Friday, March 9, 2012

POWFest 2012: 10,000 TREES, AN ORDINARY LIFE & MARION STODDART: THE WORK OF 1000



Saturday afternoon's POWFest schedule brings a trio of thematically-connected documentaries about individuals whose lives are inextricably linked to their actions on behalf of the natural world.  From tree-planting to chronicles of direct activism, the films take a complex view of three people who looked outside of themselves and chose to practice stewardship of the planet's resources.



A still from 10,000 Trees


10,000 Trees tells the story of Victor Kaufmann, a man whose wide-open plot of farmland inspired him to begin planting trees.  Sarah Berkovich and Sarah Ginsburg's film catches up with Kaufmann as he is about to plant his 10,000th tree on the property; an accomplishment which Kaufmann's son describes as a "milestone," rather than the end of the journey.



A still from 10,000 Trees


For much of the film, Kaufmann comes off as simplistic in his world view; an assumption that is amply rebutted in a moment where he reads aloud from a letter written to his granddaughter.  In the handwritten note, he offers up his understanding of the problems and meager solutions found in this world, showing both self-awareness and humility concerning his own role within that balance.  

It's a beautiful moment in a film that already does so many things well; it's exceptionally well edited (note the moment when Kaufmann asks if he should begin describing the environment of his shed), gorgeously shot and contains more than enough air within the piece to really let the story breathe.






A still from An Ordinary Life


Patricia Somers' An Ordinary Life focuses on Dot Fisher-Smith an octogenarian activist whose consciousness became roused and redirected in the upheaval that was the 1960s protest scene, bringing her to spearhead actions against logging, war, etc.  At the same time, Fisher-Smith is a practicing Buddhist whose life philosophy reflects her spiritual search.  She's also one hell of a talker, something that becomes abundantly apparent only a few minutes into the film.



A still from An Ordinary Life


An Ordinary Life barely has a second that isn't pushed forward by Dot's scene-grabbing personality.  What this delightful character study sometimes lacks in focus, it makes up for in charm, effectively mirroring the woman who is its subject.



An Ordinary Life - Trailer from Patricia Somers on Vimeo.



A still from Marion Stoddart: The Work of 1000


By far, the most inspiring of Saturday afternoon's documentary showcase is Marion Stoddart: The Work of 1000Susan Edwards and Dorie Clark's impeccably constructed film highlights Marion Stoddart's trailblazing efforts in the mid-1960s to restore the Nashua River, after decades of neglect had left it filled with industrial waste and unusable by the communities through which it ran.


A still from Marion Stoddart: The Work of 1000


Stoddart spearheaded a campaign that began with gathering signatures, eventually forming the Nashua River Watershed Association, paving the way for a monumental reassessment of the manner in which communities, government and industry interacted with that body of water.  For all that she accomplished, Stoddart comes across as someone who views herself as ordinary, stating as much for the cameras when discussing how she and her husband met.


A still from Marion Stoddart: The Work of 1000


The subtitle of the film springs from an inspirational quote that Stoddart stumbled upon in a magazine.  Most people would have been satisfied enough with reading that "one person can do the work of 1000;" but then, Marion Stoddart is not most people. 




Festival passes can be acquired at this link and tickets for individual screenings can be purchased here.

10,000 Trees, An Ordinary Life & Marion Stoddart: The Work of 1000 will screen together at POWFest on Sat., March 10th at 2:30pm at the Hollywood Theatre.

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Thursday, March 8, 2012

THE FILMS OF NICOLAS WINDING REFN: FEAR X (2003)



For his third feature, Fear X, Danish-born director Nicolas Winding Refn brings his uniquely effective eye for cinematic violence to America.  He couldn't have chosen two more appropriate symbols for the country than the film's setting--a shopping mall--and the violence with which the plot concerns itself; it's located in the past, connoting a history of violence, as well as the dark potential for future mayhem.




Harry Caine (John Turturro) spends his days as a rent-a-cop in a Midwestern shopping mall.  He squanders his nights pouring over vhs tapes filled with security footage.  What Harry is looking for is an answer to his grief; his wife was murdered in the parking lot of his workplace.  He says he's not in search of "who" as much as "why."

With a tightly-wound script written by Refn and novelist Hubert Selby Jr. (Last Exit to Brooklyn, Requiem for a Dream), the film offers little solace to the viewer that such questions will be answered, focusing instead on the obsession and repetition that has supplanted the vitality that one assumes once constituted Harry's existence.




