Chlotrudis Society for Independent Film - Provincetown International Film Festival

Film Festival Reviews

Superstars at the 7th Annual Provincetown International Film Festival

by Michael Colford

The Provincetown International Film Festival celebrated its seventh year in sunny (albeit cooler than normal) style. This year Scot and I bid on and won Superstar passes at the Chlotrudis auction last fall, which gave us access to any and everything we wanted to do; from parties and receptions to the hospitality suite and, of course, first crack at movies. We saw a nice range of films this year, hitting every ranking from 1 to 5 cats. I only saw one documentary this year, despite the fact that there were many intriguing selections playing.

In addition to the films reviewed below Scot and I took in the Closing Night Party to hear the Award winners, and the Patron/Filmmaker reception. It was this latter event that Beth Curran told us we would have the best chance at connecting with some filmmakers… which we did. Scott Heim (left), author of the novel Mysterious Skin, upon which the film of the same name is based, was delightfully charming. Scot, Beth and I chatted with him quite a bit; about the adaptation of his novel (which he is very pleased with), about living in Boston (he’s been in Roslindale for two years), and about the dubious pleasures of sponsor Bacardi. Another key to meeting filmmakers is smoking. While having a cigarette, a woman approached us asking if she could have one. It turned out to be Amy Robinson, producer of GAME 6 and longtime collaborator with Griffin Dunne (they also worked on ONCE AROUND, WHITE PALACE, RUNNING ON EMPTY, AFTER HOURS and CHILLY SCENES OF WINTER together). We had a very pleasant chat about the state of distribution today and the Chlotrudis Society of Independent Film. Apparently we had made enough of an impression that she asked Beth to share information about CSIF at the Breakfast with… the following morning. Talk about serendipity!

Now, on to the movies...

THE RECEPTION
directed by John G. Young
Scot called this one “Who’s Afraid of Who’s Coming to Dinner?” and it’s a pretty accurate description of this painfully overwrought tale of secrets among an unconventional family. Writer/Director John G. Young’s second feature film (the first was released ten years ago) focuses on a French woman living with a gay friend in Upstate New York. Jeanette spends her days sleeping late and drinking wine, while Martin works in the carriage house converted to an artist’s studio hoping to become inspired. The arrival of her estranged daughter, new husband in tow, shakes up Jeanette and Martin’s lethargy and easy companionship, punctuated by Jeanette’s drunken outbursts, usually directed at Martin. When Jeanette announces her intentions to throws a party in honor of her daughter’s marriage, the four days leading up to the occasion reveal secrets that shatter the quartet’s status quo.

With each dramatic reveal, THE RECEPTION grows sillier and sillier. Pamela Stewart, an alumnus of Hal Hartley’s TRUST and AMATEUR, imbues Jeanette with some life and humor, and is the most interesting thing on screen. The heavy-handed introductions of AIDS and racial issues caused me to groan inwardly. The low-budget shoot is visually impressive, but Young’s scriptwriting needs a lot of work. 2 cats

TONY TOKITANI
directed by Jun Ichikawa
In the tradition of Tsai Ming Liang’s masterful WHAT TIME IS IT THERE, Jun Ichikawa’s TONY TAKITANI is a tale of loneliness filled with gorgeous imagery and moments of sudden humor. Tony’s mother died in childbirth, and he was left with his war veteran father who spends all his time touring with his jazz band. After a solitary childhood, Tony becomes a successful commercial artist (he possesses the raw talent, but lacks the heart for true artistry.) As an adult he meets a young woman with whom he falls in love and they get married. Of course, Tony’s wife has her own quirk: an obsessive fascination with clothes shopping, in this case, high fashion.

