Bruce's First Report from Toronto!

Just spent my first full day in Toronto after arriving in time to see only one film last night. Tickets seem harder to get this year and we REALLY miss Michael and Scot's morning trek to the box office which made things ever so easy for the rest of us. A computer glitch caused many people to get tickets for overlapping times and I talked to many who were frantically trying to reschedule their films in wholesale fashion. Sadly the Cumberland is gone. Work was supposed to have begun turning the wonderful art house into luxury condos but I hear some glitch has stopped all that, alas too late to save the cinema. The Varsity is almost exclusively used now for press/industry screenings. This year there is a new venue - AMC - at Dundas and Yonge, diagonally across from the northern most part of the Eaton Centre. The College Park Box Office has been moved there. All lines for the Festival Box Office and films are formed outside which is messy and uncomfortable considering AMC is on the third floor and the Box Office is on the second.

Thursday night I began with a less than so-so Italian film THE REST OF THE NIGHT (2.5 cats) which belongs on TV, not in a major film festival. The acting was decent but the film was decidedly uncinematic. Furthermore it was filmed in winter giving it a bleak feeling that I suspect was unintentional. Friday started off with a bang. Brent Hamer's O'HORTEN (5 cats) was over-the-top fabulous. It is a bittersweet tale of a man coming to grips with his retirement and his past concurrently. O'HORTEN is a wonderful companion piece to his earlier KITCHEN STORIES. Hamer is definitely maturing as an artist. Later today I saw PANDORA'S BOX (4 cats) a Turkish film about three adult children who are forced to face their personal demons when their aged mother disappears, a victim of Alzheimer's. The mother is played beautifully by French actress Tsilla Chelton who some may remember in the delicious title role of TATIE DANIELLE. Finally I saw FEAR ME NOT a film from Danish director Kristian Levring. FEAR ME NOT (3.5 cats) is a pharmaceutical horror story inspired by none other than the venerable Jean Renoir's version of "Dr. Jekyll and Mr. Hyde." Ulrich Thomsen (FESTEN, ADAM'S APPLES) is a knock-out as the average man who innocently signs up for testing a new drug. The strong supporting cast includes the wonderful duo of Paprika Steen and Lars Brygmann. So far on Saturday I have seen SERBIS (4.5 cats) from the Philippine director Brillante Mendoza and a documentary on Senegalese Grammy-winning musician Youssou Ndour, YOUSSOU NDOUR: I BRING WHAT I LOVE (4.5 Cats).

Bruce Kingsley (posted by M Colford)

Most Anticipated from TIFF #1

As we all know, I wasn't able to go to the Toronto International Film Festival this year. It was difficult for me, but I will survive. Thanks to Wiebke, Alberta and Tracy for sharing in my pain. I would loved to have seen them on this trip.

Fortunately, as you've seen, Beth is doing a great job providing coverage for Chlotrudis, and there are a lot of online film outfits covering the festival from top to bottom, so I almost feel like I'm there. Today I read the first piece that made me really excited.

Obviously I'm excited about the upcoming releases, BLINDNESS, written by Don McKellar, and ADORATION, the latest film from Atom Egoyan, but I have no doubt I will be seeing both of these films soon after the festival when they are released Stateside. I think I am most excited, however about the new film by French director Claire Denis called 35 RHUMS. I'm hoping someone from Chlotrudis caught it (I'm sure I can count on Ivy) but indieWIRE's Eugene Hernandez reports on it in his blog. Here's an excerpt:

...its a wonderful movie that I've had a hard time shaking. 35 RHUMS offers quiet moments with its characters -- each striving for someone, or something, else. Agnes Godard's photography and Tindersticks' music, in particular, are striking and beautiful.

Eugene refers to a review in indieWIRE by Shane Danielsen who also had a great quote:

I was looking forward to a number of films here, but none more than the latest from Claire Denis. Such anticipation usually ends in disappointment, but 35 RHUMS only confirmed her mastery. Her finest piece of work since 1999's superb BEAU TRAVAIL, it seemed like nothing so much as her version of a late Ozu, a latter-day response to EQUINOX FLOWER and LATE SPRING -- and like those films, it's about the bonds of family, and people being kind and desiring the best, for themselves and for each other. Yet it's no mere homage; rather, it's imbued with Denis' own, unmistakeable sensibility, the patient and watchful eye that disinguished earlier Paris-set masterpieces like I CAN'T SLEEP and FRIDAY NIGHT.

Now I just have to hope that I won't be waiting too long before we get to see it in the States.

Independent Distribution Loses Another Outlet.

Red Envelope Entertainment, the acquisition and and distribution wing of Netflix has closed its doors. As blockbusters make more money and indies get more and more marginalized, going direct to DVD or to Cable TV, we hate to see indie distributors disappear, thus making our cinematic choices that much more limited.

Red Envelope Entertainment had released some pretty significant Chlotrudis films in its short life, including Chlotrudis Best Documentary winners from the past two years PROTAGONIST and THIS FILM IS NOT YET RATED. Just recently Red Envelope provided U.S. distribution for two Chlotrudis co-presentations, LOVE SONGS and WATER LILIES. Hopefully another company will turn up to take its place.

While discussing the difficulties of indie and foreign-language film distribution, a film that is sure to be of interest to Chlotrudis members has just been released directly to DVD in the States. HELP ME EROS the Taiwanese film directed by and starring Lee Kang-Sheng, muse and lead actor for beloved Chlotrudis director Tsai Ming-Liang, was released this week on DVD without receiving an official theatrical release. While most Chlotrudis members would probably prefer to see HELP ME EROS on the big screen, better on DVD than not at all!

The Top 10's are starting already!

Over at eugonline, indieWIRE's Eugene Hernandez has posted his Top 10 of 2008 so far. Since we are over halfway through the year, and in a few short months, Chlotrudis members will be pondering nominations, Top 10 lists and what not, I thought I'd follow suit and share my own Top 10 of 2008 so far. Of course, given the nature of Chlotrudis, this is never a simple operation, so I'm going to post two Top 10 lists. The first will be my ten best movies that I've seen in 2008 so far, the other will be my ten best Chlotrudis-eligible films of 2008 so far. What are you favorites of the year so far?

My 10 Best Movies seen in 2008 so far! (in alphabetical order)

4 MONTHS, 3 WEEKS, 2 DAYS
THE AXE IN THE ATTIC
THE BAND'S VISIT
BLIND
CHRIS & DON: A LOVE STORY
THE EDGE OF HEAVEN
LET THE RIGHT ONE IN (pictured right)
POSTCARDS FROM LENINGRAD
THEATER OF WAR
WATER LILIES

My 10 Best Chlotrudis-eligible Movies for 2008 so far! (in alphabetical order)

4 MONTHS, 3 WEEKS, 2 DAYS
THE AXE IN THE ATTIC
BLIND
CHRIS & DON: A LOVE STORY
JELLYFISH (pictured right)
LET THE RIGHT ONE IN
MONKEY WARFARE
MY WINNIPEG
THE TRACEY FRAGMENTS
THE VISITOR

PIFF - Day Two

With a few exceptions, PIFF does a superb job selecting documentaries. In fact, looking back, I would say that overall, the docs I saw were for the most part outstanding, and the narratives, generally uneven. Day Two at PIFF was documentary day, with three docs being the order of the day.

