Rumores Cultura
I´m Still Here by Cassey Affleck
Out of competition of Estoril Film Festival
Rate = 2/5
An actor willing to have a go behind the camera is definitely not a new phenomenon.
Throughout film history this has been a common trend, sometimes paving the way to the conception of true filmmaking legends, while others only to satisfy larger-than-life egos, often with disastrous results.
Cassey Affleck`s first endeavor into filmmaking, I´m Still Here, is a special case though, as it does not really qualify into any of those two categories. Essentially it comes up with a whole new one for itself.
As an actor Affleck has progressively earn a place in independent American cinema with acclaimed performances in films such as Gus Van Sant`s Good Will Hunting and more recently, in the Assassination of Jesse James by the Coward Robert Ford, which earn him an academy nomination for best supporting actor in 2008.
This time around he teamed up with Joaquin Phoenix, considered by many to be one of Hollywood`s most valuable and praised assets, to what can only be described as a not too original experiment.
I´m Still Here tells the story of Phoenix`s progressive emotional and professional decline as he announces the end of his acting career in order to dedicate himself to Hip Hop.
Perhaps if Affleck had not admitted the film was a hoax, just after it premiered at this year`s Venice Film Festival, the plot would have been more effective, yet I doubt it.
Phoenix`s childish tantrums throughout the picture make him look less like Andy Kaufman and more like Bam Margera from Jackass, making it impossible to create any sort of affinity with the ludicrous character Phoenix pretends to have become.
Equally frustrating is the slapdash and careless way the film was shot, obviously intentionally but not very effective, making it all seem it is little more than a teenage prank.
I have no hesitation in recognizing Phoenix`s determination to make the film work, as he spent over a year in character, and in the process doing much damage to his career and leaving Hollywood in a panic. But altogether the film feels like a disappointment, too much hype over very little substance.
It may work as a basic critique of reality TV and celebrity culture, but we have seen it all before. If the subject needs to be tackled again, and no doubt it does, then it requires a lot more than just a good idea.
It`s true, it won’t be a box office hit nor it is a total disaster, but a lot more was expected from two of Hollywood`s brightest and promising stars.
Song of Tomorrow (Framtidens Melodi) by Jonas Bergergard and Jonas Holmstrom
In competition at Estoril Film Festival
Rate= 4/5
This year`s competition program at Estoril Film Festival has been somewhat disappointing, with a considerable number of selected films failing to impress. Fortunately, as it tends to happen at this sort of events, there are always some happy exceptions, and no other more impressive then Song of Tomorrow.
This is the tale of two outsiders, a musician (Janos) and his struggling manager (Stig), whose lives seem to have taken a few bumps. While Janos appears delighted with his own simplicity, Stig is desperate to make his protégé a star, and through that process make a name for himself, as if he is in need of redemption from past mistakes. As they push each other to their limits they both end up learning what is truly important for each of them.
Based, to a great extent, on improvisation, as initially there was only an idea and no script, the story is predictable at points. Yet, its genuine beauty and pace make it an invigorating and inspiring see.
The acting is nothing short of extraordinary, with two splendid and griping performances that carry the film forwards with a relentless will that is both exciting and unforgettable. You cannot help but feel for and, in some strange way, identify with the characters, creating, as if by magic, an odd complicity with the audience.
Skillfully shot in a documentary style, Song of Tomorrow`s photography and editing does a wonderful job at keeping up with the narrative`s speed and depth, making it all flow spontaneously.
Bergergard`s and Holmstrom`s debut long feature is undeniably a special piece that has finally shed some much needed light in this competition.
In the shadows (Im Shatten) by Thomas Arsland
In competition at Estoril Film Festival
Rate = 3/5
Modern Germanic cinema has slowly broken down the typical stereotype of the German as a cold, ruthless and disciplined figure. You only need to think of masterpieces like Goodbey Lenin, The Life of Others or Das Experiment to realize that the new Germany is drown in emotion. This has made it tremendously successful internationally, but has left some of us rather nostalgic.
Thomas Arsland second picture, In the Shadows, is a healthy return to good old perception of the ruthless shrewd German while at the same time it preserves a sense of humanity rarely seen in this type of criminal drama.