This superb film adapted from a Haruki Murakami short story, and the strikingly original style Ichikawa uses gives the impression that we are watching the short story unfold in images directly from the page. The film features extensive narration taken from the story and languid visual style featuring a consistent left to right camera pan. Issey Ogata (YI YI) plays the dual roles of Tony and his father, while the delightful, Chlotrudis Awards nominated Rie Miyazawa (TWILIGHT SAMURAI) handles two roles as well as the two women in Tony’s life. This beautiful tale is told with stylized simplicity that comes highly recommended. 5 cats

THREE OF HEARTS: A POSTMODERN FAMILY
directed by Susan Kaplan
Susan Kaplan’s documentary follows the 13-year relationship of Sam, Steven and Samantha. Sam and Steven are two men who met in college and were enjoying a committed, long-term relationship. When Sam suggests having a woman enter the relationship, Steven is initially resistant, but eventually comes to agree with Sam, and soon Samantha is part of the committed relationship. A daughter follows, as do thirteen-years defying convention and struggling to make things work. Kaplan does a pretty good job looking at the trio’s families and upbringings, but the focus in the film, and in life, is clearly Sam. I was surprised at how self-involved a documentary could come across, but THREE OF HEARTS does exactly that. 3 cats

THE EDUKATORS
directed by Hans Weingartner
THE EDUKATORS is one of that new breed of German films combining youthful rebelliousness, crisp visuals, and adult issues a la the films of Tom Tykwer to create something that is fresh and entertaining. Daniel Brühl (GOOD BYE LENIN) stars as Jan, a young revolutionary who with his friend Peter (Stipe Erceg) attack the capitalistic system by breaking into the villas of the wealthy, rearranging their furniture and leaving notes such as, “Your days are numbered.” When Peter’s girlfriend Jule (Julia Jentsch) a victim of the system gets involved, things go horribly awry, and the trio is forced to kidnap their next homeowner.

Director Hans Weingartner keeps things tense, yet avoids so many of the clichés usually found in this type of political adventure film. As the film nears its climax, the absurdity of the situation translates into humor and irony, with a couple of neat twist endings that leave you smiling. 4 cats

THE DYING GAUL
directed by Carig Lucas
Craig Lucas would have been better served with a skilled director handling this adaptation of his stage play. Each character in THE DYING GAUL commits acts of kindness and cruelty, sometimes one under the guise of the other. All of these actions are wrapped up in the gauzy wrap of karma, even as the characters plumb the depths of cyberspace.

The central character is Robert, who sells his first screenplay for 1 million dollars to Jeffrey, a Hollywood studio executive who epitomizes Hollywood greed, at least superficially. We are surprised when the moralistic Robert sacrifices his principles for the money by agreeing to make major re-writes in the script. Jeffrey’s wife Elaine is a failed screenwriter who bonds with Robert, thus completing the triangle. When Elaine finds out that Robert is still reeling from grief over the death of his lover, she seeks to help him by masquerading as a gay man on the chat rooms that Robert frequents. Things start to deteriorate soon after.

The strongest element of THE DYING GAUL is the acting. Peter Sarsgaard is convincing as Robert, even when his character’s decisions start to swing to wild extremes. Campbell Scott adds subtle nuance to his usual brand of cool bastard. Patricia Clarkson has the most difficult task, that of delivering some of the overwritten lines with a straight face, but for the most part she does her usual good job. There’s a little too much water imagery, a little too much clever lighting simply for effect, and a lot of unnatural, overwritten dialogue. That kind of thing works on stage, but for some reason I expect a certain level of realism in a film (unless the entire thing is stylized.) Still, for the underlying story and the performances, I give this film 3 cats.

THE MOSTLY UNFABULOUS SOCIAL LIFE OF ETHAN GREEN
directed by George Bamber
The less said about this tired adaptation of Eric Orner’s gay-themed comic strip the better. Revolving around Ethan Greene, searching for love and a committed relationship, but continuously self-sabotaging every one he finds himself in, this film is a complete and utter bore. The laughs are missing, the acting is pretty poor, and the script is ridiculous. The one exception comes from Meredith Baxter who plays Ethan’s mom and displays enough talent to make it obvious that she belongs in another film. The film didn’t even offend me, which would have at least gotten me riled up and annoyed. I just tried to stay awake. 1 cat.