Chris & Don: A Love Story (USA; 90 min.)
directors: Tina Mascara and Guido Santi
documentary

This was the film that Chlotrudis co-presented at Ptown, and I was very pleased by the nearly packed house at the Crown & Anchor. CHRIS & DON: A LOVE STORY beautifully tells the story of the thirty-year relationship of author/poet Christopher Isherwood and artist Don Bachardy who was thirty years Isherwood's junior. With Bachardy still living, the film tends to focus more on him, but Isherwood certainly gets his share of attention. All of the issues you might imagine in a relationship with such disparate ages are present, and because Isherwood was a diarist, the access to his most personal thoughts and even video footage is well utilized here. Just thinking about the fact that these two men first met when Don was 16 (they became a couple when he was 18) you can't help but ponder his entire adult identity being shaped by Isherwood. The main point of struggle was certainly Don's search for an identity when partnered with such a talented and well-known figure. I'm sure that if Bachardy had not found his creative talent as an artist, their relationship would never have survived.

Mascara and Santi blend live interview with Don and others who knew the couple, with Isherwood's video footage and readings from his diaries, as well as recreations of some key points in their lives. They shape out of this unconventional, decidedly non-traditional relationship a romance for the ages, with grace, style, and a passionate heart. 5 cats

American Teen (USA; 95 min.)
director: Nanette Burstein
documentary

I was intrigued to see this documentary focusing on the lives of teens today that has been the subject of much praise and controversy on the festival circuit. Burstein spent a year immersed in an Indiana community, seeking out and spending time with a group of teenagers that embody the well-known archetypes (or perhaps that should read stereotypes) made popular by the film THE BREAKFAST CLUB. Unfortunately, AMERICAN TEEN just didn't work for me, and the more people I talk to, I've been finding that it either clicks with people, or it doesn't, but even the people who love it can see the artifice and manipulation that turned me off of the film.

I'm not against staged scenes, recreations, or scripted sequences in documentaries. They can certainly enhance a non-fiction film and make it more entertaining. The problem with AMERICAN TEEN is that the film isn't really honest with its audiences. As thing progress, it becomes increasingly obvious that some of the scenes are staged, and eventually you begin to believe that the teens being depicted in the film might actually be characters, or 'actors' representing archetypes, rather than kids being represented in a documentary. Burstein has sought out (or created) such blatant stereotypes in order to fulfill a publicity department's dream and tapping into the early-80's John Hughes zeitgeist that I was instantly reminded of James Frey and his fictionalized memoir. To further this feeling the storylines in AMERICAN TEEN follow such startlingly scripted paths that you'd think a team of Hollywood screenwriters were coaching the action.

Those people who I've spoken two who enjoyed the film totally bought into the PRETTY IN PINK/THE BREAKFAST CLUB vibe that TEEN apes even while acknowledging the manipulation. While I was at first perplexed and disappointed as I watched AMERICAN TEEN, as time has passed I'm still perplexed but now somewhat annoyed. The film's marketing is trying to further underscore the character-like nature of the subjects, and the inauthenticity of the film has begun to grate on my nerves even more. 2 cats

The Axe in the Attic (USA; 110 min.)
directors: Ed Pincus and Lucia Small
documentary

I have been waiting for Lucia Small, director of MY FATHER, THE GENIUS, to make another film; curious to see what direction she would take after the intensely personal examination of her father's life and its affect on his family. I was not expecting THE AXE IN THE ATTIC, a road-trip across America with co-director Ed Pincus, in the aftermath of hurricane Katrina and the resulting diaspora that occurred, displacing scores of people whose homes were destroyed in the storm. What makes ATTIC different from other films or reports on Katrina's aftermath is the way the filmmakers insert themselves into the film, constantly questioning their roles and responsibilities while shooting the film; asking questions of themselves that viewers of documentary films often ask of the filmmakers without being able to get an answer.

Pincus and Small focus on approximately 50 people in the film, pared down from the hundreds they interviewed on their road trip. These stories, powerful and moving all, are intercut with images of the devastation, and scenes where the filmmakers debate the social responsibilities of the country and the individual, and how this disaster affected them each personally. ATTIC is an elegant work, and one that I would encourage everyone to see. It's wonderful to see Small continue her fine filmmaking career, and again, makes me eager to see what she will do next. 4 1/2 cats.

After the film, a group of us headed to Level at the Commons for a filmmaker reception. We were late arriving, and much of the crowd had thinned out, but a batch of Chlotrudis members, myself, Scot, Beth Curran, Beth Caldwell, Dan McCallum and his partner Jon, spent the next couple of hours with director Lucia Small and her associate producer Emma, Boston Phoenix film critic and Chlotrudis-pal Gerry Peary, and Central Productions CEO Mike Bowes. We even got a few clues as to what Lucia might be working on next!

A disappointment for Ellen Page fans in Chlotrudis

It's looking like JACK AND DIANE, the lesbian, werewolf flick we were all on pins and needles about has lost Ellen Page. Recently Cinematical reported that the film has abruptly disappeared from Ellen's imdb page, and the film's website is no longer active.

JACK AND DIANE was to have starred Page and her JUNO co-star Olivia Thirlby, as teenage lesbians who meet in New York City and spend the night "kissing ferociously." Trouble is, one of them discovers that her newly awaken sexual desires turn her into a werewolf. Page and Thirlby were terrific as best buds in JUNO, and this was certainly a film with an audience just waiting for it to be made. Well, last September in Toronto, Ellen and Olivia talked with First Showing about the difficulty the film has had in obtaining financing, and my suspicion is that even with Page's star having risen, the filmmakers were unable to get the necessary investors to begin filming, and Page's increasingly busy schedule just got in the way.

Here's hoping that the film gets its financing in order and that Ellen's schedule opens up again... or something. What a joy it would be to watch Ellen and Olivia spending the night snogging as it were, then sprouting fur and a wolf's snout and running around howling!

Trailers as Visual Art

Lots of little tidbits to catch up on here, but I just had to start with this one. Many Chlotrudis members have been intrigued by Turkish director Nuri Bilge Ceylan's film career. He started out as a photographer, and since 1995 has also written and directed five films. The last two, CLIMATES and DISTANT, garnered quite a bit of attention stateside after winning some awards at the Cannes Film Festival. Both films told intimate, personal stories and were lauded for their stunning visuals.

Now Twitch reports that a trailer for THREE MONKEYS, Ceylan's forthcoming film which just premiered at Cannes, has been released. Ceylan is an acknowledged master at the art of filming in HD, and while I'm not usually one to gush over visuals (although you should have heard me raving about the picture quality of the Blu-Ray disc for JUNO) you've just got to take a look at this trailer. Not only is it intriguing and make me want to see the film, it's really just visually spectacular. Go take a look.

