Showing posts with label MIFF. Show all posts
Showing posts with label MIFF. Show all posts

Thursday, August 14, 2014

Four-Sentence MIFF Reviews #5-8: I Hired a Contract Killer, Clara and the Secret of the Bears, Jack, Patema Inverted

I Hired a Contract Killer (Aki Kaurismaki)

Henri shuffles between his dingy apartment and his equally dingy job pushing paper from one side of a desk to another. When he loses his position at work, he tries to commit suicide, but can't quite get the job done, so he hires a contract killer to take himself out. This is a nicely odd film which manages to make something strangely lovable out of a series of deadpan encounters between unlikely people. It's the film version of a really dry, really crumpled, really black t-shirt that actually looks quite good once you put it on.



Clara and the Secret of the Bears (Tobias Ineichen)

13 year old Clara lives in the Swiss Alps with her mother and step-father, and is delighted one day to encounter a bear cub in the mountains. But as she is drawn into fraught disputes among townsfolk about the bears, Clara discovers her connection to a past wronging of nature, and to a ghost girl with unfinished business. The time-slip elements are perfectly handled, Clara's friendship with a new local boy is pleasingly unromantic, and the father-daughter elements are very touching. Twelve year old me would have killed to see this film, and thirty-three year old me loved it too.



Jack (Edward Berger)

When Jack's mum has him bundled off to a children's home for convenience, and dumps his younger brother with a friend "for the night", we work out that she pretty much sucks. But resourceful Jack believes against all evidence that his mum still wants them, so he takes off to find his younger brother and reunite the family. Wonderfully unsentimental, this is a film that never manipulates the audience or even demonises Jack's mother (though I would really like to punch her in the face). The moment at the end of the film where Jack ages emotionally a few years in a few seconds is a real credit to the film's subtlety.



Patema Inverted (Yasuhiro Yoshiura)

When a scientific experiment went wrong, half the population were suddenly inversely affected by gravity, sending scores of people and buildings 'falling up into the sky'. Those that survived retreated below the surface, walking on the underground ceilings of those left above. As soon as I saw the detailed animation of Patema's grimy, mechanical world, I was sold. Absorbing, beautifully animated, often incredibly tense and demanding full concentration - and featuring a male and female protagonist who were balanced in agency and importance.

Tuesday, August 5, 2014

Four-Sentence MIFF Reviews #3-4: Ping Pong Summer, The Galapagos Affair

Ping Pong Summer (Michael Tully)

Radford is on summer holiday and makes an instant best friend in Teddy (who is honestly what I imagine Luka will be like as 13 year old). There's girls, too much sugar, and naturally a pair of bullies who try to make Radford's life hell. The movie is saturated with 80s nostalgia and overacting in a way that the 80s never was (apart from possibly the overacting), but I happily accepted this movie as a feature-long cross between an episode of Round The Twist and Ship to Shore. Complete with gurning bullies and a freeze frame happy ending.


The Galapagos Affair (Dan Geller)

In 1929, somewhat berko doctor (and Nietzsche obsessive - always a bad sign) Friedrich Ritter and his devotee Dore Strauch embrace their shared misanthropy and move to the uninhabited Galapagos island of Floreana. It's gonna be great - then other people show up and things go bad and holy crap disappearances and possible murders and this shit is crazy. This documentary left me saying "wow, that was real?", and given how many fucked up documentaries I watch, that's saying something. The sheer weight of actual footage, documents from the islanders, and interviews with surviving family members are the only things that make this unbelievable story even faintly believable.

Friday, August 1, 2014

Four-Sentence MIFF Reviews #1-2: Life Itself, Irma Vep

Yes folks, it's that glorious time of year (otherwise known as about the only time I post on this blog any more), where I get to go to 13 films at the Melbourne Film Festival and post a review of each one in four sentences. You know what they say: "slightly longer than a tweet - it's the way of the future."



Life Itself (Steve James)

An intimate documentary following film critic Roger Ebert in his final months of life, stretching back to cover his life, career, family and contemporaries.
The impact of Ebert's film criticism cannot be overestimated, but in this funny and moving documentary I also learned more about the circle his life encompassed: his friends, family, colleagues, and his perfect fit for the time he was born in.
It's a deeply emotional portrait of a man facing death, which left me holding it together (for the most part) but still shaking with emotion.
And the answer to why on earth a man like Ebert decided to write Beyond the Valley of the Dolls and work with Russ Meyer: "Boobs".



