The cold July winter in Melbourne once again brings the illustrious international film festival to town and, along with it, a vast selection of films from all around the globe.
This year’s line-up is a typically eclectic mix, including a healthy number of 2010 festival darlings that has us in revelry even if an apparent budget cut in guest recruitment has resulted in a significant drop in the caliber of guests from last year that included the likes of Quentin Tarantino, Carey Mulligan and Nicolas Winding Refn.
Nevertheless, it’s the films that matter and until the festival’s end, we hope to provide a taste of what’s going on. Here’s a handful of capsule-like reviews of what we’ve seen in our the first few days, which kicked off with sheer experience that was the 321 minute epic, “Carlos.”
“Carlos”
This three-part epic spanning the birth, rise and fall of Carlos the Jackal is, for the most part, awe-inspiring filmmaking by Olivier Assayas but falls a touch short of being a remarkable cinematic achievement. The first chapter is the shortest at 98 minutes but is oddly the most accomplished installment, following his early days with the Popular Front for the Liberation of Palestine and tracking his gradual transformation from one Ilrich Ramirez Sanchez to the famous terrorist known as Carlos. Episodically but smoothly transitioning, the second installment begins as Carlos is en route to his most infamous work, the hijacking of a 1975 OPEC meeting in Vienna. This momentous incident dominates much the chapter and, through the execution of the plan, we see Edgar Ramirez flourish as the solider and leader dedicated to his cause.
With the conclusion of that saga, however, the film begins to explore less substantial political and relationship activities that lead to the slow downfall of the titular character — Carlos begins his own wing of activism but slowly finds himself a leader and fighter with no one to lead and nothing to fight for. It’s somewhat understandable as a mirror of Carlos’ own life, but the second half of the film just throws away much of the momentum built earlier leaving it to grind to an anti-climactic halt. A shortened two-part cut for its upcoming theatrical release may actually result in a more satisfying piece of work, although that’s not to say we’d prefer it any other way; the meticulous details and intricacies in Assayas’ characterization and story were remarkable and played out as if it was history on screen — despite persistent warnings of fictionalizations. Complements must also be paid to the array of musical cues throughout which are outstanding and appropriately eclectic. [B+]
“Winter’s Bone”
Debra Granik’s sophomore effort is a stark, chilling tale of loss and desperation through the eyes of a headstrong teenage girl forced to deal with the disappearance of her father in order to save her family home and provide for her two younger siblings and indefinitely unwell mother. Jennifer Lawrence, whose barely unseen throughout, lives up to the hype of her performance as the centerpiece of the film as does John Hawkes who plays her menacing uncle. Like her debut “Down To The Bone,” Granik’s raw depiction of family life sets up the story well (Lawrence and her siblings have remarkably natural and heartwarming interaction) but it’s the harsh Missouri environment and Ozark underworld Granik brings to life that’s most impressive; aunique cinematic experience that provides the spiral our protagonist must fall down in order to bring stability to her family and home. [A-]
“Cell 211”
Daniel Monzon’s prison-set thriller is a tense ride through a riot that unfortunately suffers at the hand of unforgivably contrived plot points and questionable character actions and motivations; much of which we could have let pass if they ultimately amounted to something. Bluffing his way as a fellow cell mate after an accident during his orientation leaves him amongst the inmates, our guard-to-be protagonist Juan attempts to navigate his way through the vast cliched prison network he has been thrown into — including the charismatic leader Malamadre played by familiar Spanish thespian Luis Tosar — and a ridiculous domino effect of events in order to escape to his pregnant wife. [C+]
“The Housemaid”
Im Sang-soo advertised his own brand of satirical commentary of “stupid” Korean culture in his films though it’s that very predicament that may have hindered his remake of the classic 1960 erotic thriller. While it’s beautifully shot with vibrant colors on a stunning set (apparently the most expensive in Korean cinema history) there’s seemingly a lack of definition in character, narrative and tone for the story of a young housemaid of a upper class family whose affair with the father leads to a pregnancy that catalyzes a game of sabotage from the wife and mother-in-law. Strong performances from the female leads though, particularly the disillusioned, experienced housemaid played by Korean veteran Youn Yuh-jung, does make it redeemable viewing. [C]
“HaHaHa”
Skillfully framed by a reminiscing conversation shown on-screen only by still photography and voice overs (a la Chris Marker’s iconic “La jetée”), Hong Sang-soo’s romantic comedy is a fleeting, retrospective depiction of the interconnected lives of two friends over a particular summer in a small Korean seaside town that’s refreshing, humorous and heart-warming. Kim Sang-kyeong and Yoo Joon-sang lead with charm and hilarity respectively playing a socially awkward filmmaker and his adulterous film critic friend whose memories provide for the interwoven tale spun with a touch of ’70’s Woody Allen in its array of interesting characters, compelling dialogue, unique character moments and twisted concoction of romances and relationships. Definitely deserves a larger audience. [B+]
“The Kids Are All Right”
Lisa Chodolenko’s riotously funny and deeply affecting film was a huge crowd-pleaser at the festival and rightfully so with it’s smart, sharp script and supreme performances, particularly by leading ladies Julianne Moore and Annette Bening whose tailored characters shone through. Both seamlessly embody their characters; the uptight but successful control freak and the aimless spiritual hippie who are the lesbians parents suddenly faced with a threat to their “unconventional family” after their kids (Mia Wasikowska and Josh Hutcherson) seek out their original sperm donor, played by Mark Ruffalo. It’s a perfectly balanced family dynamic which has seemingly been attempted and failed endless times before. Further, Chodolenko expertly juggles the hilarity and drama of the issue and yet somehow manages to never seep into sentimentality despite its Californian setting and exploration of gay parents. [A]
“Boy”
Taika Waititi’s sophomore film is an equally hilarious, charming and affecting ’80s coming-of-age tale that follows the story of the young titular character in his small coastal New Zealand town. Boy (James Rollerston) is regularly inspired by his idealized father who, in reality, is nothing more than an immature small-time crook presumably away serving time and/or running from the ghost of the deceased mother of his children. Upon an unexpected reunion though, Boy is ecstatic with his dreams of a family life with his hero father and brother Rocky closer than ever — that is until he sees his father for how he really is. The film gleefully encapsulates the spirit of childhood in a zany but hearty comedic style not unlike that of regular Waititi (who also plays the father) collaborators Flights Of The Conchords. Hopefully the film can find an international audience having conquered its native box office. [A-]
“The Unloved”
The directorial debut of actress Samantha Morton is a grim, semi-autobiographical tale that follows 11 year old Lucy (a wide-eyed Molly Windsor) as she finds herself thrown into the well-meaning but hollow public child care system. Lucy attempts to adapt to her new life along with her rough-around-the-edges roommate and mentor (Lauren Socha) but soon finds a similar sense of threat existing at what was suppose to be her salvation. Morton unflinchingly shoots from the perspective of Lucy throughout the feature with sound design and a delicate score that amplifies this often dreamy adolescent state. Closing with an extended, audience-reaching scene of Lucy glaring into the camera and statistics on the state of the child care system, Morton has successfully created a compelling work of cinematic activism. [B]
Also, the marketing for this year’s festival is going by the pictured motto (it’s a matter of taste) but specific marketing has been geared at a brewing rivalry between Choctop and Popcorn mascots. Here’s the official television ad that we found cute the first time around, but playing in front of every film means it has worn out on us pretty quickly.