Independent Film Festival of Boston Announces 2008 Festival Line-Up

The Independent Film Festival of Boston has announced its festival line-up for when it returns to the Somerville Theatre, the Brattle Theatre and the Coolidge Corner Theatre April 23 - 29, 2008. Opening the festival is TRANSSIBERIAN, the latest from director Brad Anderson (NEXT STOP, WONDERLAND; HAPPY ACCIDENTS) starring Woody Harrelson, Emily Mortimer, and Ben Kingsley. Anderson, his screenwriter Will Conroy and the cast will be in attendance at the opening night premiere. Closing the festivities on Tuesday, April 29 at the Coolidge Corner Theatre will be Werner Herzog's environmental documentary ENCOUNTERS AT THE END OF THE WORLD.

The Chlotrudis Society for Independent Film will be co-presenting two films at the IFFB, both from our neighbors to the north. On Friday, April 25 and Sunday April 27, join us for another tour de force performance by the talented Ellen Page who stars in THE TRACEY FRAGMENTS a visual extravaganza directed by Bruce McDonald. Chlotrudis will also welcome Guy Maddin to town for his magnificent autobiographical, pseudo-documentary, MY WINNIPEG. It screens on Monday, April 28.

Read the IFFB's official announcement below:

The Independent Film Festival of Boston (IFFBoston) today announced the films that will be featured at the 2008 Independent Film Festival of Boston. The sixth annual festival will be held April 23-April 29, 2008. This year, to meet the demands of its growing audience, IFFBoston has expanded its slate to include 96 films. The festival, complete with over 150 film screenings, filmmaker Q&A sessions, panel discussions, visiting filmmakers, parties and events will showcase the works of filmmakers who seek to create films that are life changing, thought provoking and expose aspects of life in new and revealing manners.

TRANSSIBERIAN directed by Brad Anderson, written by Brad Anderson and Will Conroy, and starring Woody Harrelson, Emily Mortimer, and Sir Ben Kingsley will open the festival on Wednesday, April 23rd at the Somerville Theatre in Davis Square. This marks a return to Boston for Brad Anderson, who previously shot his features NEXT STOP WONDERLAND and SESSION 9 in the city. Brad Anderson, Will Conroy, and cast will be in attendance for the Opening Night screening.

ENCOUNTERS AT THE END OF THE WORLD directed by Werner Herzog, will close the Independent Film Festival of Boston on Tuesday April 29th at the Coolidge Corner Theatre in Brookline.

Two feature length films will be making their World Premiere at the Independent Film Festival of Boston this April. The first, TWELVE, brings twelve of Boston’s brightest young filmmakers together on a collaborative project wherein each of them directed a segment of the film, each in a different month of the year, with the other 11 directors always serving as their crew. The directors who make up the twelve are Scott Masterson, Seanbaker Carter, Andy McCarthy, Garth Donovan, Luke Poling, Noah Lydiard, Megan Summers, Brynmore Williams, Joan Meister, Marc Colucci, Jared Goodman, and Vladmir Minuty.

The second film having its World Premiere at the festival is MEADOWLARK, an autobiographical documentary by first-time filmmaker Taylor Greeson, which simultaneously explores issues of faith and sexuality while confronting the violent murder of the filmmaker’s brother.

Special guests attending the festival include Famke Janssen, Guy Maddin, Harmony Korine, Harlan Ellison, Mary Stuart Masterson, Jay McCarroll, Chris Eigeman, Brad Neely, Harry & The Potters, and many more to be announced in the coming weeks.

Discounted passes are available on the festival website, http://www.iffboston.org, through March 31st. Individual tickets will be available on the website starting April 1st. There are film-only passes, party-only passes, and Chrome passes which grant access to all films and parties available.

INDEPENDENT FILM FESTIVAL OF BOSTON 2008 OFFICIAL SELECTIONS:

Narrative Features
AUGUST EVENING, directed by Chris Eska
BALLAST, directed by Lance Hammer
BEAVER TRILOGY, directed by Trent Harris (Buried Treasure screening)
BIG MAN JAPAN, directed by Hitoshi Matsumoto
BLOOD CAR, directed by Alex Orr
THE CAKE EATERS, directed by Mary Stuart Masterson
FLASH POINT, directed by Wilson Yip
FROWNLAND, directed by Ronnie Bronstein
GOLIATH, directed by David Zellner & Nathan Zellner
JETSAM, directed by Simon Welsford
MEDICINE FOR MELANCHOLY, directed by Barry Jenkins
MISTER LONELY, directed by Harmony Korine
MOMMA’S MAN, directed by Azazel Jacobs
MONGOL, directed by Sergei Bodrov
MY EFFORTLESS BRILLIANCE, directed by Lynn Shelton
MY WINNIPEG, directed by Guy Maddin
NATURAL CAUSES, directed by Alex Cannon, Paul Cannon, and Michael Lerman
THE NEW YEAR PARADE, directed by Tom Quinn
PHOEBE IN WONDERLAND, directed by Daniel Barnz
PING PONG PLAYA, directed by Jessica Yu
PINK, directed by Alexander Voulgaris
SAVAGE GRACE, directed by Tom Kalin
SEVERED WAYS: THE NORSE DISCOVERY OF AMERICA, directed by Tony Stone
STUCK, directed by Stuart Gordon
TIME CRIMES, directed by Nacho Vigalondo
THE TRACEY FRAGMENTS, directed by Bruce McDonald
TRANSSIBERIAN, directed by Brad Anderson (Opening Night Film)
TRIANGLE, directed by Ringo Lam, Johnnie To, and Tsui Hark
TURN THE RIVER, directed by Chris Eigeman
TWELVE, directed by Scott Masterson, Seanbaker Carter, Andy McCarthy, Garth Donovan, Luke Poling, Noah Lydiard, Megan Summers, Brynmore Williams, Joan Meister, Marc Colucci, Jared Goodman, and Vladmir Minuty
VEXILLE, directed by Fumihiko Sori
WOODPECKER, directed by Alex Karpovsky

Documentary Features
AMERICAN TEEN, directed by Nanette Burnstein
AT THE DEATH HOUSE DOOR, directed by Steve James and Peter Gilbert
CRAWFORD, directed by David Modigliani
DREAMS WITH SHARP TEETH, directed by Erik Nelson
ELEVEN MINUTES, directed by Michael Selditch
ENCOUNTERS AT THE END OF THE WORLD, directed by Werner Herzog (Closing Night Film)
FRONTRUNNER, directed by Virginia Williams
THE GREENING OF SOUTHIE, directed by Ian Cheney and Curt Ellis
INTIMIDAD, directed by David Redmon and Ashley Sabin
JOY DIVISION, directed by Grant Gee
JUMP!, directed by Helen Hood Scheer
LIFE. SUPPORT. MUSIC., directed by Eric Metzgar
THE LINGUISTS, directed by Seth Kramer, Daniel A. Miller, and Jeremy Newberger
LIONESS, directed Meg McLagan and Daria Sommers
MEADOWLARK, directed by Taylor Greeson
NERDCORE RISING, directed by Negin Farsad
NOT YOUR TYPICAL BIGFOOT MOVIE, directed by Jay Delaney
PUBLIC ENEMY: WELCOME TO THE TERRORDOME, directed by Robert Patton-Spruill
SAVIOURS, directed by Ross Whitaker and Liam Nolan
SECOND SKIN, directed by Juan Carlos Pineiro Escoriaza
SECRECY, directed by Robb Moss and Peter Galison
SEX POSITIVE, directed by Daryl Wein
SONG SUNG BLUE, directed by Greg Kohs
VERY YOUNG GIRLS, directed by David Schisgall
WE ARE WIZARDS, directed by Josh Koury
WILD BLUE YONDER, directed by Celia Maysles

