"Updating a popular boulevard farce and employing a shrewd sense of its vintage camp elements, Ozon and his stellar cast poke fun at the foibles of French society and the war between the sexes. Set in the late 1970s in the provincial town of Sainte-Guenole, Suzanne Pujol (Catherine Deneuve) lives a bourgeois life dutifully waiting on her philandering husband Robert (Fabrice Luchini), who seems to be managing the family umbrella factory into bankruptcy. Everyone thinks that Madame Pujol is just “une potiche”—a trophy housewife—but when labor troubles break out at the factory and her husband has a heart attack, Madame has to take over the business. Aided by her Communist ex-lover Babin (Gérard Depardieu), she quickly proves that she’s more than mere decoration, setting in motion a suitably complicated power struggle for control of the business."
Information about the opening night screening (and the accompanying opening festivities) can be found at the official PIFF 34 site. The madness begins now.
I entered into the Whitsell Auditorium for Tuesday's PIFF press screenings expecting to begin the day with a Chinese take on the Hollywood disaster film. After all, this is certainly what the trailer for Aftershock would lead most people to believe:
In actuality, Xiaogang Feng's film is a dramatic feature that takes place almost entirely after the events of the Tangshan earthquake of 1976, which, according to the film, claimed the lives of over 240,000 people. We're given entry to this tragedy via a set of fraternal twins and their mother, separated by the disaster.
The first fifteen minutes of the film, in which we meet this family and get to see the natural disaster unfold, shows a lot of promise. But when the post-earthquake rescue is followed by the first of many narrative leaps into the future, things begin to unravel quickly and the movie loses focus. From there, the film slowly devolves into one long slog where it becomes increasingly difficult to care much about any one member of the family, due mostly to the director's stubborn resistance to providing the audience with a central protagonist. Aftershock is almost 2 1/2 hours long (it feels longer). And it's very apparent where the story is headed almost from the moment the post-quake rescue effort is summed up (at about the 15 minute point).
I should mention that Aftershock is the biggest domestic box office success in the history of Chinese cinema. Go figure.
Aftershock plays at the Whitsell Auditorium on Feb. 13th at 7pm. It screens again at the Broadway Theater on Feb. 14th at 7pm and one last time at the Whitsell Auditorium on Feb. 17th at 5:30pm.
Pernille Fischer Christensen's (Soap) newest film, A Family is a well sculpted piece of cinema concerned with the issues of duty, love and, you guessed it, family. Ditte is the eldest daughter of Rikard, the proprietor of a bakery that's been in the family for three generations. Rikard, whose health is failing him, needs an heir to the family business and looks to Ditte to assume that role. Leading up to her father's request, Ditte's been offered an enviable position at a gallery in New York and, along with her boyfriend Peter, has made sacrifices in order to accept the job.
Audience members seeking a reprieve from the realities of life need not apply for a seat at this table, as what at first seems like a light chamber drama develops into a dark and mournful film. However, the acting alone, especially from Jesper Christensen as Rikard and Lene Maria Christensen as Ditte, is worth enduring the expected Scandinavian heaviness. Very highly recommended.
A Family plays at the Broadway Theater on Feb. 12th at 3:15pm and 8:45pm and again on Feb. 14th at 9pm.
I'm still fairly new to this blogging stuff, so the site is still somewhat under construction. Just wanted to point out a few new additions to the page:
#1 I've added the ability for readers to subscribe to a feed for the blog. If you find what's going on here interesting, go ahead and take advantage of that feature (found in the upper right hand corner of the page). It's the easiest way to get new posts as soon as they're published.
#2 There's a short list of links for other blogs that I enjoy reading, including local blogger Anne Richardson's great Tall True Tales: Oregon Film A to Z site. One of her more exciting recent posts? An announcement that the Oregon Film Commission will be hosting a pre-release screening of Kelly Reichardt's (Wendy & Lucy, Old Joy) Meek's Cutoff (starring Michelle Williams) at the Elsinore Theater in Salem, Oregon. Check out Anne's site for more info!
