK and the US political machines brilliantly with not a single redeemable character in site. It doesn't maintain it's pace in the last third and the arc finishes exactly like a TV Episode. That said there is much to love from Gandolfini's anti-war general. Tom Hollander channelling Yes Minister and Mimi Kennedy as the power-hungry, alienated Assistant Secretary of State.
If you haven't seen the TV series I suspect you would love this film. I just liked it.
(Find the dvd's!)
SFF Day 3: Disgrace
Last night the first offering was Disgrace made by the team that gave us La Spagnola. This is an incredibly faithful rendering of the novel by JM Coetzee. John Malkovich and Jessica Haines are fantastic in the lead roles of father and daughter respectively.
The film follows the life of a White University Professor in post-apartheid South Africa who retreats to the country farm of his daughter after being forced to resign after a scandalous affair with a student. The remainder of the film plays out the complexities of life in South Africa against the relationship with the farm hand (as representative of the shift in power between black and white in South Africa) who is now buying out part of farm. The film is beautifully, even magnificently, shot with every frame lovingly delivered. Malkovich is as always amazing in his portrayal of a flawed, layered human being, who struggles with his daughter's decisions after they are brutally attacked by a trio of black teenagers who rape her while he is powerless to stop them. The father and daughter almost seem to represent the old (now lost) white power in south africa the daughter representing the new, guilty-for-apartheid, struggling with their place white South Africa.
The film had the potential to be fabulous but remained compelling without being enthralling.
It is emotionally and visually stunning and yet some elusive piece is just beyond your reach.
The Q&A after advised that at the completion of script-writing the novelist provided some notes. This alongside an unwillingness (due equally to the powerful love for the book and the novelist sensibilities) to stray from the rendering of the novel may explain some of my percieved limitations.
The film follows the life of a White University Professor in post-apartheid South Africa who retreats to the country farm of his daughter after being forced to resign after a scandalous affair with a student. The remainder of the film plays out the complexities of life in South Africa against the relationship with the farm hand (as representative of the shift in power between black and white in South Africa) who is now buying out part of farm. The film is beautifully, even magnificently, shot with every frame lovingly delivered. Malkovich is as always amazing in his portrayal of a flawed, layered human being, who struggles with his daughter's decisions after they are brutally attacked by a trio of black teenagers who rape her while he is powerless to stop them. The father and daughter almost seem to represent the old (now lost) white power in south africa the daughter representing the new, guilty-for-apartheid, struggling with their place white South Africa.
The film had the potential to be fabulous but remained compelling without being enthralling.
It is emotionally and visually stunning and yet some elusive piece is just beyond your reach.
The Q&A after advised that at the completion of script-writing the novelist provided some notes. This alongside an unwillingness (due equally to the powerful love for the book and the novelist sensibilities) to stray from the rendering of the novel may explain some of my percieved limitations.
Thursday, June 4, 2009
SFF Day 2 (Part 2): The Private Lives of Pippa Lee
The second session last night at the Sydney Film Festival was the quitely moving The Private Lives of Pippa Lee.
The film is filled with famous names (the grandaughter of Elia Kazan among them) and faces but is dominated by the incredibly delicate performance of Robin Wright Penn and the slightly heavier but equally captivating performance of Blake Lively in the title role (Wright Penn as the elder version and Lively as the younger version).
Wright Penn is able to brilliantly play off the self-absorbtion of her much older husband (played to perfection by Alan Arkin), the manic hysteria of Winona Ryders' friend and the stoic desperation of Reeves as the younger recently seperated son of neighbours from the retirement village her husband has moved them into.
During the course of the movie the layers of Pippa Lee are peeled back to unveil a woman who has spent her life being what others want of her and is strugling (Silently and mostly unaware) against her life slipping away. The film is absorbing and unexpected in the most part and whilst some of the moments don't ring completely true, they have enough echoes of truth to sustain you in the story. The ending whilst expected to an extent is satisfying.
This film again has me again questioning why Wright Penn (who became famous for a Soap Opera) is not more sought for her capability?
The film is filled with famous names (the grandaughter of Elia Kazan among them) and faces but is dominated by the incredibly delicate performance of Robin Wright Penn and the slightly heavier but equally captivating performance of Blake Lively in the title role (Wright Penn as the elder version and Lively as the younger version).
Wright Penn is able to brilliantly play off the self-absorbtion of her much older husband (played to perfection by Alan Arkin), the manic hysteria of Winona Ryders' friend and the stoic desperation of Reeves as the younger recently seperated son of neighbours from the retirement village her husband has moved them into.
During the course of the movie the layers of Pippa Lee are peeled back to unveil a woman who has spent her life being what others want of her and is strugling (Silently and mostly unaware) against her life slipping away. The film is absorbing and unexpected in the most part and whilst some of the moments don't ring completely true, they have enough echoes of truth to sustain you in the story. The ending whilst expected to an extent is satisfying.
This film again has me again questioning why Wright Penn (who became famous for a Soap Opera) is not more sought for her capability?
SFF Day 2: The Maid
My second foray into the festival was the Latin American offering The
Maid from Chile.
Maid from Chile.
The lead actress deserves her best actress award from Sundance. She
took the largely unsympathetic part and made her performance
compelling. My ambivalent feelings about the film are probably due to
a deliberate decision by the director/ writer to hide the character of
both the maid and the family, almost showing her to us through the
eyes of the family.
I think that lack of personal insight into any of the characters and
their motivations made me feel a little distant. Watchable yes,
unmissable - no.
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