Short Films
APOCALYPSE OZ, directed by Ewan Telford
AQUARIUM, directed by Rob Meyer
A CATALOG OF MY ANTICIPATIONS, directed by David Lowery
CHIEF, directed by Brett Wagner
DOXOLOGY, directed by Michael Langan
THE DRIFT, directed by Kelly Sears
THE EUROPEAN KID, directed by Ian Martin
THE EXECUTION OF SOLOMON HARRIS, directed by Wyatt Garfield and Ed Yonaitis
FILM MAKES US HAPPY, directed by Bryan Wizemann
GLORY AT SEA, directed by Ben Zeitlin
HEARTBEATS, directed by Vincent Coen
IF A BODY MEET A BODY, directed by Brian Davis
I HAVE SEEN THE FUTURE, directed by Cam Christiansen
I LOVE SARAH JANE, directed by Spencer Susser
JACKSON WARD, directed by Matt Petock
KIDS + MONEY, directed by Lauren Greenfield
LA CORONA, directed by Amanda Micheli and Isabel Vega
LARRY (THE ACTOR), directed by Brett Portanova and Eric Poydar
THE LONELY BLISS OF CANNONBALL LUKE, directed by Levi Abrino
MAN, directed by Myna Joseph
MAYBE IN THE SPRINGTIME, directed by Mai Sato
MR.P, directed by Jake Vaughan
PEPPER, directed by Harry McCoy
PRIMITIVE TECHNOLOGY, directed by Bo Price
THE PULL, directed by Andy Blubaugh
THE RAMBLER, directed by Calvin Reeder
REORDER, directed by Sean Garrity
SAFARI, directed by Catherine Chalmers
SANGIT SENYOR, directed by Alan Lyddiard
SAVE THE WORLD, directed by David Casals-Roma
SIKUMI (ON THE ICE), directed by Andrew Okpeaha MacLean
SPIDER, directed by Nash Edgerton
34x24x36, directed by Jesse Epstein
TONY ZOREIL, directed by Valentin Potier
WELL-FOUNDED CONCERNS, directed by Tim Cawley
WOMAN IN BURKA, directed by Jonathan Lisecki

Panel Discussions

• Collaborative Screenwriting Presented by Zhura.com
  A discussion with screenwriters and other industry professionals on the benefits of collaboration featuring Amy Fox (Heights) and Will Conroy (Transsiberian)



• Distribution 2.0
  A discussion with some of the companies on the cutting edge of film distribution featuring representatives of Spout.com, Current.com, Indiepix, and Ourstage. Moderated by Amy Dotson of the Independent Feature Project (IFP).



• Comics to Film/ Film to Comics
  A presentation by “Robot Stories” writer/director and writer of the hit comics The X-Men and World War Hulk, Greg Pak.

The Independent Film Festival of Boston will reach a diverse audience by incorporating a number of venues in the greater Boston community including:

• Somerville Theatre in Davis Square


• Brattle Theatre in Harvard Square


• Coolidge Corner Theatre in Brookline

Filmwise, MIFF Ends on an Unpalatable Note

As tasty as scrambled eggs and beer might be, it sounds fairly unpalatable to me, and so was the Chilean film the title of which, SCRAMBLED BEER, took its name. It was our last film of the festival, and was also a last minute switch. Tuesday night also featured a film from the Philippines, which at the time drove me nuts (not in a good way) but with some distance has grown on my considerably.

SLINGSHOT (Philippines; 86 min.)
director: Brillante Mendoza

Mostly on Bruce’s recommendation, I decided to catch Brillante Mendoza’s film SLINGSHOT, after skipping it in Toronto. Being half Filipino, I do like to catch films from the Philippines when possible, but generally I haven’t had much success with enjoying them. SLINGSHOT is a fascinating film, one that drove me nuts while watching it… I believe I even told Scot that I thought it was the most annoying film I’d ever seen, but upon reflection, it’s really quite remarkable, and displays Mendonza’s talents quite well. The action of the film takes place during Holy Week, and touches upon themes of religion, politics and poverty. The opening scene is frantic and loud as the police raid a large building where dozens of poor families live. Everyone has their claim to innocence, but these pleas fall largely on deaf ears as the police route most of the buildings male inhabitants and haul them into prison for the night. The next day, most of the men are released and return home, but we soon discover that there isn’t a whole lot of innocence among the lot of them.

Of course, that’s the theme of the film, as campaigning for local elections is in full-swing, and we see various politicians dropping all semblance of propriety and buying votes… literally handing money out in public square to obtain votes. At street level, we see that most of these people will do whatever they have to do to make some money. One man must con another man to pay a third man who is collecting money to pay off his debts to a fourth, and so on. While the constant fighting, shrieking and mayhem that goes on throughout much of this film is incredibly grating, the film is so realistically shot that you sometimes forget you are watching a narrative. There is something so immediate and raw about this footage that you can’t help but be drawn in. Mendoza captures life on the poor streets of the Philippines in a remarkably vivid and realistic way. 3.5 cats

SCRAMBLED BEER (Chile; 88 min.)
director: Cristobal Valderrama

After reading the synopsis of this film (something about a cross between a buddy film and a time travel film) Scot decided he wanted to see SCRAMBLED BEER. So we exchanged tickets for BLUE EYELIDS, which we’d already purchased for this one. I was game; I’d never seen a film from Chile before. It’s such a skinny country! Well, for me, scrambled eggs and beer just don’t go well together.

Vladimir is basically an irredeemable lout. From the moment we meet him he is shown to be a boor, a cad, and a slob. Things get worse from there. After being evicted, he moves in with his friend Jorge and his girlfriend Monica, who clearly is repulsed by Vladimir. After their first day in the new apartment, Vladimir wakes up the next morning with Monica in bed next to him, suddenly filled with passion for him. Despite his shock, he welcomes this new attitude, until he finds out that somehow three weeks have passed since he went to sleep the night before. Things get even more confused when he wakes up the next morning two weeks earlier. He starts to suspect that Fedora, a creepy neighbor who also happens to be a witch, might be involved. So while things sounds a little wacky and confusing, hold on, because suddenly, just over half way through the film, a twist is introduced the radically changes the tone and expectations for the viewer.

Sadly, none of this is handled very well. The comedy is broad and obvious; something that actually might feel right at home in a multiplex. The characters, especially Vladimir, are so unappealing and obnoxious that it’s hard to really root for any of them. Finally, the sudden revelation comes out of nowhere and despite itself, almost makes the film a little interesting. It saved it from a 1 cat film for me. I can now give it 1.5 cats.