Irma Vep (Olivier Assayas)

Maggie Cheung is flown to Paris to work with an unstable avant garde film director; nobody is entirely sure why.
There's interest and amusement in the chaotic scenes of film-making, but I found my attention drifting in and out over the course of the film, and overall it doesn't quite seem to make full use of the story it's trying to tell.
Also: if you're going to cat-burgle someone, a latex catsuit is the noisiest possible outfit you could choose to wear.
On the upside: Maggie Cheung in a latex catsuit.

Monday, August 12, 2013

Four-Sentence MIFF Reviews #12-14: The Final Cut, Capturing Dad, The Selfish Giant

The Final Cut: Ladies and Gentlemen (Gyorgy Palfi)

 Restricted by the financial crisis in the film industry in Hungary, Palfi spend 3 years labouriously cutting together more than 450 films (from Star Wars to Run Lola Run) into a familiar cinematic love story.
Initially jarred (and trying to identify every film), my brain sortof relaxed and followed the narrative.
A funny and clever demonstration of the tropes of film narrative, their familiarity, and the universal pleasure that "classic" stories provide.
But I still haven't forgiven him for Hukkle.


Capturing Dad (Ryoto Nakano)

Sisters Hazuki and Koharu are sent by their bitter mother to visit their dying father and take a photo of his expression so she can "laugh in his face".
But dad dies while the girls are en route, and instead they front up to an awkward funeral and family they never knew.
At times poignant and touching, this film also has a very odd sense of humour that didn't quite fit, turning it into a bit of a farce.
Unless your idea of a good family joke is daughters grabbing at their mother's boobs in order to quell her grief.


The Selfish Giant (Clio Barnard)

Arbor is a Very Bad Influence on his best friend Swifty.
When the two boys are expelled from school, they start scrapping for a metal dealer around their bleak Bradford housing estate, attempting more and more dangerous thefts to make some cash.
Reminds me of a Ken Loach film, starting off with already downtrodden people and then stamping on them further.
A heartbreaking look at two boys with no chance and no place in the world.






Sunday, August 4, 2013

Four-Sentence MIFF Reviews #9-11: Oh Boy, A Werewolf Boy, Bekas

Oh Boy (Jan-Ole Gerster)

Law-school dropout Niko wanders around black-and-white Berlin, having brief encounters with strangers that range from humorous to violent.
Very much smacks of a 90s student film trying to be Woody Allen, with occasional interruptions from Judd Apatow and Kevin Smith.
Not much character development, not much plot, not much of interest.
Presumably named because when it ends you say "Oh boy, I'm glad that's over."




A Werewolf Boy (Jo Sung-Hee)

When teenage Suni and her family move to an isolated country house, they discover an adolescent boy living wild nearby, take him in and care for him.
But when the local sleazeball threatens Suni, the boy's protective instincts towards her manifest as a supernatural transformation.
A South Korean teenage werewolf romance that produced suitably adolescent reactions in me (especially to the bad guy: "Oh I hate him!!")
A bit long, but nicely non-Twilighty.



Bekas (Karzan Kader)

Two Kurdish orphans decide to travel to America and fly back with Superman so they can bring their parents back to life - they have a world map, and decide that America should only be a day or two's walk from Iraq.
A truly delightful and colourful film that highlights the boys' continued resilience and imagination in the face of overwhelming obstacles.
I was so attached to these boys that when the film suddenly descended into an incredibly tense life-or-death situation, I nearly took Tim's arm off (sorry Tim).
Also featured: a donkey named Michael Jackson with a BMW insignia on his bridle.



Friday, August 2, 2013

Four-Sentence MIFF Reviews #7-8: Le Jolie Mai, Mistaken For Strangers

Le Jolie Mai (Chris Marker)

In 1962 Chris Marker interviewed ordinary Parisians on how they felt about their lives, politics, happiness, and the answer to "What are you going to do with that tube?"
A fascinating and often very funny insight into a huge variety of lives (and the wry, pointed attitude of the director himself) that sustains interest for all of its nearly-2.5-hours.
Marred by a curiously jarring, artsy fartsy English voiceover that could well double as pseudo-philosophical satire.
Possibly the best film you will ever see involving a Parisian cat modelling a series of handmade hats.



Mistaken For Strangers (Tom Berninger)

The National go on tour and take frontman Matt's doofus brother Tom along with them to help out as a roadie.
As Tom films his experiences with the band, it becomes obvious that this is really a film about the relationship between the two brothers: their frustrations, competition, and genuinely touching love for each other.
Tom is as close as I've seen to a real life Jack Black, by turns hilariously incompetent, eccentric, and exuberant.
As an interviewer his skills remain suspect: "When you guys go on stage, do you like, take your wallets with you?....That's really weird."