MYSTERIOUS SKIN
directed by Gregg Araki
Based on the powerful novel by Scott Heim, MYSTERIOUS SKIN is Araki’s most mature film to date. Brian is 18-year-old and still suffering from frightening nightmares that bring him back to a day when he was eight and he believes he was abducted by a UFO. Neil suffered a similar experience to Brian when he was eight, but has matured into an aloof loner who hustles to make life in his small Kansas hometown bearable. While Neil’s search for something to fill the emptiness in his heart leads him to New York City, Brian searches for Neil with the hopes that this stranger who shared a life-changing moment with him will be able to give him the answers he’s searching for.

Araki has created a stunningly beautiful and powerful film, capturing the essence of the innocence of childhood tinged with the darkened boundaries lurking in the fringes. Strong acting performances by the two leads (Brady Corbett; Joseph Gordon-Levitt) are enhanced by a strong supporting cast including Elisabeth Shue, Bill Sage, Mary Lynn Rajskub, and Michelle Trachtenberg. MYSTERIOUS SKIN deals with some serious issues, but in an adult and refreshing manner. 4 ½ cats

Cote D'Azur COTE D'AZUR
directed by Olivier Ducastel
This delightful French sex farce from the director of THE ADVENTURES OF FELIX, is a pleasure from start to finish. Mark and Béatrix are spending a summer in their seaside villa in Italy with their two teenaged children. They have incorrectly determined that their son is gay, while their daughter leaves for a road trip with her boyfriend. In fact, it’s their son’s best friend staying with them for the summer that is gay and in love with their son. To complicate matters, Béatrix’ lover Mathieu has taken some time off by the sea, and Mark’s old flame is on the scene as well. To top things off Ducastel tosses in a couple of musical numbers!

Exquisite timing and slamming doors make COTE D’AZUR the perfect farce, with a lively cast that digs into their shenanigans full steam ahead. Most delightful for Chlotrudis fans is Gilbert Melki’s (THE TRILOGY) portrayal of Mark. Don’t miss this one when it plays in Boston. It’s a true delight. 4 ½ cats

LOGGERHEADS
directed by Tim Kirkman
Tim Kirkman’s LOGGERHEADS is a moving examination of adoption, religious tolerance, and sexuality. While at times it plays a little like a Lifetime TV movie of the week, strong performances and complex time shifts bring it above the typical. Kip Pardue (who’s having quite a year with appearances in IMAGINARY HEROES and Liev Schrieber’s upcoming THE HEART IS DECEITFUL) plays Mark, a drifter who is obsessed with the endangered loggerhead turtles that populate the beaches of North Carolina. He is befriended by George, a friendly hotel owner who gives him a place to stay and some stability in his aimless life. Bonnie Hunt puts in a powerful performance as Grace, a woman whose life has gone off course. She is staying with her mother (Michael Learned) and suffering over the guilt of giving up her son for adoption over 20 years ago. Meanwhile, Tess Harper shows subtle nuances as a minister’s wife who learns unsettling news about her adult adopted son who ran away years ago. The three stories interweave to tell a powerful tale about love and acceptance. 3 ½ cats.

5 X 2 5 X 2
directed by François Ozon
The director of SWIMMING POOL, 8 WOMEN and UNDER THE SAND takes a slight stumble with his latest feature 5 X 2. Ozon shows us five stages in a couple’s relationship beginning with the day of their divorce moving backwards through time to the time they first got together. Each time we think we know what caused the disintegration of their marriage, we move further back and learn something that happened even earlier in their relationship. 5 X 2 tells a simple story, and unfortunately, it’s not all that compelling. The acting is good, especially Valeria Bruni-Tedeschi’s work as Marion (she also starred as Béatrix in COTE D’AZUR). 3 cats

CLEAN
directed by Olivier Ossayas
Seeing CLEAN a second time confirms for me what a powerful film it truly is. Assayas has created an unsentimental portrait of a woman struggling to overcome a heroin addiction in order to regain custody of her son. The key word in that last sentence was “unsentimental.” Maggie Cheung puts in a tour de force performance, avoiding histrionics. Strong support is on hand from Don McKellar and Beatrice Dalle. Intrinsic to the story is the indie music scene, with appearances by Tricky and members of Mazzy Star playing themselves. Assayas wrote CLEAN specifically as a vehicle for his ex-wife Cheung, and the care with which her character is drawn is evident. 5 cats