Overall, the Miami International Film Festival is a great vacation choice for a film buff. The weather in early March is beautiful, the film selection is great, and for us, the accomodations were perfect (thanks to Chlotrudis member Richard Alleman for the loan of his apartment!) You can't get much better than hitting the beach every day then watching movies every night. As far as drawbacks go, every film festival I attend just makes me admire the amazing organizational feat that the Toronto International Film Festival accomplishes every year. The queues were thoroughly disorganized in Miami, and I feel that is one of the single most important things to do right from the public's perspective. On a larger scale, Miami has a terrible service industry. I can't recall a single satisfying encounter with waitstaff in restaurants. Even if things started off well, by the end of the experience, things had devolved. Gratuities are included in the bill at most restaurants in Miami Beach, and I feel this just takes away any incentive for servers to care. Still, I would attend the Miami International Film Festival again in the future.

Checking in on Past Nominees: Paddy Considine

Cinematical has announced that British thesp, and Chlotrudis nominee Paddy Considine will try his hand at directing a feature narrative. Considine was nominated in the Best Supporting Acting Category in 2005 for MY SUMMER OF LOVE. He first caught our eye in Pawel Pawlikowski's outstanding LAST RESORT, appeared in 2002's 24-HOUR PARTY PEOPLE, and was recently seen in the British comedy, HOT FUZZ. Mainstream audiences might remember him in last year's THE BOURNE ULTIMATUM.

Considine wrote and directed a short film entitled DOG ALTOGETHER starring Peter Mullan last year. His new project is titled TYRANNOSAUR which will star British TV actress Olivia Colman. There won't be any dinosaurs in TYRANNOSAUR however; the film focuses on a woman leaving an abusive relationship. Filming will begin at the end of the year.

Miami Offerings from Northern Europe

After a lovely day at the beach, Monday night found us exploring cooler climes first in Sweden, then in the Netherlands. MIFF is truly international, and Monday night was certainly the strongest night of the week.

YOU, THE LIVING (Sweden/Germany/France/Denmark/Norway; 95 min.)
director: Roy Andersson

Swedish director Roy Andersson follows-up his delightfully surreal SONGS FROM THE SECOND FLOOR with an exploration of humankind in all its subdued glory. YOU, THE LIVING, subtitled, a film about the grandeur of existing, is constructed as a series of vignettes, many hilarious in their deadpan absurdity. In an opening sequence, a woman repeatedly shouts at her lover and her dog, telling them to leave her. When they finally, reluctantly leave, she breaks into song. It's surprising and delightfully funny. Members of a marching band show up repeatedly, particularly a tuba player who annoys both his wife and his neighbors when he practices at home. A young woman meets a rock star she admires and later dreams of their wedding night with him. Another man dreams of facing the electric chair after attempting (and failing) to perform the old pulling a tablecloth out from under place settings at a dinner party.

YOU, THE LIVING took three years to shoot, because nearly all of the sets, including the outdoor scenes, were constructed for the film. There's an amazing sequence when the young girl and her rock star, dream husband are in their new apartment which slowly begins to move like a train across the city. Andersson's washed out palette of grays, browns, light blues and whites are enhanced by the whitened faces of the actors. Andersson's films are experiences that might not be for everyone, but they are unique and delightful for me. 4 cats.

BLIND (Netherlands/Belgium/Bulgaria; 98 min.)
director: Tamar van den Doop

BLIND is your basic, tragically doomed romance, yet it's one that writer/director Tamar van den Doop handles with such beauty and originality that it becomes elevated to something much more. Ruben Rietlander is a young man perhaps barely out of his teens, who lost his eyesight during childhood. His elderly mother Catherine cannot properly care for him on her own, and the women she hires to read to him are driven away by his violent tantrums. Enter Marie a scarred, albino woman in her 30s who is shunned by the villagers. For some reason, perhaps out of desperation, Catherine hires Marie to read to her son. Perhaps because she is an outcast herself, Marie will not put up with Ruben's outbursts and she physically manhandles him rather than flees shrieking as is the norm with the hired help. Gradually, the two fall in love, but in Ruben's mind, Marie is a beautiful young woman with fiery red hair and blue eyes. As is the case in tragic romances, Ruben's doctor discovers a way to restores Ruben's eyesight. Marie knows if this happens, their love is doomed, so she leaves and manages to stay hidden from the heart-broken Ruben... until the inevitable happens.

BLIND is gorgeously shot. Tamar van der Doop has a terrific eye, and the incorporation of Ruben's visual fantasies of how things might appear are surreal and gorgeous. Halina Reijin is particularly strong as Marie, keeping her rage tightly coiled inside, and watching her slowly unclench as she slowly lets her guard down around Ruben is a real treat. The period costumes, and lush settings add to the visual feast. 4.5 cats.

Sunday Night Movies in Miami

If there was a theme to Sunday night's films, it would have to be carrying our dead or our absent loved ones. In POSTCARDS FROM LENINGRAD, two children living in Caracas, Venezuela, must invent stories about their absent parents who are revolutionaries in a political struggle. In Zhang Yang's GETTING HOME, a man literally carries the body of his dead friend back home to his family.

POSTCARDS FROM LENINGRAD (Venezuela/Peru; 90 min.)
director: Mariana Rondón

In her introduction, director Mariana Rondón thanked the countries of Venezuela and Peru for funding her film, then commented on how POSTCARDS FROM LENINGRAD was a singularly Venezuelan story. In 1960's Caracas, revolutionaries struggle against a political regime. Two children tell stories of growing up with revolutionary parents through a lens of romance and innocence. Rondón wonderfully combines dramatic and comedic narrative storytelling; faux docementary; and comic book style hand-drawn animation over live action to tell this darkly funny, yet serious story of a very volatile time and culture.

At first POSTCARDS FROM LENINGRAD was confusing; Rondón jumps around in time without warning, and the two children narrate their stories as if they were comic book characters. There is none of the political nuance to explain the whys of the conflict. Gradually however, the story becomes clear, peppered with fabulous sequences of the various characters lives. Family scenes around the Venzuelan New Year are lively and telling; especially when Teo, one of narrators' parents, returns home and is subsequently captured by the government and imprisoned. A sequence 2/3 of the way through the film, depicting a group of female, revolutionary, college students committing an act or defiance is perfectly executed in groovy, 60s style, bringing together split screens, animation, music and narration sublimely. Rondón is a talented filmmaker whose work deserves broader exposure. I have no idea what kind of distribution POSTCARDS FROM LENINGRAD will receive, but I can only hope it makes it to Boston. 4/5 cats

GETTING HOME (China/Hong Kong; 110 min.)
director: Zhang Yang

Straddling the sublime and the ridiculous, young, Chinese director Zhang Yang explores the bonds of friendship in GETTING HOME. Benshan Zhao (HAPPY TIMES) plays Zhao, an aging factory worker whose co-worker and drinking buddy dies unexpectedly far from home. Zhao is determined to fulfill a promise he made to his friend, to return him to his village for burial. Operating with limited funds, and carefully trying to pass his deceased companion off as drunk or comatose, Zhao begins a series of cracked adventures is his attempt to complete his task, and along the way, he learns the true meaning of friendship and finds a path for his life.