Wednesday, July 31, 2013

Four-Sentence MIFF Reviews #3-4: The East, These Birds Walk

The East (Zal Batmanglij)

A corporate spy for a private company is sent to infiltrate an anarcho-eco-terrorist group (that's a lot of hyphens, and a lot more beards), and finds her professional detachment threatened as she becomes closer to the individual members.
I have to say OH MY GOD this film was relevant to my interests in all the right "anarchist jams with weirdy sexy-cult overtones" ways (a specific interest, it's true).
Gripping, and balanced in its portrayal of the evils of both corporate and terrorist actions.
I still don't like Ellen Page.

These Birds Walk (Bassam Tariq, Omar Mullick)

A documentary tracing the experiences of several runaway children cared for by the Edhi Foundation (Pakistan's largest welfare operation, which seems to be basically run and funded by one old dude).
An Edhi ambulance driver drops the children home to their mostly indifferent families: one boy's uncle laments the return of a live troublesome boy, instead of his corpse.
Amazingly vivid and heartbreaking, an unsentimental view of a complex country.
"It's easier to drop off dead bodies than return these children to their families."

Monday, July 29, 2013

Four-Sentence MIFF Reviews #1-2: A Hijacking, Like Father Like Son

Hey hey, folks, ARPy's four-sentence MIFF reviews are back! (Try to keep the groans under your breath.)

A Hijacking (Tobias Lindholm)

A cargo ship is hijacked by a bunch of hijackers (bet you weren't expecting that one), and bargaining for the crew's lives begins back at the company's headquarters in Denmark.
A tightly wound film that piles on the stress as the crew and staff in Denmark suffer from the increasingly drawn-out negotiations.
My first film at MIFF and I've already eaten all my fingernails.
Distracting factor: the company CEO looked like a cross between Tony Abbott and Paul Lineham.



Like Father, Like Son (Hirokazu Kore-eda)

Officially my current favourite Japanese director, I was looking forward to this very much after last year's wonderful I Wish.
Two couples' lives are turned upside down when they discover that their sons (now six years old) were switched at birth in the hospital.
A story that in Hollywood hands would become the familiar "workaholic absent dad learns to value time with his children" is here given a subtle, human, gently humourous treatment.
Japanese children are also at least 40% cuter than all other children.


Friday, August 31, 2012

Poems in the wild #22

Turns out I totally thought I had posted this poem about a week ago, but no! Being on leave will do that to you.

Poem #22 (8 of spades) was released at the Forum Theatre during the Melbourne International Film Festival. (It was dark, yo.)



Ghosts of university
Slink into the house like a slogan
Expectant and pretentious
Hiss at stink of contradiction
Appreciation and hindsight
Slides degrees under the heads
Of sleeping children
I will remove those splinters
Before they wake to infect
Cleave an expectation.

Monday, August 20, 2012

Four-Sentence MIFF Reviews #13-14: The Pirogue, Something From Nothing: The Art of Rap


The Pirogue (Moussa Toure)

Over 10,000 West Africans have attempted to escape their home countries in pirogues: basically a big canoe. Over 5000 have drowned in the attempt.
The Pirogue follows one such boat-ful of asylum seekers.
Too many characters and not enough back story for any of them meant I was not as involved in their fates as I felt I should have been.
But that storm - truly frightening (and not for the sea-sick of stomach).











Something from Nothing: The Art of Rap (Ice T)

Ice T chats to lots of his rapper mates about the truly awesome thing that is hip hop and lets them spit straight to camera.
Hilarious, intimate, and pleasantly unconcerned with presenting a 'representative' sample of artists.
Snoop Dog on his song-writing process: "First, I gotta smoke a LOT of weed."
Warning: in-seat dancing may occur.

And that's it for my MIFF films this year! Suppose I'd better go back to work. Hmph.

Thursday, August 16, 2012

Four-Sentence MIFF Reviews #10-12: Student, Oslo August 31st, Rampart

Student (Darezhan Omirbayev)

Based on Dostoyevsky's Crime & Punishment.
A philosophy student moves quietly through his days, registering silently the injustices he sees in capitalist modern life.
Then he buys a gun.
A good example of how to 'show' rather than 'explain' a story, though heavy-handed at times in its message.



Oslo, August 31st (Joachim Trier)

Anders is venturing out of drug rehab and attempting to re-establish his life, despite being obviously still depressed and under-supported.
An unsettlingly accurate depiction of directionless intelligence.
The heartbreaking inevitability of Anders' mindset hit way too close to (past) home in a lot of ways.
I found myself trembling uncontrollably as the credits rolled; it took a while to subside.