#3 I've added the ability to share via Facebook & Twitter, as well as the ability to perform a Google search through the posts. Now you can share and search to your heart's content, people!
Hope these changes make it easier to enjoy the blog. Keep an eye out for future posts...or subscribe to the feed and you won't even have to pay that close of attention!
I was feeling pretty run down when Monday morning crept around and, as a result, only caught the first of the two features programmed for that day's press screenings. The second one, Human Resources Manager from Israel, is scheduled for a dvd release in April via the Film Movement dvd label, so I'll likely get around to it sometime 'round then.
I've been looking forward to seeing Boyever since the festival schedule was announced. It's the second feature from New Zealand actor/director Taika Waititi, following the indie-cult success of Eagle vs Shark (2007). Here's the trailer for that earlier feature:
Eagle vs. Shark gathered more than a few comparisons to Napoleon Dynamite, which, if you watch the trailer above, seems fair. Except, while I didn't much care for Napoleon D, I really dug its New Zealand cousin quite a bit. Chalk it up to different strokes for different folks...or a love of NZ accents (maybe).
Waititi's new film is an ever slightly more mature product, inspired in part by his 2003 Oscar-nominated short film Two Cars, One Night:
Boy tells the story of a kid named, appropriately enough, Boy. After his mother died giving birth to his younger brother Rocky (yes, it's a pop reference--watch out, there are MANY), their father, Alamein, was thrown in prison for robbery. In their father's absence, the kids have been under the care of their grandmother. That is, until shortly after the start of the film, when Alamein is released from prison.
Thus far, Waititi's characters have all been misfits and dreamers and Boy is no exception. He's obsessed with Michael Jackson to an almost unhealthy degree, mentioning him no less than three times during the introduction. He's friends with a goat. And, to top it all off, Boy is pretty sure that his father is a war hero, rather than a convict.
Alamein's return proves him to be no less delusional than his son, smoking endless amounts of marijuana and drinking all day instead of taking proper care of his kids. Nevertheless, Boy quickly transfers his hero worship onto his father, even seeing him take on the signature moves of Michael Jackson to comic effect.
Perhaps because the narrative is filtered through the consciousness of a child, Boy comes off as less self-conscious and twee than Eagle vs. Shark felt at times. Although I enjoyed both films, I'm guessing that the second feature will likely pull in more viewers.
Boy plays at the Broadway Theater on Feb. 13th at 1:45pm, Feb. 17th at 6:45pm, Feb 18th at 6pm and Feb. 19th at 8:15pm.
Just in case anyone's curious about the second film that screened on Monday, here's the trailer:
Human Resources Manager plays at the Broadway Theater on Feb. 12th at 8pm, Feb. 13th at 2:45pm and Feb. 13th at 5:15pm.
I've spent a lot of time this week writing about the films that are about to play at this year's Portland International Film Fest. Here's a short list of some of the best films I've caught at the annual fest (mind you, I've only been living in PDX for about 6 years now):
I'm not even going to bother pretending that Friday's press screenings for PIFF need much vetting, since the festival programmers saved two of the most critically acclaimed films at the fest for the end of the week. Along with Monday's screening of Silent Souls from Russia, If I Want to Whistle I Whistle and Certified Copy were the finest features of the week. Whereas viewing the previous day's screenings had felt a bit like doing homework, Friday's films were an absolute joy to watch.
Florin Serban'sIf I Want to Whistle, I Whistle peers deeply into the world of Silviu, a teenage inmate at a juvenile detention center in the Romanian countryside. Two weeks before he is to be released from the institution, Silviu is visited by his younger brother, who informs him that their mother has returned and has plans to abscond to Italy in one week with the younger brother in tow. Being the damaged product of his mother's care, Silviu is shaken by this news and enters into an unsteady campaign to prevent their mother from realizing her intentions.
