Tag Archives: SIFF Reviews

SIFF 2017: The Farthest ****

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 20, 2017)

https://i0.wp.com/www.diff.ie/content/festival17/The_Farthest_DIFF_7.jpg?resize=474%2C376

Some of my fondest childhood memories are of being plunked in front of the TV, transfixed by the reassuring visage of Walter Cronkite, with the familiar backdrop of the Cape Canaveral launch pad. Remember when NASA spaceflights were an exciting, all-day news event? We seem to have lost that collective feeling of wonder and curiosity about mankind’s plunge into the cosmos (people are too busy looking down at their goddam phones to stargaze anymore). Emer Reynolds’ beautifully made documentary about the twin Voyager space probes rekindles that excitement for any of us who dare to look up. And if the footage of Carl Sagan’s eloquent musings regarding the “pale blue dot” that we call home fails to bring you to tears, then surely you have no soul.

SIFF 2017: Entanglement **1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 20, 2017)

https://i0.wp.com/www.nsi-canada.ca/wp-content/uploads/2017/05/Entanglement.jpg?w=474

Any film that opens with a suicide attempt makes me wary; because let’s face it, they can’t all be Harold and Maude (but oh, they try…how they do try!). This Canadian mumblecore dramedy (directed by Jason James) stars Thomas Middleditch as a (wait for it) depressed divorcee who finds out his parents adopted but then quickly gave up a baby girl after a surprise pregnancy. And so this “only child” sets off on a quest to find and connect with the almost-sister that he never had. Very droll. It’s engaging enough to hold your interest, but marred by a certain amount of predictability.

SIFF 2017: Becoming Who I Was ****

By Dennis Hartley

https://i1.wp.com/www.berlinale.de/media/filmstills/2017_2/generation_18/201713084_2_IMG_FIX_700x700.jpg?w=474&ssl=1

Until credits rolled for this South Korean entry by co-directors Chang-Yong Moon and Jeon Jin, I was unsure whether I’d seen a beautifully cinematic documentary, or a narrative film with amazingly naturalistic performances. Either way, I experienced the most compassionate, humanist study this side of Ozu. Turns out, it’s all quite real, and an obvious labor of love by the film makers, who went to Northern India and Tibet to document young “Rinpoche” Angdu Padma and his mentor/caregiver for 8 years as they struggle hand to mouth and strive to fulfill the boy’s destiny (he is believed to have been a revered Buddhist teacher in a past life). A moving journey (in both the literal and spiritual sense) that has a lot to say about the meaning of love and selflessness.

(US Premiere; Plays June 1)

SIFF 2017: Bill Frisell: A Portrait ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 20, 2017)

https://i2.wp.com/s3.amazonaws.com/fretboard/wp-content/uploads/2017/01/20012807/DSC00153-720x480.jpg?resize=474%2C316&ssl=1

He doesn’t “shred” or do windmills on stage. In fact, he looks more like a college professor who drives a 1972 Volvo than a peer-revered guitar slinger that most people have never heard of. I will confess that even I (an alleged music geek) couldn’t name one Bill Frisell song. Yet, this unassuming Seattle-based virtuoso has 35 solo albums and scores of sessions with more well-known artists to his credit. He’s also tough to nail down; All Music Guide files him under a dozen genres, including Modern Creative, Post-Bop, New Acoustic, World Fusion, and Progressive Folk. Emma Franz’s film, while perhaps just a smidgen overlong for anyone but a super-fan, nicely conveys the joy of creating, and as its title infers-delivers an amiable portrait of an inventive player.

SIFF 2017: Bad Black ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 20, 2017)

https://i2.wp.com/fantasticfest-site.s3.amazonaws.com/films/41518/bad_black_5__large.jpg?w=474

Some films defy description. This is one of them. Yet…a guilty pleasure. Written, directed, filmed, and edited by Ugandan action movie auteur Nabwana I.G.G.at his self-proclaimed “Wakaliwood studios” (essentially his house in the slums of Wakaliga), it’s best described as Kill Bill meets Slumdog Millionaire, with a kick-ass heroine bent on revenge. Despite a low budget and a high body count, it’s winningly ebullient and self-referential, with a surprising amount of social realism regarding slum life packed into its 68 minutes. The Citizen Kane of African commando vengeance flicks.

SIFF 2017: Pyromaniac ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 20, 2017)

https://i1.wp.com/static1.1.sqspcdn.com/static/f/709071/27248334/1473971190007/pyromaniac-match.jpg?w=474

It’s not your imagination…”Nordic noir” is a thing (e.g. Scandinavian TV series like The Bridge, Wallander, and the Millennium trilogy). One of the progenitors was Erik Skjoldbjærg’s critically acclaimed 1997 thriller Insomnia (not to be confused with Christopher Nolan’s 2002 remake). The Norwegian director returns with this somewhat glacially-paced but nonetheless involving drama about the son of a fire chief who goes on a fire setting spree. The troubled protagonist’s psycho-sexual issues reminded me of the lead character in Equus. Beautifully photographed by Gosta Reiland.