Rampart (Oren Moverman)

Arrogant LA cop Dave Brown is certain he can get away with anything, from beating up the man who crashed into his car to murdering a man he decided was a serial date-rapist.
But gradually it all begins to spin out of even Dave's idea of control.
I relished the dialogue in this (script co-written by James Ellroy and the director), Dave's cocksure pseudo-intellectual rants are priceless.
A tightly written portrayal of an almost-complete-arsehole who still thinks he's a pretty swell guy.




Tuesday, August 14, 2012

Four-Sentence MIFF Reviews #7-9: Modest Reception, I Wish, Lovers on the Bridge

Modest Reception (Mani Haghighi)

A rich Iranian couple travel over the harsh winter countryside handing out unexplained bags of cash to the needy.
But their motives and the definition of 'needy' morphs their interactions from blackly comedic to seat-squirmingly cruel.
To be honest, I came out having been immersed, but confused; having expected a twist/explanation for the 'charity'.
Too little story laid over the analogy for this bear of very little brain.




I Wish (Kore-eda Hirokazu)

Two young brothers deal with their parents' separation in different but universal ways: with friends, family, and octopus puffs.
A wonderful bunch of kids bring sweetness, comedy, and demonstrate that lovely ability that children have to just deal with all kinds of shit.
Hirokazu's nuanced adult characters are also in abundance.
Absolutely delightful.




Lovers on the Bridge (Leos Carax)

Alex is off his nut again and scraping his head against mid-lane bitumen when Michele enters his life.
Initially a nightmarish portrayal of everyday homelessness in Paris, full of broken mental furious awfulness.
Alex and Michele introduce the film as a gritty love story that then veers periodically into set pieces of violently chaotic whimsy and frowny-faced convenient magic.
Riveting, unsatisfying.

Friday, August 10, 2012

Four-Sentence MIFF Review #6: Patience (After Sebald)

Patience (After Sebald) (Grant Gee)

Hypnotic, monochromatic cine-essay on W.G. Sebald's The Rings of Saturn.
Writers, artists and critics with various connections to the book explore Sebald's walk through Suffolk in terms of human loss, landscape as history, the uncanny, and other such things that make my brain magnetise in a happy way.
"The English and European tradition is of walking as recovery, the American practice is of walking as discovery."
I really, really want to read it now.

Four-Sentence MIFF Reviews #2-5: Le Tableau, 11 Flowers, A Letter to Momo, The Man on the Roof


Le Tableau (Jean-Francois Laguionie)

In the land of The Picture, class war wages among the fully coloured Allduns, the unfinished Halfies and the barely-drawn Sketchies.
But where is The Painter?
Playful animation techniques colour an inventive world.
A man in the audience looked like Stringer Bell.






11 Flowers (Wang Xiaoshuai)

Towards the end of the Cultural Revolution, 11 year old Wang Han's main concern is for his new shirt, but there has been a murder in the village and the politics of the land are changing.
Warm and fascinating in domestic detail, starring a gorgeous bunch of hilarious young friends.
Funny boys are funny boys, the world and time over.
"If they don't arrest the killer, Wang Han, you'll never see your shirt again!"




A Letter to Momo (Hiroyuki Okiura)

After the death of Momo's father, she and her mother move to the slow-moving country town where the latter grew up.
Momo is withdrawn and bored until three bumbling goblins show up to protect her/wreak havoc.
Along with the screwball Japanese weirdyness of the magical creatures is a very human story of grief and growth.
Beautifully paced and gently moving.




The Man on the Roof (Bo Widerberg)

Gritty realist police procedural gritty realist police procedural gritty realist police procedural HELLO shooting from rooftops exploding helicopters lots more guns the end!
Notably crazy array of hats and facial hair.
"I also volunteer!"
"Are you Police?"
"No, I'm a garage mechanic."
"Fine. Get him a gun."





Monday, August 6, 2012

Four-Sentence MIFF Review #1: That Summer

The first in my series of completely flippant and totally unconsidered four-sentence reviews of the films I'm seeing at the Melbourne International Film Festival this year. This is mainly so I can remember vaguely what they were about (and also to keep myself amused).

That Summer (Philippe Garrel)

Banal shaggy-haired French hipsters engage in shallow relationships and cry an awful, awful lot.
I'm pretty sure this wasn't meant to be a parody of a French drama.
High point: where everybody at a house party dances around Monica Bellucci like she's a Maypole.
Which is fair enough, really.