The film portraits the return to action of an ex-convict, Trojan, who quickly develops a carefully thought out plan to return to a life of crime. Has he encounters a corrupt police detective, more interested in profiting from Trojan`s efforts then stopping him from committing yet another crime, he is forced to go on a bloody rampage that leaves just where he has started.
Misel Maticevic`s performance is spot on, embodying the true nature of the film that is both icy and passionate.
This is an action packed piece, with just enough aggressiveness and suspense to keep you on the edge of your seat cheering for a hero that is neither good nor evil, just Human all too human.
In competition at Estoril Film Festival
Rate = 3/5
Modern Germanic cinema has slowly broken down the typical stereotype of the German as a cold, ruthless and disciplined figure. You only need to think of masterpieces like Goodbey Lenin, The Life of Others or Das Experiment to realize that the new Germany is drown in emotion. This has made it tremendously successful internationally, but has left some of us rather nostalgic.
Thomas Arsland second picture, In the Shadows, is a healthy return to good old perception of the ruthless shrewd German while at the same time it preserves a sense of humanity rarely seen in this type of criminal drama.
The film portraits the return to action of an ex-convict, Trojan, who quickly develops a carefully thought out plan to return to a life of crime. Has he encounters a corrupt police detective, more interested in profiting from Trojan`s efforts then stopping him from committing yet another crime, he is forced to go on a bloody rampage that leaves just where he has started.
Misel Maticevic`s performance is spot on, embodying the true nature of the film that is both icy and passionate.
This is an action packed piece, with just enough aggressiveness and suspense to keep you on the edge of your seat cheering for a hero that is neither good nor evil, just Human all too human.
Dad (Oka) by Vlado Skanfar
In competition at Estoril Film Festival
Rate = 2/5
Vlado Skanfar contribution to the world of visual arts in Slovenia is unquestionable, not only due to his documentary and short film productions, but perhaps most prominently because for his part in creating the Slovenska Kinoteka, which created the conditions for a considerable jump forward in local cinema.
Despite his undeniably merits, his first venture into the world of long features, Dad, is a strange and confusing voyage.
The film seems to have lost itself in its purpose, starting off as a story about a father trying to capture his son`s affection but quickly turning into a documentary about social conflicts in a unemployment stricken modern Slovenian society.
Contrary to what was expected it is not an easy and pleasant watch, as its slow tempo and unpolished dialogues can sometimes be a challenge to the most tolerant audiences.
Yet Skanfar has managed to collect a series of heartfelt testimonies about the pain of unemployment, which somehow make Dad a difficult but important film to see.
Reverse Motion de Andrey Stempkovsky
In competition at Estoril Film Festival
Rate=1/5
Russia has been the source of some of the most striking and exciting film experiments ever made. The technical impact of soviet montage, masterpieces like Battleship Potemkin or the recent success of Andrei Konchalovsky´s House of Fools and Bekmambetov´s Nightwatch are only a few examples of how much Russian cinema has given back to the world of film.
But like with every other great film nation everyonce and a while tragedy strikes.
Andrey Stempkovsky`s first shot at a long feature, Reverse Motion, fails miserably when it comes to execution.
The film portraits the struggle of a mother that decides to take care of an enslaved imigrant child in order to fill in the gap left behind by her own son, lost in action during a Russian army intervention. The story may be interesting enough to fool you to go in the theatre but its lack of character and story developent makes it an agonizing experience.
To be fair the first sequence of the film, a simple yet effective war scene, is engaging enough to make you think you are about to witness a memorable war drama. But soon enough the audience is brought back from the innitial high into a painfull reality. From then on the movie`s lack of pace and dramatic intensity is painfull to say the least. The acting is slow, emotionless and lacks purpose. The constant vacant stares and low voice seems to drown the characters into a slow and endless cycle that leads to no conclusion at all.
In the final few scenes Stempkovsky tries to rescue the picture from its inevitable decline but it is always too late to fix a catastrophe.
Reverse motion maybe be a well intentioned piece in the sense that it tries to portray a side of Russia that rarely sees the light of day, the way immigrants, war veterans and their families find it hard to make it in contemporary Russian society. But its empty narrative and visual limits will certainly not have much resonance at international level.
In competition at Estoril Film Festival
Rate=1/5
Russia has been the source of some of the most striking and exciting film experiments ever made. The technical impact of soviet montage, masterpieces like Battleship Potemkin or the recent success of Andrei Konchalovsky´s House of Fools and Bekmambetov´s Nightwatch are only a few examples of how much Russian cinema has given back to the world of film.