As in Drive (as well as other works by its director), the influence of David Lynch is palpable in Fear X.  Refn's co-opting of Lynchian atmospherics doesn't attempt to replicate the great surrealist's works, necessarily.  Whereas Lynch employs his stylistic excesses to explore the extremes of human nature, Refn is less interested in the analytical than he is in scenarios and environments that sort individuals into the roles they are compelled to perform.




We're not talking Joseph Campbell here, though; Harry is neither a hero, nor particularly suited to the task that he must complete.  He does undertake a journey that, depending on how you read the ending, is either frustratingly literal or symbolic in nature.

And that ending is a humdinger, I tell ya.  It's likely to upset the same people who strongly disliked the conclusion of No Country for Old MenBut adventurous film goers (you know who you are); those who love nothing more than a post-screening breakdown of a movie, will be thrilled by what's offered up here.

I'm going to go out on a limb here and say that I enjoyed Fear X more than DriveBOOM!  I said it.







Fear X will screen at the NW Film Center's Whitsell Auditorium (in the Portland Art Museum) on March 11th at 5pm & March 14th at 7pm.  The film is part of the retrospective series, Driven: The Films of Nicolas Winding Refn.


Related links:
The Films of Nicolas Winding Refn: Pusher
The Films of Nicolas Winding Refn: Pusher II: With Blood on My Hands 
The Films of Nicolas Winding Refn: Pusher III: I'm the Angel of Death
The Films of Nicolas Winding Refn: Drive


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POWFest 2012: EI VOOR LATER (EGGS FOR LATER) & ANGEL FOR HIRE



POWFest 2012 serves up a double bill of documentaries on fertility-related issues for its Saturday (3/10) afternoon screenings.  One film, Angel for Hire, takes more of a historical perspective on its topic, adding perspective and focus to a story being told in the present, while the other, Ei Voor Later (Eggs for Later), is more in the mold of  Ross McElwee (Sherman's March) piece; a personal story told by its filmmaker, overflowing with charm and easy identification.


A still from Ei Voor Later


Ei Voor Later (Eggs for Later) picks up just as its director/subject Marieke Schellart is about to celebrate her 36th birthday.  She candidly addresses the camera about her growing anxiety as a woman who wants children but hasn't yet found herself in a situation that has produced them.  Schellart allows us to tag along with her as she investigates having her eggs medically frozen, granting her options for conception beyond her natural window of opportunity.


A still from Ei Voor Later


Unlike in the U.S., the scientific community of the Netherlands, where Schellart lives, is only beginning to come to grips with the technology and social implications of the procedure.  As such, Ei Voor Later becomes just as much involved in discourse around these issues as it is about one woman's journey.  The most entertaining moments in the film center around the debate as it occurs in Schellart's own circle of family and friends.  Ei Voor Later is a fun and involving take on a subject that might have been dry and impersonal in less capable hands.






A still from Angel for Hire


Mary Flynn and Nina Goodby's Angel for Hire locates its dramatic arc in the story of one woman's fears that her surrogacy contract with an infertile couple may force her to have a cesarean section, due to complications with the pregnancy.  The film intercuts its primary tale with the background of Noel Keane, a lawyer who in the mid-70s became a pioneer in surrogacy practice.


A still from Angel for Hire


Keane's story adds a necessary historical layer to the film that enriches the entire piece.  And, even though the presentation of Angel's present-day application of Keane's work is impressive, I couldn't help but wish that the film had spent even more time on chronicling the struggles of the past, such as the story of Baby M.  As it stands, Angel for Hire shifts from a very good documentary to completely absorbing one each time it delves into the history of its topic.






Angel For Hire (Trailer) from Nina Goodby on Vimeo.




Festival passes can be acquired at this link and tickets for individual screenings can be purchased here.


Ei Voor Later (Eggs for Later) & Angel for Hire will screen together at POWFest on Sat., March 10th at 3pm at the Hollywood Theatre.


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Wednesday, March 7, 2012

POWFest 2012: THE SILENT TRUTH & SISTERS IN ARMS



Regardless of what your political views are on the military and military service, there are two must-see documentaries dealing with women in the military at POWFest this year.