Romanian films aren't exactly known for their light and airy approaches to narrative and this one doesn't stray at all from that preconception. Serban's camera places Silviu in an emotionally unforgiving and cold terrain that owes a debt of influence to the films of Jean-Pierre and Luc Dardenne (Rosetta, La Promesse). Like those Belgian filmmakers, the director abstains from the use of unnecessary exposition to tell his story, preferring to observe behavior rather than explain it. It's a strategy that pays off in dividends, as we are placed intimately into the spaces occupied by the young protagonist and forced to grapple with his frustrations and decisions. If I Want to Whistle, I Whistle is a great film by an emerging talent.
If I Want to Whistle, I Whistle plays at the Broadway Theater on Feb. 11th at 7pm, Feb. 12th at 5:15pm and Feb. 15th at 9pm.
Iranian filmmaker Abbas Kiarostami (Ten, Close-Up) is without debate an established master in the contemporary cinematic canon, celebrated critically and at film festivals the world round. Which, unfortunately, doesn't translate to most of his films being very accessible to the majority of film goers. Experimental documentaries and narratives set almost entirely in automobiles apparently don't thrill the masses, regardless of how many film geeks gush at the mere mention of Kiarostami's name. His new film, Certified Copy, starring French film star Juliette Binoche (who won the best actress award at Cannes for this performance) and the world-renowned opera baritone William Shimell, has more potential to draw in new viewers to Kiarostami's work than any of his films since the much loved 1997 feature, Taste of Cherry.
Which is not to say that Certified Copy is without its own experimental devices, as the film certainly blurs its narrative into an exercise wherein reality takes on the shape of the ideas being debated by the characters. However, these unorthodox narrative tendencies are made entirely palatable by the sheer loveliness of the performances, the lush look of the film and the tireless wit of the screenplay. I won't bother with describing the actual story, as it's best encountered freshly and without preformed notions about its plot.
At this point, there's still another two weeks (and twenty films) left in the PIFF press screening schedule. For now, I declare Certified Copy the one to beat.
Certified Copy plays at the Whitsell Auditorium on Feb. 12th at 3pm and Feb. 14th at 8:45pm.
Four days into these press screenings, I've seen five films (out of eight) that feature war torn landscapes. Can't express just how much this makes me look forward to some of the comedies that are scheduled for next week.
Thursday's first feature was Mohamed Al-Daradji'sSon of Babylon, essentially a road movie (on foot, bus, cart, etc.) set in Iraq shortly after Saddam Hussein's fall from power. A boy, Ahmed, and his paternal grandmother, Ur-Ibrahim, travel across a deeply scarred Iraqi terrain in search of the child's father, Ibrahim, who was reportedly imprisoned shortly after the Persian Gulf War of the 90s.
Admirably, the film narrows its perspective to reflect only the experience of the central characters, refusing to include too many explanatory details regarding the political tension of that time and place Rather than attempting to present an historical overview, Al-Daradji places much import upon the personal loss that Iraq's conflicted past has wrought upon Ahmed and Ur-Ibrahim. And it's the focus on the smaller details of their larger challenge that allows the film to succeed as much as it does in the end.
The First Grader tells the true tale of an elderly Kenyan man, Maruge, who wants to attend an elementary school that has recently opened in his village. Maruge is a survivor of the fight against British colonialism, which provides ample opportunity for the atrocities perpetrated against the Kenyan people to be relayed via flashbacks from Maruge's past. In addition to those flashbacks, we also get more than a few truncated nods to the rhetoric of tribalism (both past and present) in Kenya.
While the film succeeds greatly on a technical level (beautiful cinematography, good performances, tight editing, etc.), the actual treatment of the story is so lightweight and steered towards a "feel-good" response that it's hard to take the film very seriously at all. To make matters worse, the dialogue is peppered with groan-worthy platitudes that the filmmakers seem to have intended us to read as heartfelt and deep. An example: one character asks, "can't we just put the past behind us?" Another responds: "the past is always present, never forget that..."
Essentially, what we have here is a formulaic and slickly presented piece built around the notion that an inspirational true story always yields an inspirational film. In this case, the final product ends up serving as a strong challenge to that assumption.
The First Grader plays at the Broadway Theater on Feb. 11th at 6pm. An additional screening is scheduled for Feb. 14th at 6pm at the Whitsell Auditorium.