But like with every other great film nation everyonce and a while tragedy strikes.
Andrey Stempkovsky`s first shot at a long feature, Reverse Motion, fails miserably when it comes to execution.
The film portraits the struggle of a mother that decides to take care of an enslaved imigrant child in order to fill in the gap left behind by her own son, lost in action during a Russian army intervention. The story may be interesting enough to fool you to go in the theatre but its lack of character and story developent makes it an agonizing experience.
To be fair the first sequence of the film, a simple yet effective war scene, is engaging enough to make you think you are about to witness a memorable war drama. But soon enough the audience is brought back from the innitial high into a painfull reality. From then on the movie`s lack of pace and dramatic intensity is painfull to say the least. The acting is slow, emotionless and lacks purpose. The constant vacant stares and low voice seems to drown the characters into a slow and endless cycle that leads to no conclusion at all.
In the final few scenes Stempkovsky tries to rescue the picture from its inevitable decline but it is always too late to fix a catastrophe.
Reverse motion maybe be a well intentioned piece in the sense that it tries to portray a side of Russia that rarely sees the light of day, the way immigrants, war veterans and their families find it hard to make it in contemporary Russian society. But its empty narrative and visual limits will certainly not have much resonance at international level.
OTHERS
West is West byAndy de Emmony (UK) – Showcase Section at Abu Dhabi Film Festival
Rate = 2.5/5
East is East`s commercial and cultural impact was somewhat of a phenomenon back in 1999, making it one of the most successful British films in decades. For this and other reasons it was always going to be a tough act to follow.Nevertheless TV director Andy de Emmony, most famous for his work in Father Ted and Spitting Image, embraced this sequel with open arms and a new fresh pair of eyes.West is West tells the story of George Khan, a well intentioned but authoritarian patriarch whose “empire” was shredded to pieces in the earlier chapter. This time around he is determined not to make the same mistake by taking his youngest to Pakistan, in order to defend his family`s cultural heritage. But Khan`s past mistakes come back to haunt him and soon enough he sees himself losing a grip on his life yet again.
Om Puri`s immense talent is definitely on display here once again, at points carrying the entire film virtually on his own.
Funnier and sillier in many ways, West is West`s script lacks some of the charm and drama of its predecessor. The writing of Ayub Khan-Din, on whose life both films are inspired in, is for some brief moment’s lazy and careless, miles away from the sharpness of his first venture.
Yet Somehow the film pulls off quite a stunt has it is big enough to stand on its own. Far from the brilliance of East is East but with enough strength to make it a refreshingly uplifting view.
Wasteland (Lixo Extraordinário) byLucy Walker (Brazil/UK) – Abu Dhabi Film Festival
Rate= 5/5
Brazilian artist Vik Muniz is a photographer whose work is mainly composed out of food and waste re-constructions. Himself a product of the poverty stricken brazilian working class, he is now the subject of, as far as I’ve seen, the most surprising documentary in competition at this year`s ADFF.
British director Lucy Walker`s Wasteland is the account of a different kind of art project based in Jardim Gramacho, the largest garbage landfill in the world, populated by thousands of “Catadores”, workers whose main occupation consists of picking and collecting recycle waste out of the dump. These people`s contribution, without which Rio de Janeiro would be facing a serious trash disposal crisis, has earned them no privileges, being seen instead as waste themselves by a prejudicial Brazilian society.As the film catalogs the impressive real change to the lives of the participants, a small, beautiful and inspiring group of “Catadores”, you cannot help avoid a sincere and emotional connection with the characters and rejoice at their new found confidence.
Lucy Walker`s direction is spot on, mastering the art of documentary filmmaking while resisting the temptation to be exploitative and manipulative.This unforgettable and delightful experience is not to be missed by all those starving for a scent of genuine honesty in film.
Tears of Gaza (Gazas Taker) byVibeke Lokkeberg (Norway) – Documentary competition of Abu dhabi Film Festival
Rate= 2.5/5
Gaza has been the subject of countless documentaries and the issue has been covered from most conceivable points of view. So, why make another film about Palestine?