Zhang, director the popular Chinese films SHOWER and QUITTING, starts things off on a silly note, and throughout the film there is an understandably absurd quality to the proceedings. Gradually Zhang starts to introduce more serious themes, yet in a way that fits in with the established tone of the film and never seems overly heavy-handed. Sure there's a little schmaltz, but it's not overdone like in a Hollywood film. While he doesn't take the experimental risks that he did in QUITTING, GETTING HOME is an entertaining and lovely film. 3.5 cats

MIFF: Saturday Night Movies

Saturday night featured one of the most unusual films of the festival, and one of the best - and not necessarily the ones I would have expected. It also found us walking the pedestrian mall at Lincoln Road, an experience that makes navigating the mobs in Times Square seem rather tame. Yikes!

ESTÔMAGO - A GASTRONOMIC STORY (Brazil/Italy; 112 min.)
director: Marcos Jorge
This lively black comedy examines the nature of power as it relates to food. Raimundo Nonato comes to the big city from the "jungles" of Brazil - no money, no place to stay - and wanders into a cafe where he orders the fried chicken snack and gets in trouble with the owner when he can't pay. The two work out a deal where Nonato will wash dishes in exchange for board. Diner owner Zulmiro soon discovers that Nonato has a talent for cooking and teaches him how to prepare some of the diner's staples. Within days, the place is packed, and Nonato's food is universally praised. Soon he is scooped up by the local restauranteur, Giovanni, who further instructs Nonato on the finer arts of cooking, including wines, and shopping at the market for a restaurant. As Nonato's fortunes rise, so does his relationship with Íria, a local prostitute with a jones for good food.

Director Jorge intercuts Nonato's story with scenes from the present day where he is embroiled in a power struggle in prison. He enters his cell of a dozen or so prisoners at the bottom of the ladder, but as his culinary skills provide gourmet meals for his cellmates, he slowly finds himself off the floor and into the bottom bunk, then rising higher and higher until he is directly below the cell's leader.

Jorge deftly deftly juggles the two stories, Nonato's rise to power in prison, and the reason he's in prison in the first place. The acting is appealing, especially João Miguel as Nonato, and Fabiula Nascimento as Íria. The black comedy is skillfully handled, and the build-up to Nonato's initial downfall well paced. I hope this film gets a release Stateside, and if it does, it comes highly recommended. 4 cats.

DISENGAGEMENT (Israel/France/Germany/Italy; 117 min.)
director: Amos Gitai
Israeli director Amos Gitai has clearly put together an accomplished work in DISENGAGEMENT, but it's one that requires a little more knowledge of political situation there than I possess to fully appreciate it. After a terrific, yet nebulous opening sequence with Uli (Liron Levo), an off-duty, Israeli police officer and an unnamed Palestinain woman (the marvelous Hiam Abbass) sharing a cigarette, some conversation, then a kiss while on a train, the action jumps (back?) to Paris, where a French woman of Israeli background (Juliette Binoche) stands a bedside vigil as her father dies. Her adopted half-brother Uli arrives, and after some slightly offbeat conversation and particularly bizarre flirtation, the two join their late father's lawyer (Jeanne Moreau) for the reading of the will. There Binoche's character discovers that a daughter she had given up at birth, was living in a camp in the Gaza strip, and that her father had visited her several times. As a police officer, Uli was returning to Israel to move the settlers in Gaza out, and his sister decides to return with him to find her daughter.

With some outstanding visuals and some powerful scenes, Gitai illustrates the difficult task of the Israeli police having to forcibly move Israeli citizens off the Gaza strip. He also shows how ill-prepared the police are, and how easily such a sensitive task can be bungled. Binoche's character is a bit of a cypher, acting a little mentally touched at first, then finding her ground when on the hunt for her daughter. It was nice to see Dana Ivgy (OR, MY TREASURE) playing Binoche's daughter. A strong film, but a little too obtuse for me. 3 cats.

MIFF: The North American Entries

Scot and I took in our first night of Miami International Film Festival (MIFF) offerings on Friday. Each of the ten films we are seeing comes from a different country, and appropriately enough, our first film was from Canada. Sadly, it's been the biggest disappointment so far.

AMAL, directed by Richie Mehta, debuted at the Toronto International Film Festival last September, and recently won the Panavision Spirit Award for Independent Cinema at the Santa Barbara Film Festival. The film is based in India and follows the story of autorickshaw driver Amal who defies convention and is actually honest and hard-working. One of his fares is an exceedingly difficult, apparently homeless man who belittles him harshly. In fact, this man is a wealthy hotel owner who is dying. When his encounter with Amal shows him that some of the wealthiest men are the poorest, he rewrites his will cutting his greedy, conscienceless sons out and instructing his lawyer to find Amal our of the thousands of autorickshaw drivers in the city. If you're thinking it sounds like a parable, complete with cardboard characters and heavy-handed lessons, you'd be right. An ironic twist ending does a little to raise the film above bad to simply mediocre. Mehta adapted AMAL from a short story written by his brother Shaun. 1.5 cats

Moving to the U.S. our second film was a big improvement. Ira Sachs (FORTY SHADES OF BLUE) leaves his tested theme of outsiders living in the modern-day South and enters 1950s, northwestern suburbia to look at the domestic difficulties of marriage in MARRIED LIFE. The talented acting pair of Chris Cooper and Patricia Clarkson play Harry and Pat Allen, a married couple who like, if not love each other. In an amusing reversal, Pat equates love with good sex, and Harry is seeking a deep, romantic love. He thinks he's found it too, in the form of young, beautiful widow Kay (Rachel McAdams) as he confesses to his longtime friend Richard (Pierce Brosnan). Unable to confess to Pat, Harry steers the plot into Hitchcock territory by deciding he must kill his wife to spare her heartbreak and pain. Meanwhile, the plot gets even messier when first Richard begins to pursue Kay, then Pat reveals a secret of her own.

While this all sounds like a melodramatic, period thriller, Sachs manages to keep things lively by casting his film as a comedy. It is in the comedic elements that Brosnan is allowed to shine, conveying a surprising physical comedy. The cast is attractive and talented, and the production design lovely, and while there may be a plot contrivance or two, this lively film manages to entertain for the duration. 3.5 cats.

Barbara's Top 10 of 2007

The Top 10s are coming fast and furious! Here's a Top 10 from Barbara Lonergan.

1. There Will Be Blood


2. No Country for Old Men


3. Away from Her


4. Juno


5. After the Wedding


6. Letters from Iwo Jima


7. Plagues and Pleasures on the Salton Sea


8. The Secret Life of Words


9. Once


10. Waitress

Tony's Top 10 Movies of 2007

This is the first year Tony Brighton has submitted his Top 10 films of the year. Let's take a look!

1. The Wind That Shakes the Barley


2. Unconscious


3. 12:08 East of Bucharest


4. Grbavica: The Land of My Dreams


5. Fido


6. Jonestown: The Life and Death of People's Temple


7. Protagonist


8. God Grew Tired of Us


9. Maxed Out


10. Live-in Maid

Thom's Top Movies of 2007!