First up is The Silent Truth; a look at the death of LaVena Johnson, a young female soldier whose demise while serving in Iraq was ruled a suicide by the U.S. Army.  Director Joan Brooker-Marks (Larry Flynt: The Right to Be Left Alone) gives Johnson's father and mother, John and Linda Johnson, the opportunity to tell the story of their struggle to get to the bottom of what they feel are a suspicious set of circumstances surrounding their daughter's death; their own investigation leading them to a horrifying truth about systemic mistreatment of women in combat situations.


A still from The Silent Truth

Brooker-Marks was clearly operating on a relatively small budget here but, very much to her credit, she's quite well-versed in laying out a compelling story, regardless of any economic restraints.  Her technique here includes the use of rough but very effective animation, emotionally compelling interviews with the Johnson family and the film's military consultant Colonel Ann Wright, and a well-rounded argument aided by ample research.  The Silent Truth is a heartbreaking documentary of great importance and it needs to be viewed by as many people as possible.


A still from The Silent Truth







A still from Sisters in Arms

Beth Freeman's Sisters in Arms explores the participation of women in combat situations via the stories of three Canadian soldiers.  The documentary doesn't spend any time quibbling over the issue of these women's right to be in combat.  Instead, the film proves the worthiness of its subjects through a balanced examination of their domestic and occupational lives, peppering in an appropriate amount of context related to the history of women in the Canadian army.  It's a very successful piece that reveals much about the kind of women rarely seen in film.  What more could you ask for from a documentary?


A still from Sisters in Arms


A still from Sisters in Arms







Sisters In Arms Trailer from Beth Freeman on Vimeo.





Festival passes can be acquired at this link and tickets for individual screenings can be purchased here.


The Silent Truth and Sisters in Arms will screen together at POWFest on Sun., March 11th at noon at the Hollywood Theatre.


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THAT GUM YOU LIKE IS GOING TO COME BACK IN STYLE @THE HOLLYWOOD THEATRE



David Lynch and Mark Frost's early 90s series Twin Peaks certainly qualified as event television during its first season.  It's a phenomenon that rarely occurs nowadays; a mass audience gathering around a single show, now that seemingly endless options on cable, audience time-shifting (via dvr, streaming options, etc.), tv on dvd and video-on-demand (VOD) have significantly fractured the way in which we view content, thereby reducing a given show's possibilities for the level of water-cooler potential (keep in mind that even something as critically celebrated as a Mad Men or Breaking Bad is, as far as Nielsen ratings are concerned, more of a cult-hit than a commercial success) that 20th century shows enjoyed.




But back to Twin Peaks; a show that, when it premiered in April of 1990, seemed to possess limitless potential for expanding notions of what television could do but, by the time of its cancellation just over a year later, ended up frustrating the majority of its initial fan base.  Plenty has been written about the mishandling of the show by ABC, so I won't waste time or energy detailing how both the creative and marketing teams behind the series failed to fulfill audience expectation.





Far more interesting is the show's continued influence on how television operates as a medium.  There's a phrase that's invoked quite often in critical circles to describe the current state of the tv landscape: a new golden age of television.  What's usually being referred to here is not the countless permutations of reality shows being hocked by the networks but the popular movement away from episodically-driven series to a more serialized form of scripted content.  Shows like The Sopranos and Lost (as well as the aforementioned Mad Men) are regularly cited as high water marks within this revolution in televisual storytelling.





It's difficult to imagine the current climate existing without the groundwork laid by Twin Peaks.  The show effectively showed how a series could break out of the self-contained episode trap that plagued much of tv before it.  Lynch and Frost also taught creatives like J.J. Abrams/Jeffrey Lieber/Damon Lindelof (Lost), David Chase (The Sopranos) the value of injecting soap opera tropes into prime-time dramatic fare.  But, beyond that, Twin Peaks helped usher in the notion that television could strive to be as good (and sometimes better) than cinema.  After all, what are the best shows of today other than extended films that just happen to be exhibited via television?




Watching Peaks now it's possible to appreciate the struggle between the creative, the commercial and the audience reception during its short run.  Lynch has stated on numerous occasions that he never intended for central mystery of the show ("Who Killed Laura Palmer?") to be resolved; a question for which, quite understandably, the average viewer wanted an answer.  Despite never really returning the heights of the initial 10 or so episodes, there are only a few truly awful missteps (this episode is a particularly stinky one) once that struggle was in play.

I'd even argue that the series finale is a brilliant slice of surrealist cinema smuggled into the average joe's living room; I can't personally think of a more subversive hour in broadcast television history (outside of, maybe, The Smothers Brothers Comedy Hour).