(Plays May 31)

SIFF 2017: White Sun ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 20, 2017)

https://i2.wp.com/cdn2.thr.com/sites/default/files/imagecache/landscape_928x523/2016/08/white_sun_still_1_h_2016.jpg?resize=474%2C267

Director Deepak Rauniyar uses the family row that ensues when a Maoist rebel returns to his isolated mountain village for his Royalist father’s funeral as an allegory for the political woes that have divided and ravaged his home country of Nepal. Naturalistic performances and rugged location shooting greatly enhance a story that beautifully illustrates how a country’s people, like members of an estranged family, must strive to rediscover common ground before meaningful healing can begin.

(Plays May 30)

SIFF 2017: The Fabulous Allan Carr ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 20, 2017)

https://i1.wp.com/insideout.ca/de/cache/toronto_films/1368/630_fl_365.jpg?w=474

If you learn one thing about the business we call “show” from Jeffrey Schwarz’s profile of late movie producer Allan Carr, it’s this: For every Grease, there’s a Grease 2. Yes, the same man produced both films. But there was a lot more to this flamboyant showman, who first demonstrated his inherent genius for turning lemons into lemonade when he secured domestic distribution for a no-budget Mexican exploitation flick about the Uruguayan rugby team plane crash survivors who kept alive by gnawing on their less fortunate teammates (you remember Survive!). He produced some huge hits…and probably more misses. But his hits were big enough to sustain a hedonistic lifestyle, which included legendarily over-the-top parties. An entertaining paean to a special type of excess that flourished from the mid-1970s thru the early 1980s.

The 2017 SIFF Preview

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 13, 2017)

https://i2.wp.com/www.bellanaija.com/wp-content/uploads/2016/08/Bamidele-Tinuade-Coker-in-THE-WEDDING-PARTY-600x400.jpg?resize=474%2C316&ssl=1

It’s nearly time for the Seattle International Film Festival (May 18th to June 11th). SIFF is showing 400 shorts, features and docs from 80 countries. Navigating festivals takes skill; the trick is developing a sense for films in your wheelhouse (I embrace my OCD and channel it like a cinematic dowser). Here are some intriguing possibilities on my list after obsessively combing through the 2017 SIFF catalog (so you don’t have to).

Let’s dive in, shall we? SIFF is featuring a number of documentaries and feature films with a sociopolitical bent. Dolores (USA) is a documentary about influential American labor & civil rights activist Dolores Huerta, who has been given short shrift by the history books. Another political doc, The Reagan Show (USA) assembles archival footage to illustrate how the “original” showbiz president sparked the transformation of American politics into the post-modern theater of the absurd we’re watching now on the nightly news. White Sun (Nepal/USA/Qatar) is a drama set against the backdrop of post-civil war Nepal about a Maoist rebel trying to reconnect with his politically antithetical family.

More politics…The Young Karl Marx (France/Germany/Belgium; North American Premiere) is a promising biopic focusing on the early days of Marx and Engels. Nocturama (France/Belgium/Germany) is a drama about “a group of young, multiracial radicals with no stated ideology” who hole up for the night in a mall after committing terrorist attacks in Paris (The Breakfast Club meets Fassbinder’s The Third Generation?). I’m especially interested in seeing This is Our Land (France), which involves an idealistic nurse who is approached by a far-right party to run for mayor. Claiming to be a study on “…how populist ideology can quietly but decisively contaminate ‘good’ people”, the main character is also said to be based on Marine Le Pen. Talk about timely!

I’m always on the lookout for a good music documentary, and SIFF offers an eclectic assortment to pick from this year. Bill Frisell, A Portrait (Australia) takes a look at the elusive, genre-defying Seattle-based “guitarist’s guitarist”, one of those artists who most people have never heard of, yet (paradoxically) has worked with seemingly every recording artist that everybody has heard of (in addition to releasing 35 of his own albums to date). I am intrigued by Chavela (USA), as I admit to being previously unaware of Mexican “rabble-rousing, cigar-smoking lesbian iconoclast” Chavela Vargas.

More music: A Life in Waves (USA) is the first feature-length doc to profile the esoteric yet wildly successful electronica/New Age music pioneer and entrepreneur Suzanne Ciani. Rumble: the Indians Who Rocked the World (Canada) purports to be exactly what its title infers; a celebration of Native Americans (Link Wray, Robbie Robertson, Buffy Sainte-Marie and many others) who have left an indelible mark on modern music.