Thom Bowser, one of our west coast members out in San Francisco, sends an intriguing Top 10 led by an as yet unreleased Takashi Miike film.

1. Big Bang Love, Juvenile A


2. Syndromes and a Century


3. Atonement


4. I'm Not There


5. The Babysitters


6. My Winnipeg


7. No Country for Old Men


8. Nothing is Private


9. The Piano Tuner of Earthquakes


10. I Don't Want to Sleep Alone


11. Paprika


12. Gabrielle


13. Hate (La Haine)


14. Plauges & Pleasures on the Salton Sea

A Top 10 from Japan!

Tom recently relocated to Japan, but he's still watching movies! Here he submits his rather lengthy (I should talk) Top 10, broken down into various categories so that it resembles its own mini-awards ceremony.

Tom says, "Well, it looks like I did have to update my 2007 list after seeing some
stuff here that I didn't have time to see before leaving the states."

Best Not to make it to a U.S. screen

Rebuild of Evangelion:01 : You Are (Not) Alone

Best (Tie)

Once
In the Shadow of the Moon

Best of the Rest

No Country for Old Men
Sunshine
Sweeny Todd
Ratatouille
The Host
Linda Linda Linda (making this list for the third year)

The Rest of the Best

28 Weeks Later
Pan´s Labyrinth
Before the Devil Knows You're Dead
Paprika
Time
Hot Fuzz

Award for bringing the greatest voice talent of all time back into the fold

Paprika

Best Movie No One Saw

The Golden Door

Biggest Disappointment - 3way tie

The Simpsons Movie
Juno
The Golden Compass

Movie that should have made the big screen instead of The Simpsons Movie

Bender's Big Score

Please stop using celebrity voices in movies (or the Shut Up Sean Penn Award)

Persepolis

Honorable Mention for Kicking Ass

Simon Pegg in Hot Fuzz

Best of the Fests

I'm A Cyborg but that's OK
Super Theater Edition Keroro Gunso 2

Best Sig from a Movie

"It's like looking in a smelly mirror"

The New Member's Top 10!

Philip, one of our newest members, sends his Top 10 in despite the fact that he doesn't have the opportunity to see many films at the theatre!

Philip says, "Thanks Michael for the invite to post this and thanks to Bruce for nudging me to join my favorite film society. I've been lurking for a few years reading everyone's reviews not realizing I could join so easily.

"My list comes with a disclaimer. I'm finishing up a Master's program in Syracuse, NY and so between my time constraints, lack of money and having only one theater in town that shows good films, my list is mainly pieced together from Netflix rentals. I drove an hour to see The Bubble, every other film on the list I watched at home. There are many films I want to see from this past year so this is not a complete list, but 2007 is long gone and I have to let go of that."

Philip Bahr's Grad School Top 10 Best Films of 2007:

The Lives of Others
Away from Her
The Bubble
Stephanie Daley
Paris Je T'aime
The Year of the Dog
This is England
Broken English
Pierrepoint: The Last Hangman
Red Without Blue

Marilyn's Top 10

Here's a Top 10 submission from our own Marilyn at the Movies...

Marilyn says, "Here is my top ten in no particular order taking into account there are still critically acclaimed films I have not seen. I reviewed the list of eligible films to help me and note that movies like PAN and JIMA are on the list and so I have listed them even though some may feel they belong to last year."

Before the Devil Knows You're Dead
There Will Be Blood
The Diving Bell and the Butterfly
Letters From Iwo Jima
The Lives of Others
No Country for Old Men
Pan's Labyrinth
The Savages
Sicko
In the Valley of Elah

My Favorite Films in 2007

Okay, it’s taken me a little longer than I’d planned to get this Top 10 together, but here it is. As usual, I couldn’t stop at just 10, and my list expanded to 15 top films of the year. I also created a Top 10 Festival films that have yet to receive theatrical release.

Top Films of 2007 (with theatrical distribution)

1. PROTAGONIST (Jessica Yu) – Jessica Yu’s documentary is compelling, intelligent, layered, funny, suspenseful… all the things a great movie should be. I think it’s the first time I’ve ever had a documentary as my favorite film of the year, but that just tells you how impressed I am by this film.


2. LINDA LINDA LINDA (Nobuhiro Yamashita) – As far as sheer crowd-pleasers go, LINDA LINDA LINDA tops the list. Japanese high school girls in a power-pop, rock ‘n roll band, led by the comic genius of Du-na Bae. And one of the most infectious songs in a movie ever. It just doesn’t get any better than this.


3. AWAY FROM HER (Sarah Polley) – Sarah Polley’s feature directorial debut is a masterful look at Alzheimer’s disease, crowned by an elegant performance by Julie Christie. Add to that the outstanding support from Gordon Pinsent, the grossly underrated and amazingly talented Kristen Thompson and source material in the form of an Alice Munro short story, and you’ve got a winner.


4. LARS & THE REAL GIRL (Craig Gillespie) – A quirky town comes together in support of one of their emotionally troubled citizens in this melancholy, sweet, and hysterical film. Ryan Gosling completely overcomes my personal bias against him and wins me over completely. Support work from Emily Mortimer, Paul Schneider, and especially Patricia Clarkson is like the best cream cheese icing on the moist, delicious cake.


5. JUNO (Ivan Reitman) – Sure, it has crossed over and is raking in the dough. Sure, some people say it’s not truly an indie, but a powerhouse backed by an astronomical marketing budget. JUNO is a great film. Diablo Cody has written a strong, funny screenplay, and the preternaturally talented Ellen Page brings Juno to beautifully sublime life. I’m not sure anyone else could have taken Juno and imbued her with the depth and complexity that Ellen Page brings in such a subtle and gorgeous way.


6. THE WAYWARD CLOUD (Tsai Ming-Liang) – In this sort-of sequel to Tsai Ming-liang’s masterpiece, WHAT TIME IS IT THERE? we see two emotionally distant, isolated people tentatively find each other only to be confronted with a climax that will either tear them hopeless apart, or perhaps cement their relationship. All that, and it’s a musical too!


7. WAITRESS (Adrienne Shelly) – Adrienne Shelly comes into her own as a director with this sadly sweet portrait of a young woman trapped in a dead-end relationship, and now facing an unwanted pregnancy. Shelly imbues her screenplay with humor and a gravity that keeps the sweetness from becoming too cloying.


8. I’M NOT THERE (Todd Haynes) – Todd Haynes’ sprawling pseudo-biopic of Bob Dylan is not perfect, but it’s so exciting in its audaciousness that I am compelled to include it on my year-end list. Six different actors portray different aspects of Dylan’s personae to form a fascinating mosaic of the sphinx-like celebrity. Ambitious and largely successful.


9. THERE WILL BE BLOOD (Paul Thomas Anderson) – Paul Thomas Anderson’s adaptation of Upton Sinclair’s novel Oil, left me with giddy with excitement for hours… even days after seeing it. This portrait of a man obsessed, played with perfect, over-the-top bravura by Daniel Day-Lewis is so flat-out weird, it almost feels like a trick that the critics are all praising it and urging mainstream audiences to go take a look. And it has spawned a cultural quote which, taken out of context, is just insane, “I drink your milkshake!”


