LFF 2016 Day Six

I missed days four and five of the London Film Festival what with being away for the weekend for my birthday (I was in Manchester at a beer festival). Anyway, I returned on Monday 10 October and resumed watching films…


LoveTrue (2016)

LoveTrue (2016, USA, dir./DOP Alma Har’el)
Psychodrama is a new one on me, but it fits into a burgeoning interest in examining the intersection between the stories we have in us and the ways they can be presented: the focus seems very much to be on documentary-as-performance (with, notably, some acted recreations of events, though the actors are clearly identified and the nature of this collaboration becomes part of the film at several points). Here, there are three central protagonists (in Hawaii, Alaska and NYC) but the ways they deal with the other players in their lives, specifically at the level of love, are quite different. I think the achievement of Alma Har’el’s film is getting under the skin of characters who can be quite unlikeable (here I’m speaking chiefly of the men), and making them empathetic at some level. Romantic love almost seems like an illusory idea by the end, but there are definitely other forms of love that haven’t been abandoned in all three, and in the telling it goes in some surprising emotional directions. [****]


Interchange (2016)

Interchange (2016, Malaysia/Indonesia, dir. Dain Iskandar Said, wr. Said/June Tan/Nandita Solomon/Redza Minhat, DOP Jordan Chiam)
There’s an interesting film in here about the appropriative gaze of white colonialists, whose early-20th century photography was thought to steal the soul of tribal peoples. This idea is parlayed into a vampiric metaphor (people literally sucked of life and turned inside out) within a detective thriller genre framework, which would be fine if it didn’t rest its characters and narrative on so many other referential crutches (Se7en, Hitchcock films like Rear Window and Vertigo, not to mention a whole strand of Hong Kong police thrillers and that kind of thing). Ultimately I just couldn’t care about photographer Adam, or the police detectives — or anyone really — and too much of the characters’ dialogue was filled with portentous platitudes. Still, it never fails to look stylish, and there are some beautiful images. [**½]


Nong Hak (Dearest Sister, 2016)Nong Hak (Dearest Sister) (2016, Laos/Estonia/France, dir. Mattie Do, wr. Christopher Larsen, DOP Mart Ratassepp)
This is something unusual — a Lao-Estonian-French co-production — though as the director mentioned in a post-film Q&A, there’s no real Lao cinema to speak of (all her local actors are non-professional, even if they all do a great job). The film is ostensibly a ghost story, looping in supernatural lottery prediction, but the heart of the drama is of class and social mobility dividing the rich city woman Ana (who is losing her sight, her sense of perspective — do you see) from her poor country cousin Nok, whom Ana barely knows but who has been moved in to help her around the home by the rich woman’s white (Estonian) husband Jakob. The film is also canny about calling out the presence of western NGOs and their workers’ assumptions about Lao women. But this is not a film which fits into South-East Asian horror stereotypes, nor does it quite match up to the kind of slow-burn Thai weirdness of, say, Apichatpong Weerasethakul (though I’d put it closer to that). It has its own rhythms, and uses a tightly-focused handheld aesthetic to help put across some of the terror and uncertainty felt by its blind central character. [***½]

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Criterion Sunday 90: Kaidan (Kwaidan, 1964)

There is no doubting this film moves at a slow and deliberate pace and makes as much use of silence as it does of sound, but these are feelings that pass fairly swiftly as you get drawn into the uncanny atmosphere created by the studio sets and bold non-naturalistic use of colour (Kobayashi’s first film in colour, after a career of monochrome political and social dramas, some of which will show up later in the collection). There are four stories here, the longest being the third, “Hoichi the Earless”, but all of them largely revolve around the living betraying the secrets of the dead and being punished for it. The other stories are likewise strong, from the shortest, “In a Cup of Tea”, in which an author (Osamu Takizawa) is haunted by a face in his tea, to the first two: “The Black Hair”, following a poor swordsman (Rentaro Mikuni) who foolishly leaves his first wife to seek his fortune; and “The Woman of the Snow”, wherein a strange woman (Keiko Kishi) saves a young fisherman (Tatsuya Nakadai, doing his best gormless expressions), but with a caveat. It’s all set in a mythologised era in which the living and dead seem to live closer to one another, with characters like Takashi Shimura’s priest in “Hoichi” being unfazed by the idea of an undead army gathering in an amphitheatre to listen to blind bard Hoichi (Katsuo Nakamura)’s epic oral tale unfold. We listen to it, too, and it’s a wonderful thing, but then Toru Takemitsu’s score throughout is revelatory, with its musique concrète textures integrated into the action almost as a chorus (and sometimes replacing diegetic sounds altogether).

Criterion Extras: This new disc presents the full 183 minute cut (the older Criterion release only had the shorter cut), and adds some more extras. There’s a 15 minute archival interview with the director reflecting on his work, as well as a fuller piece with an assistant director who worked on the film and explains the genesis of this latest restoration.