GAME 6
directed by Michael Hoffman
This quirky film is reminiscent one of production team Griffin Dunne and Amy Robinson’s earlier collaborations, AFTER HOURS. Director Hoffman takes a darkly humorous look at the world of theater and the passion of the Boston Red Sox fan. Michael Keaton plays Nicky Rogan, a successful playwright whose latest work is premiering on the same night that his beloved Red Sox are playing the Mets in the World Series, 1986. Historically, we know the Sox didn’t win the Series in ’86, but for Rogan, possibility is still hanging in the air before him. To complicate matters, Steven Schwimmer, a notorious NYT theatre critic is scheduled to review Rogan’s play. Schwimmer has earned a reputation of destroying playwright’s careers with his brilliant yet devastating reviews. Rogan spends his day becoming increasingly agitated about the future of this important play, as well as cynical about the fate of his beloved Sox. An impending divorce and the disappointment of his college-aged daughter seem like secondary concerns to him.

Director Michael Hoffman (SOAPDISH; A MIDSUMMER NIGHT’S DREAM) follows Don DeLillo’s twisted yet almost poetic script through a variety of turns before coming together in a powerful conclusion. Yo La Tengo provides some terrific music for this singularly original script. While Hoffman veers slightly in various points, the finished product is thought-provoking and fun. 3 ½ cats

Of course the best part about PIFF is hanging out with our great friends. Thanks to Sue and Chuck for putting us up as usual! And to the Gifford House gang, Beth, Rick, Bruce, Luis, and Chris. And it’s always fun to see so many Boston-area film faces, Denise, Ivy, Ned, Karen, Clinton, Carolyn, Gerry & Amy… the list goes on. For an enjoyable early summer jaunt, PIFF is always tons of fun.

P-Town Wrap-Up

by Chris Kriofske

I wasn't planning on attending the Provincetown International Film Festival this year; I figured I'm going to Toronto in September and might as well save up for that. Besides, just about everything that plays P-Town makes it to Boston sooner or later.

Still, by the second week of June, I was starting to play around with the idea of going just for the day, to get out of this great, but sometimes tiresome, constricting city and head closer to the coast. I love P-Town for the ocean but also for its otherness, and the trip was just what I needed to cure my Boston malaise. Here are the four films I saw over two days:

LAST DAYS
directed by Gus Van Sant
Gus Van Sant’s latest continues the experimental narrative style of GERRY and ELEPHANT. Sadly, it’s not as existentially deep and original as the first film and nowhere near as formally brilliant and convincingly tense as the second one.

Set in a vast crumbling mansion in the Pacific Northwest woods, LAST DAYS follows Blake (Michael Pitt), a troubled, drugged up rock musician (who bears more than a passing resemblance to Kurt Cobain) shambling through this landscape. He mumbles, carries a rifle, dazedly watches a Boyz II Men (!) music video, makes mac ‘n cheese, occasionally strums a guitar, and mumbles some more. Friends, bandmates, and members of his entourage also hang out nonchalantly, mostly in the background. They leave town after Blake offs himself near the film’s end for fear of implication in his death.

It’s no surprise that Van Sant originally set out to make a film specifically about Cobain and was denied the rights to do so, and it’s damn near impossible not to think of Blake as a Cobain surrogate. Pitt is eerily convincing, but he delivers more of an impression than a performance, and neither he nor the director has anything enlightening to say about this archetype: the tragic, suicidal musical icon. The film just meanders about aimlessly, without stirring up enough passion or real emotion for us to care.