Speaking of indigenous peoples, SIFF is spotlighting several more indigenous-centric films this year. Angry Inuk (Canada) looks to be conversation-starting documentary that gives a voice to the Inuit side of the controversies that have been raging for years regarding subsistence seal hunting (the director herself is an Inuit activist). Searchers (Canada) is “an indigenous take” on John Ford’s revenge tale The Searchers, centering on an Inuk hunter’s pursuit of a band of marauders who have taken his family (Inuk hunters have a very specialized set of skills!). The icy north also figures into the doc Dawson City: Frozen Time (USA), billed as “a haunting chronicle of the transformations in a Yukon Territory Gold Rush town” (I spent 2 weeks there one night on an Alcan trip).

I have a soft spot for road movies, and several have caught my eye. American Folk (USA) is a drama starring two real-life folk singers as “two strangers who take an impromptu, cross-country road trip in the days after 9/11” (I’m getting a Once vibe). I’m eager to see Weirdos (Canada), the latest from my favorite Canadian director Bruce McDonald (Roadkill, Highway 61, Hard Core Logo), a “sparkling coming-of-age road journey” set in 1976. The Trip to Spain (UK) reunites director Michael Winterbottom with stars Steve Coogan and Rob Brydon, as they bring their patented brand of whining and dining back to the table. Borders (Burkina Faso) is a drama examining a burgeoning friendship between four women from different regions as they cross West Africa by bus.

More African cinema! The action-comedy Bad Black (Uganda) comes straight outta the no-budget “Wakaliwood” studio, and has been a hit with audiences at other festivals. It promises to deliver “ass-kicking commando vengeance unlike anything you have seen before.” Looks like a lot of fun…I’m in! On what I would assume to be a much lighter note, The Wedding Party (Nigeria) offers up “a fresh, female take on Nigerian culture.”

There are thrillers, mysteries and crime dramas aplenty to keep you on the edge of your seat. Bad Day for the Cut (Ireland) pits a “seemingly” mild-mannered Irish farmer against thugs who have killed his ma, and features what is touted as “a career-making lead performance from Nigel O’Neill.” Godspeed (Taiwan) is a crime thriller centering on a down-and-out taxi driver who “accidentally picks up a drug mule” one fateful night (echoes of Michael Mann’s Collateral). Here’s a twist on the hit man genre: Kills on Wheels (Hungary) follows the travails of two handicapped young men who cross paths with “a wheelchair-bound hit man who seems to come straight out of a comic book.” Oy.

Funny stuff: Ears (Italy) is a B&W surrealist tragi-comedy about a man who wakes up with a ringing in his ears and a “cryptic note on his fridge” that jumpstarts what looks to be a pretty weird day. Free and Easy (China) concerns a “soap-peddling shyster” who picks the wrong isolated mountain town to drift into…it’s agog with “idiosyncratic con artists” (I sense irony). Gook (USA) is said to be a mashup of Kevin Smith’s Clerks with Spike Lee’s social commentary sensibilities. It’s a day in the life of two Korean brothers hanging out in their dad’s South Central shoe store-on the first day of the 1992 L.A. riots.

I never miss a chance to get my fantasy/sci-fi/midnight movie fix. Where to start? The Door (China) is a sci-fi mindbender about an auto mechanic who stumbles onto a magic door that leads to an alternate reality (as one does). Also from China: Have a Nice Day, “a grim, animated noir” with “Tarantino-esque dialog” (you had me at “animated noir”). Infinity Baby (USA) is billed as an “absurdist, droll black comedy” concerning “a company who farms out three month-old babies who will never age due to a freak pharmaceutical side effect.” More nightmare fuel: Meatball Machine Kodoku (Japan), is an “utterly insane, blood-and-guts-soaked, action-packed cyber-punk comedy.” OK then.

Obviously, I’ve barely scratched the surface of the catalog. I’ll be plowing through screeners and sharing reviews with you starting next Saturday. In the meantime, visit the SIFF website for the full film roster, and info about event screenings and special guests.

SIFF 2016: Red Gringo ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 21, 2016)

https://i0.wp.com/photos1.blogger.com/blogger/3583/960/320/dean%20reed.0.jpg?w=474

I’m sure you’re familiar with Warren Beatty’s 1981 biopic Reds, which is the tale of how American journalist-turned-political activist Jack Reed ended up buried with honors in the Kremlin? Miguel Angel Vidaurre’s documentary concerns another American who underwent a similar metamorphosis. Dean Reed (no relation) was a Colorado-born musician-turned-political activist who also ended up a Communist icon. Reed, a middling singing talent graced by teen-idol looks, landed a contract with Capitol Records in the early 60s. Virtually ignored in the U.S., he somehow caught fire in South America, where he became a huge pop idol and movie star. During a tour of Chile, he had an unanticipated political epiphany; sparking an entree into Marxism that switched his musical proclivities from bubblegum to agitpop. He eventually settled in East Germany where he met his untimely (and shadowy) end. Fascinating and absorbing.