10. MARGOT AT THE WEDDING (Noah Baumbach) – I wasn’t a terribly huge fan of Noah Baumbach’s THE SQUID & THE WHALE, but something about this intensely introspective study of a pair of dysfunctional sisters clicked with me. And I love seeing Nicole Kidman in great movies. She needs to find more of them. Or maybe I just included it to irritate Hilary.


11. THE SECRET LIFE OF WORDS (Isabel Coixet) – Sarah Polley showed her directorial skills, but I always thrill to see her well-documented acting ability, and Isable Coixet’s THE SECRET LIFE OF WORDS gives her plenty of opportunity to strut her stuff. Despite the severe dialogue misstep in the penultimate scene of the movie, every other aspect works to perfection. And it’s a wonder of story-telling and acting when 7/8 of the way into the film, Polley performs a lengthy monologue that completely changes the tone of the film and drives it through your heart.


12. THE BUBBLE (Eytan Fox) – Eytan Fox is an intriguing filmmaker, whose work I always love but doesn’t quite translate to a masterpiece. THE BUBBLE is certainly his closest yet, about three young friends living in Tel Aviv and how even in their bubble of apolitical life, the political conflicts around them intrude. A beautiful look at the Israeli/Palestinian conflict and the way a new generation views it.


13. I DON’T WANT TO SLEEP ALONE (Tsai Ming-Liang) – Tsai Ming-Liang is the master of telling stories about isolated people using images and very few words. I DON’T WANT TO SLEEP ALONE is gorgeous in its simplicity. The subtle touches of humor accent the somber stories almost to the point of absurdity, and this audacious mix rewards viewers every time.


14. GRBAVICA: THE LAND OF MY DREAMS (Jasmila Zbanic) – In a fashion more straight-forward but no less powerful, Zbanic covers similar ground to Coixet in THE SECRET LIFE OF WORDS. The horror endured by thousands during the Balkan Wars is easy to overlook or forget globally, but daring filmmakers such as these two amazing women won’t let these historical facts fade into obscurity. By focusing on a fractured mother-daughter relationship, Zbanic shows the aftermath of this war and how it affects survivors in the most personal of ways.


15. THE KIING OF KONG: A FISTFUL OF QUARTERS (Seth Gordon) – In what is surely the most entertaining film of the year, Seth Gordon explores a sub-culture of video gamers that is filled with stereotypes, both reinforced and smashed. There’s good, there’s evil, and there’s a titanic conflict of epic proportions in this intensely enjoyable documentary.

Other films that almost made the top list, but I couldn't squeeze them on: ONCE, BRAND UPON THE BRAIN, RED ROAD, DAY NIGHT DAY NIGHT, EXILED, FAY GRIM, and STARTING OUT IN THE EVENING.


Best Festival Films of 2007 (not yet released theatrically in the U.S.)

1. THE TRACEY FRAGMENTS (Bruce McDonald) – If Ellen Page grounded the sitcom antics in JUNO, she unites the visually hyperactive, fragmented mosaic that is THE TRACEY FRAGMENTS lifting it to dramatic heights. What’s it like to be literally in the mind of a troubled young adolescent? Bruce McDonald and Ellen Page give us a peek in a film that blends visual and aural over-stimulation in a way that reminded me of a cross between LILYA 4-EVER and PI.


2. JELLYFISH (Shira Geffen; Etgar Keret) – In one of the most masterful uses of magical realism and whimsy in film, this Israeli import looks at disappointment is a way that is powerfully moving and contemporary using a variety of unique storylines to tell a coherent tale. Chlotrudis co-presented this film at the BJFF after several of us saw it in Toronto. I can’t wait for everyone to have a chance to see it when it is released Stateside this spring.


3. MONKEY WARFARE (Reg Harkema) – Bitingly humorous, and surprisingly moving, MONKEY WARFARE is grounded by the performances of its two talented leads: Don McKellar and Tracy Wright. Add to the mix a fresh performance by Nadia Litz, and Harkema’s terrifically spot-on screenplay, and you’ve got all the workings for a unique and entertaining film.


4. MY WINNIPEG – All of Guy Maddin’s considerable talents come together in this faux documentary of the city of Winnipeg, that is actually something of a memoir of Maddin himself. MY WINNIPEG successfully combines Maddin’s fantastical visuals with his offbeat humor to create a piece of work that Chlotrudis will be proud to co-present at this April’s IFFB (hopefully along with THE TRACEY FRAGMENTS).


5. THE VISITOR (Thomas McCarthy) – McCarthy follows-up the Chlotrudis success of THE STATION AGENT, with a film that elegantly examines the politically-charged topic of illegal immigration in a way that focuses on the personal and familial relationships that suffer as a result of deportation. Richard Jenkins is phenomenal as the understated lead, and Hiam Abbass, so divine in so many international films is a wonder in a rare American production.


6. A GENTLE BREEZE IN THE VILLAGE (Nobuhiro Yamashita) – In a series of episodic tales, this gently beautiful adaptation of a popular Japanese manga focuses on a small group of school-age children living in a tiny village. With an innocence rarely seen in contemporary society, GENTLE BREEZE will take you away on a soothing zephyr to a land that may seem hopelessly imaginary, yet somehow manages to exist.


7. BREAKFAST WITH SCOT (Laurie Lynd) – This Canadian adaptation of a young adult novel explores family dynamics when the family in question has two dads and an unexpected child. This sweetly funny film manages to avoid most film clichés even while it uses them to tell a story that reaches beyond sexuality to appeal to any film viewer.


8. BRICK LANE (Sarah Gavron) – Talented filmmaker Sarah Gavron offers up her first feature narrative with such a command of film language that you might be tempted to think she’s been at this for a long time. If there is a drawback in this adaptation of an internationally best-selling novel, it’s that the screenplay doesn’t take more chances, but Gavron certainly does, focusing in on the heart of the story of a family of Indian immigrants struggling to make their lives in England.


9. HELP ME EROS (Lee Kang-sheng) Tsai Ming-liang’s perpetual leading man, Lee Kang-sheng, is not only an accomplished actor, but a talented filmmaker as well. Lee wrote and directed HELP ME EROS, a powerful portrait of a man calling out for help as he spirals out of control, indulging in heavy marijuana smoking and sexual antics after losing his fortune in a bad stock market decision. Like his mentor, Lee mines the territory of alienation with masterful assurance, and gives us a cinematic conclusion that will take your breath away.


10. PLOY (Pen-ek Ratanaruang) – This follow-up to the magnificent LAST LIFE IN THE UNIVERSE explores many similar themes and employs a more subtle dreamlike quality that serves to both confuse and tantalize the viewer. With the principal characters suffering from jet lag, the introduction of the adolescent Ploy into their lives causes major seismic shifts that have either startling effects on their lives, or at the very least, their dreams.

Other festival films worth looking for upon release: PING PONG PLAYA’; AN AMERICAN CRIME; AMERICA THE BEAUTIFUL