Norwegian filmmaker Vibeke Lokkeberg as found an obvious answer: some images need to be seen either media editors want it or not.Her film Tears of Gaza, competing for the documentary prize, is just that, a compilation of horrifying images of the 2008 Israeli bombings on one of the most crowded areas in the world, Gaza. Between the most impressive and hard to digest footage recorded in recent years, Lokkeberg added a series of interviews with survivors, in particular children orphaned by the bombings.
The main problem with Tears of Gaza is its method. After watching small children literally being blown to pieces the emotional testimonies of survivors are somewhat less striking. Perhaps there is some truth in the old cliché that your sensitivity is numbed down by graphic violence. Lokkeberg also intentionally avoids any contextualization concentrating instead on the mere horror brought about the Israeli military machine.Altogether Tears of Gaza is a “must watch” for those in need of an introduction to the daily life of Gaza. For those avid consumers of documentaries on Palestine, such as myself, perhaps you are better off looking somewhere else.
Gesher byVahid Vakilifar (Iran) – New Horizons/AFQA Jadida competition of Abu Ahabi Film Festival
Rate= 4/5
Iran is at the forefront of the filmmaking industry when compared with the rest of the region, with a series of productions frequently finding new audiences through the international festival circuit. This trend that began in particular in the mid-nineties with the explosion of Iranian Kurdish cinema seems to be far from finishing.
One of the most recent and challenging examples coming out of Iran is Vahid Vikilifar`s controversial first film Gesher, currently in competition at the New Horizons section.Shot in a documentary style lost somewhere between fiction and reality, this is a portrait of the everyday life of 3 immigrant workers in Iran.
In fact the film seems to take shape as a collection of snapshots, as if they were postcards from a world vacant of any shred of hope, a reoccurring theme throughout the movie. Immediately one particular factor that stands out in Gesher is the unnerving powerful sense of quiet desperation scattered in the characters faces and looks. One character, a toilet cleaner, is particularly brilliant at communicating this, moving at a zombie-like mechanical pace as he completes his chores. The camera alone appears to capture this sense of hopelessness as dialogues are kept to a minimum.The photography by M. Reza Jahan Panah is mind blowing to say the least, using static wide shots that in some way reflect the emptiness and lack of future of the characters.
The film, of course, is not without its faults, in particularly in terms of pace and timing, dragging itself unnecessarily at points. On the other hand this lack of pace seems to be compensated by the rhythmic mechanical sounds in the background, that, accidently or not, provide a fitting soundtrack to the story.After San Sebastian, Rio de Janeiro and Pusan, Gesher seems to continue its path to success with a fourth presence at a major festival. It is deservingly so, as this is probably one of the most interesting revelations of the year.
Life of Fish (La Vida de los Peces) by Matías Bize (Chile) – Narrative competition of Abu Dhabi Film Festival
Rate= 3/5
Latin American cinema`s rise to fame seems to be enjoying a renewed sense of excitement. The critical and commercial success of films like La Teta Assustada and El secreto de sus ojos have paved the way for a series of new directors to break through internationally.
The Life of Fish, the only Latin American film in the narrative competition, is one of those examples. Written and directed by the young, yet experienced, Chilean Matíaz Bize, this intimate and personal story of a young travel writer`s encounter with his own past, is Chile`s latest answer to the ever growing interest in the regions film industry.
At a first glance Bárbara Álvaréz`s cinematography is quite breathtaking, using the natural limits of the single location, a house party, with skill. It creates a dreamlike environment of enclosure, as if the main character is locked inside the troubled past he does not want to either relive or escape, choosing instead to swim around in circles, like a fish in a tank. The story sets itself brilliantly, but as it goes on and becomes ever more predictable, you cannot help but feel let down. Acting and characters feels unpolished, even if at an early stage they’re powerful enough to be engaging and oddly stimulating. Despite the fact that it may not be the most well executed piece coming from Latin American, it´s drive to create a sense of intimacy makes it an enjoyable experience.
China, The empire of Art by Emma Tassy and Sheng Zhimim (France) – Documentary competition of abu Abu Dhjabi Film Festival
Rate= 3/5
French journalist Emma Tassys and the award winning Chinese filmmaker Sheng Zhimims first collaboration, China, The Empire of Art, is an unique voyage into the heart and soul of an artistic movement that is sweeping the Chinese contemporary art scene. In a country where democratic freedom is nothing more than mere utopia an elite of visionary artists are not only given total freedom of artistic expression, but are also encourage to do so by the state, in an attempt to challenge a society still at odds with its new reality.Covering the change of perspectives from the period of the Tiananmen square massacre of 1989, a time where an idealism based on western values was flourishing, to the current cultural explosion redefining a new identity for an entire nation, the films attempts to demystify some of the contradictions of modern China.