FILM REVIEW: Criterion Collection
Director Masaki Kobayashi | Writer Yoko Mizuki (based on stories by Lafcadio Hearn) | Cinematographer Yoshio Miyajima | Starring Rentaro Mikuni, Tatsuya Nakadai, Keiko Kishi, Katsuo Nakamura, Takashi Shimura, Osamu Takizawa | Length 183 minutes || Seen at home (Blu-ray), London, Sunday 10 April 2016

Ghostbusters (2016)

It is apparently incumbent on every white dude on the internet to register his opinion on this new ‘reboot’ of Ghostbusters, the 1984 film which brought together a handful of comedic actors and writers (most prominently from Saturday Night Live) in a supernatural-themed comedy pitting aforesaid actors against a demonic threat to New York City. And so again we have a handful of comedic actors and writers (mostly from SNL) in a supernatural etc. etc. The remake largely refocuses the film on the four titular characters (three dorky scientists and one subway worker played by Leslie Jones) and their comedic interactions. Supporting characters — including their chief antagonist, who in a nod perhaps to the source of much of the online “criticism”, is an introverted, maladjusted guy with very little in the way of a defined character — are reduced to a number of cameos from the original cast, and a fine turn by another SNL alum Cecily Strong as the mayor’s sceptical and unhelpful aide. Oh, and Chris Hemsworth as a beefy but very very stupid receptionist, who threatens at times to steal the film. He doesn’t though, because Kate McKinnon does that, as the compellingly weird Jillian Holtzmann, who also gets one of the key later action sequences, a relatively short but thrilling single-handed paranormal combat. I don’t know, maybe the script isn’t so tight in all respects, and I have to concede I was pretty drunk when I watched it, but I really fail to understand a lot of the film’s critics. Perhaps the humour won’t appeal to everyone, but it all seemed pretty funny to me, plus there were scares reminiscent of the first film. And as far as I can recall, there aren’t any scenes of anyone being sexually pleasured by a ghost, so bonus marks for that. As I see it, though, quite aside from the comedy and horror, the key points are: representation for leading characters who are women, who don’t need the help of men, who get to be intelligent and have that define them rather than their looks or their sexuality, and who get a happy ending. That much seems rare enough in contemporary Hollywood blockbuster films that I think it’s worth trumpeting.


NEW RELEASE FILM REVIEW
Director Paul Feig | Writers Katie Dippold and Paul Feig (based on the 1984 film by Dan Aykroyd and Harold Ramis) | Cinematographer Robert Yeoman | Starring Melissa McCarthy, Kristen Wiig, Kate McKinnon, Leslie Jones, Chris Hemsworth | Length 116 minutes || Seen at Peckhamplex, London, Friday 22 July 2016

Histoire de Marie et Julien (The Story of Marie and Julien, 2003)

French director Jacques Rivette’s recent death may not have been a surprise, but it was unwelcome for fans of his kind of long-form slow-burn filmmaking — always a rarity on the film landscape — which seems to have aged little in the intervening years, unlike some of his mainstream contemporaries. The 1970s was a difficult decade for a lot of the old nouvelle vague filmmakers — difficult in the sense of seeing them struggle to integrate narrative with a rapidly fragmenting anti-authoritarian politics, though plenty of essential works came out of it — but Rivette continued to put out excellent films in the 1980s, 1990s and 2000s that repay the effort in watching them. The 2.5 hour running time of Histoire de Marie et Julien is about average for most Rivette films, but it allows for the development of feeling between two actors who seemingly couldn’t be more mismatched, Polish emigré Jerzy Radziwiłowicz as a clock repairer, and Emmanuelle Béart, who for various reasons doesn’t seem defined by her work. That said, the development of the story makes it clear that they’re not supposed to be, as there are increasingly odd hints that Marie isn’t what she seems. It’s all elaborated very subtly in the filming over the course of the four-act structure, with a certain quality of detachedness to Béart’s performance and the use of various mysterious objects imbued with an uncanny power (something of a favoured device for Rivette). As ever, Rivette’s cinema rewards greater attention from the viewer, so for my own part I can only confess to having watched it at home (never ideal) and that a cinema screening — should one ever come around, and one can only hope that there will be some retrospectives mounted over the next few years — may be the best way to experience his films.


FILM REVIEW
Director Jacques Rivette | Writers Pascal Bonitzer, Christine Laurent and Jacques Rivette | Cinematographer William Lubtchansky | Starring Jerzy Radziwiłowicz, Emmanuelle Béart, Anne Brochet | Length 150 minutes || Seen at home (DVD), London, Saturday 30 January 2016

Sud pralad (Tropical Malady, 2004)


SPECIAL SCREENING FILM REVIEW || Director/Writer Apichatpong Weerasethakul | Cinematographers Jarin Pengpanitch, Vichit Tanapanitch and Jean-Louis Vialard | Starring Sakda Kaewbuadee, Banlop Lomnoi | Length 125 minutes | Seen at Institute of Contemporary Arts, London, Sunday 24 October 2004 and Sunday 28 April 2013 || My Rating 2 stars worth seeing


© ICA Projects

There is no doubting that Tropical Malady is a strange film. It is perplexing and operates in registers that few films do, and thinking back on it I really want to like it for what it does, and for being so resolutely unlike other films. It is a film that pushes at the boundaries of what being human means, and what separates us from animals, but it does so in a demandingly oblique way, so much so that I’d actually seen the film nine years earlier but could not remember it at all (though that may just be my own memory being terrible).

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