The pilot episode of Twin Peaks will be screened at the Hollywood Theatre tonight (3/7) at 9:30.  Beginning next Wednesday (3/14), the Hollywood will screen two episodes on Wednesday nights until "we find out 'who killed Laura Palmer.'"  More info available here











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Tuesday, March 6, 2012

POWFest 2012: Opening Night is All About Local Talent



POWFest (Portland Oregon Women's Film Festival) 2012 hits the ground running on this coming Thursday with a night of short films produced by local artists.  The presentation underscores the festival's ongoing commitment to Portland talent.  Even as they've tapped notable guests from without (for instance), POWFest has always strongly reflected and honored women's contributions in the local film community and this year's edition is no exception.

Highlights include:

Not To Be Taken, directed by Emily Setzer
A pensively-pitched drama that takes place across two time periods, featuring an outstanding performance by Patricia Zapp as a woman haunted by past events.


A still from Emily Setzer's Not To Be Taken


The Lost Van Gogh, directed by Jessica Lyness
A whimsical piece centered around the provenance of a neglected artwork, smartly captured entirely from the painting's POV.


A still from Jessica Lyness' The Lost Van Gogh


Stella's Flight, directed by Courtenay Hameister
A very funny film about ennui and what it takes for one women to break out of the cycle of chronic boredom.


A still from Courtenay Hameister's Stella's Flight


CPR, directed by Kimberly Warner
My favorite of the bunch, drawing dual inspiration from the visual aesthetic of Mad Men and the narrative sensibilities of The Twilight Zone.  Cinematographer Gary Nolton's impressive images leap off the screen.


 A still from Kimberly Warner's CPR


Festival passes can be acquired at this link and tickets for individual screenings can be purchased here.


The opening night Shorts 1: Locals Showcase kicks off this year's edition of POWFest on Thurs., March 8th at 7pm at the Hollywood Theatre.  An opening night party will follow at 9pm @Large Films.


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THE FILMS OF NICOLAS WINDING REFN: PUSHER III: I'M THE ANGEL OF DEATH (2005)



Fans of the Pusher trilogy are especially fond of Milo (Zlatko Buric), the Copenhagen-based drug boss who hunted Frank (Kim Bodnia) in the first film and appeared briefly in the second installment (in a subplot involving secondary character "Kurt the Cunt").  In Pusher III: I'm the Angel of Death, a much older-looking Milo takes center stage for his turn in the spotlight.  Of course, following suit with the treatment of the other antiheroes populating Nicolas Winding Refn's trilogy, the film catches up with Milo on a day where everything he touches falls apart.





As the film opens, Milo is attending a narcotics anonymous meeting.  When it's his turn to share, he glosses over his addiction, preferring to share his stress about plans for his daughter Milena's (Marinela Dekic) 25th birthday party.  After leaving the meeting, we see that Milo's still involved in the drug trade, although he's got a bit of a supply problem at the moment; a much younger set of traffickers are forcing him to accept their terms on a bad deal.  It's not long until the situation spirals out of his control, setting him up for both a relapse and an über-violent solution to his problems.

Refn is more in control of his craft here than in any other chapter in the trilogy.  Take, for instance, the moment where Milo's craving for junk returns; it's accompanied by the most frightening conveyance of addiction I've ever seen onscreen, telegraphed entirely by a sound cue and tight cutting.  Buric is frighteningly good as Milo here, affable at one moment, psychotic in the next.  It's his show and he makes the most of it, delivering a full-bodied portrait of the type of man it takes to succeed at a high level in the underground drug trade.





A warning: the film contains a level of gore in its third act that borders on the cutting-edge makeup and practical special effects that Tom Savini pioneered in 70s and 80s horror classics like George Romero's Dawn of the Dead and Day of the Dead.  It's extremely repulsive but doesn't diminish the knockout performance by Buric one bit.  It only makes him more frightening.







Pusher III: I'm the Angel of Death will screen at the NW Film Center's Whitsell Auditorium (in the Portland Art Museum) on March 10th at 9pm & March 11th at 7pm.  The film is part of the retrospective series, Driven: The Films of Nicolas Winding Refn.

Related links:
The Films of Nicolas Winding Refn: Pusher
The Films of Nicolas Winding Refn: Pusher II: With Blood on My Hands 
The Films of Nicolas Winding Refn: Fear X 
The Films of Nicolas Winding Refn: Drive




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