Nowadays one third of the best paid artists in the world come from china, making it one of the most culturally productive areas in the planet. Tassys and Zhimims work documents this phenomenon with both innocence and intent, capturing through it one of the most genuine and truthful portrays of china, its people and, perhaps most important, its culture.This is the story of a movement that promises to re-establish China some of the past glory that for centuries enchanted the world.
Rate = 2.5/5
East is East`s commercial and cultural impact was somewhat of a phenomenon back in 1999, making it one of the most successful British films in decades. For this and other reasons it was always going to be a tough act to follow.Nevertheless TV director Andy de Emmony, most famous for his work in Father Ted and Spitting Image, embraced this sequel with open arms and a new fresh pair of eyes.West is West tells the story of George Khan, a well intentioned but authoritarian patriarch whose “empire” was shredded to pieces in the earlier chapter. This time around he is determined not to make the same mistake by taking his youngest to Pakistan, in order to defend his family`s cultural heritage. But Khan`s past mistakes come back to haunt him and soon enough he sees himself losing a grip on his life yet again.
Om Puri`s immense talent is definitely on display here once again, at points carrying the entire film virtually on his own.
Funnier and sillier in many ways, West is West`s script lacks some of the charm and drama of its predecessor. The writing of Ayub Khan-Din, on whose life both films are inspired in, is for some brief moment’s lazy and careless, miles away from the sharpness of his first venture.
Yet Somehow the film pulls off quite a stunt has it is big enough to stand on its own. Far from the brilliance of East is East but with enough strength to make it a refreshingly uplifting view.
Wasteland (Lixo Extraordinário) byLucy Walker (Brazil/UK) – Abu Dhabi Film Festival
Rate= 5/5
Brazilian artist Vik Muniz is a photographer whose work is mainly composed out of food and waste re-constructions. Himself a product of the poverty stricken brazilian working class, he is now the subject of, as far as I’ve seen, the most surprising documentary in competition at this year`s ADFF.
British director Lucy Walker`s Wasteland is the account of a different kind of art project based in Jardim Gramacho, the largest garbage landfill in the world, populated by thousands of “Catadores”, workers whose main occupation consists of picking and collecting recycle waste out of the dump. These people`s contribution, without which Rio de Janeiro would be facing a serious trash disposal crisis, has earned them no privileges, being seen instead as waste themselves by a prejudicial Brazilian society.As the film catalogs the impressive real change to the lives of the participants, a small, beautiful and inspiring group of “Catadores”, you cannot help avoid a sincere and emotional connection with the characters and rejoice at their new found confidence.
Lucy Walker`s direction is spot on, mastering the art of documentary filmmaking while resisting the temptation to be exploitative and manipulative.This unforgettable and delightful experience is not to be missed by all those starving for a scent of genuine honesty in film.
Tears of Gaza (Gazas Taker) byVibeke Lokkeberg (Norway) – Documentary competition of Abu dhabi Film Festival
Rate= 2.5/5
Gaza has been the subject of countless documentaries and the issue has been covered from most conceivable points of view. So, why make another film about Palestine?
Norwegian filmmaker Vibeke Lokkeberg as found an obvious answer: some images need to be seen either media editors want it or not.Her film Tears of Gaza, competing for the documentary prize, is just that, a compilation of horrifying images of the 2008 Israeli bombings on one of the most crowded areas in the world, Gaza. Between the most impressive and hard to digest footage recorded in recent years, Lokkeberg added a series of interviews with survivors, in particular children orphaned by the bombings.
The main problem with Tears of Gaza is its method. After watching small children literally being blown to pieces the emotional testimonies of survivors are somewhat less striking. Perhaps there is some truth in the old cliché that your sensitivity is numbed down by graphic violence. Lokkeberg also intentionally avoids any contextualization concentrating instead on the mere horror brought about the Israeli military machine.Altogether Tears of Gaza is a “must watch” for those in need of an introduction to the daily life of Gaza. For those avid consumers of documentaries on Palestine, such as myself, perhaps you are better off looking somewhere else.