Having said that, LAST DAYS is not entirely worthless. A few scenes (particularly one where Blake meets with a soliciting Yellow Pages adman), are amusing, almost interesting, even; they look back to the engaging offhandedness of Van Sant’s earliest work. As a whole, it’s also beautifully shot and in a few instances, haunting. But that doesn’t mean it wouldn’t have made a much better short. In the time since I’ve seen ELEPHANT and GERRY, two films I found equally baffling and intriguing, I’ve been more and more eager to return to them and bask in their spatial, temporal puzzles. Can’t say the same for this one, though. It’s encouraging that Van Sant wants to continue his descent from conventional filmmaking into the unknown, but he should navel gaze less and edit more. 2.5 cat

5 X 2
directed by François Ozon
Having seen all of Francois Ozon’s features except for SITCOM, I can say that he’s never made a bad film, but his latest is the closest he’s come to being boring. 5x2 begins with Gilles (Stephane Freiss) and Marion (Valeria Bruni-Tedeschi), a bourgeois married couple filing for divorce, then proceeds in reverse chronological order, providing us with five glimpses of their relationship, going all the way back to when they first met.

Ozon isn’t the first person to construct a film this way: see MEMENTO, IRREVERSIBLE, and Jane Campion’s obscure but wonderful first feature, TWO FRIENDS. While it’s enriching to view the later sequences with the hindsight and almost illicit thrill of knowing what’s going to happen to these people (and how they are so clearly doomed as a couple), it’s also not very deep—more of a novelty, really. There’s little of the inspired, fervent discourse of a superior disintegrating relationship film like Bergman’s SCENES FROM A MARRIAGE.

Bruni-Tedeschi’s performance grows in assurance and resonance as the film progresses, but Gilles and Marion ultimately seem like a bland, unexceptional case study. Even with their quirks and revelations, they’re reduced to coming across as a generic test couple in an exercise. Loved the woman who played Gilles’ supremely bitchy ex-girlfriend near the end, though. 3 cats

CLEAN
directed by Olivier Assayas
I have a problem with films that morally judge and punish their characters for their addictions—it’s partially what makes REQUIEM FOR A DREAM unwatchable for me. Fortunately, CLEAN doesn’t so much reprimand its antagonist, Emily (Maggie Cheung), for her heroin addiction as much as it honestly lays out on the table the inevitable consequences of such a lifestyle.

When a tragedy involving her aging-rocker lover, Lee, radically alters Emily’s life early in the film, what follows isn’t so much an inspirational, movie-of-the-week tale of recovery against all odds, but a more realistic chain of events: one of redemption, but also self-actualization. Her obvious goal is to see her estranged young son, Jay, who is in the care of Lee’s parents. She knows the only realistic way to accomplish this is in sobriety, yet her attempts to reach this goal aren’t implausible or clichéd.

Split between the glowing, meditative oil refineries of Hamilton, Ontario and the cosmopolitan, claustrophobic streets of Paris, CLEAN also uses the music industry as a backdrop. As it delves into grand themes of death and rebirth, it also sheds light on the inner workings of that industry, which prove to be both a boon and a curse to Emily’s struggle.

Naturally, Cheung is magnificent and Nick Nolte also turns in a strong performance as Lee’s father. The relationship that develops between Emily and him is touching and unsentimental. Beatrice Dalle and Don McKellar also show up in fine supporting roles. In fact, given a week to absorb this film, I’d go as far to say that it’s absolutely flawless—I really can’t think of a single complaint. With the right support from its distributor, this very well could be director Olivier Assayas’ commercial breakthrough—it’s undoubtedly an artistic one. 5 cats

FORTY SHADES OF BLUE
directed by Ira Sachs
A surprise Sundance Grand Jury Prize winner, this film from director Ira Sachs (THE DELTA) is also firmly entrenched in the music industry, specifically Memphis’. Alan (Rip Torn) is a veteran white jazz/blues musician. His estranged son, Michael (Darren E. Burrows) returns home to attend a ceremony where his father is receiving a lifetime achievement award. Michael soon bonds with Laura (Dina Korzun), his father's young Russian lover with whom Alan has a three-year-old son.

That’s pretty much the plot of this often quiet, tremendously subtle, European-feeling character study. It arrived at a predictable conclusion, but the way it got there is what kept me awake. I was less taken by the main narrative and more by the many incidental scenes that end up painting an intricate portrait of this particular community (something THE DELTA also did very well). Burrows doesn’t have the range to pull his crucial part off, but Torn is well-cast as a towering figure who’s alternately a volatile beast and a loving pussycat. It’s Korzun, however, who really carries this film’s weight—see it chiefly for her. 3.5 cats