Gesher byVahid Vakilifar (Iran) – New Horizons/AFQA Jadida competition of Abu Ahabi Film Festival
Rate= 4/5
Iran is at the forefront of the filmmaking industry when compared with the rest of the region, with a series of productions frequently finding new audiences through the international festival circuit. This trend that began in particular in the mid-nineties with the explosion of Iranian Kurdish cinema seems to be far from finishing.
One of the most recent and challenging examples coming out of Iran is Vahid Vikilifar`s controversial first film Gesher, currently in competition at the New Horizons section.Shot in a documentary style lost somewhere between fiction and reality, this is a portrait of the everyday life of 3 immigrant workers in Iran.
In fact the film seems to take shape as a collection of snapshots, as if they were postcards from a world vacant of any shred of hope, a reoccurring theme throughout the movie. Immediately one particular factor that stands out in Gesher is the unnerving powerful sense of quiet desperation scattered in the characters faces and looks. One character, a toilet cleaner, is particularly brilliant at communicating this, moving at a zombie-like mechanical pace as he completes his chores. The camera alone appears to capture this sense of hopelessness as dialogues are kept to a minimum.The photography by M. Reza Jahan Panah is mind blowing to say the least, using static wide shots that in some way reflect the emptiness and lack of future of the characters.
The film, of course, is not without its faults, in particularly in terms of pace and timing, dragging itself unnecessarily at points. On the other hand this lack of pace seems to be compensated by the rhythmic mechanical sounds in the background, that, accidently or not, provide a fitting soundtrack to the story.After San Sebastian, Rio de Janeiro and Pusan, Gesher seems to continue its path to success with a fourth presence at a major festival. It is deservingly so, as this is probably one of the most interesting revelations of the year.
Life of Fish (La Vida de los Peces) by Matías Bize (Chile) – Narrative competition of Abu Dhabi Film Festival
Rate= 3/5
Latin American cinema`s rise to fame seems to be enjoying a renewed sense of excitement. The critical and commercial success of films like La Teta Assustada and El secreto de sus ojos have paved the way for a series of new directors to break through internationally.
The Life of Fish, the only Latin American film in the narrative competition, is one of those examples. Written and directed by the young, yet experienced, Chilean Matíaz Bize, this intimate and personal story of a young travel writer`s encounter with his own past, is Chile`s latest answer to the ever growing interest in the regions film industry.
At a first glance Bárbara Álvaréz`s cinematography is quite breathtaking, using the natural limits of the single location, a house party, with skill. It creates a dreamlike environment of enclosure, as if the main character is locked inside the troubled past he does not want to either relive or escape, choosing instead to swim around in circles, like a fish in a tank. The story sets itself brilliantly, but as it goes on and becomes ever more predictable, you cannot help but feel let down. Acting and characters feels unpolished, even if at an early stage they’re powerful enough to be engaging and oddly stimulating. Despite the fact that it may not be the most well executed piece coming from Latin American, it´s drive to create a sense of intimacy makes it an enjoyable experience.
China, The empire of Art by Emma Tassy and Sheng Zhimim (France) – Documentary competition of abu Abu Dhjabi Film Festival
Rate= 3/5
French journalist Emma Tassys and the award winning Chinese filmmaker Sheng Zhimims first collaboration, China, The Empire of Art, is an unique voyage into the heart and soul of an artistic movement that is sweeping the Chinese contemporary art scene. In a country where democratic freedom is nothing more than mere utopia an elite of visionary artists are not only given total freedom of artistic expression, but are also encourage to do so by the state, in an attempt to challenge a society still at odds with its new reality.Covering the change of perspectives from the period of the Tiananmen square massacre of 1989, a time where an idealism based on western values was flourishing, to the current cultural explosion redefining a new identity for an entire nation, the films attempts to demystify some of the contradictions of modern China.
Nowadays one third of the best paid artists in the world come from china, making it one of the most culturally productive areas in the planet. Tassys and Zhimims work documents this phenomenon with both innocence and intent, capturing through it one of the most genuine and truthful portrays of china, its people and, perhaps most important, its culture.This is the story of a movement that promises to re-establish China some of the past glory that for centuries enchanted the world.
