Tuesday, January 26, 2010

Sundance On-Demand debuts with grizzly but intelligent, French-Canadian 7 DAYS


If you could catch and then torture for a week the man who raped and killed your little girl, how would you spend those  
7 DAYS? That's the not-necessarily-provocative ques-
tion asked by the French-Canadian film of the same name, directed by Daniel Grou and adapted from his own novel by Patrick Senécal  The answer provi-
ded by Messieurs Grou and Senécal, while bringing to mind the phrase "torture porn," manages a good deal more than that -- though there are couple of scenes that demand a strong stomach. (If you're a doctor/surgeon, you probably know well the ways to make your victim suffer, and that is what happens here.)

Director Grou (here billed as Podz) keeps his camera quietly roving
(there's little jump cutting and flashy editing) and his color palette drained of anything bright: It's mostly gray, dark green and blue, with a little brown
now and then.

The father of the kidnap victim (Claude Legault below, left) is strong, silent, taciturn -- until he explodes via phone to his wife. His victim (Martin Dubreuil below, right) lies, defies, begs, confes-
ses, whimpers, pleads and tries all the tricks in the book but remains mostly a victim for whom we can feel little.

As the detective in charge, well-known Quebec actor Rémy Girard (shown below) does wonders with his highly constricted role (making him a victim of a killer -- he lost his wife that way -- is a bit too neat, but we'll let that pass). The two major female roles are aptly handled by Fanny Mallette (shown at bottom, left) and Pascale Delhaes, with Rose-Marie Coallier properly sweet and fragile as the victim.

If 7 Days dealt only or mostly with the inflicting of pain, justified or not, we could indeed wave it away as torture porn. But that is not the case. For one thing, the film doubles as a pretty good police procedural; for another, it probes -- under the most trying circumstances -- love, guilt, retribution, penance, and sheer unending frustration. This easily lifts it above most others in the genre, which, for all their occasional dialog babble about morality, etc., end up being nothing more than sleazy entertainment.

7 Days manages to hold out interest and our concern -- without demeaning us in the process. It's an intelligent, difficult film. Sure, it could be better. But it could also be a hell of a lot worse.


So, how does one get to view it? The movie made its debut last Friday at the Sundance Film Festival as part of the Park City at Midnight program.  It is also part of the new Sundance Selects theatrical and video-on-demand film label, in which three films of very different style and content from this year's festival are making their debut simultaneously On-Demand from most major cable systems, including Comcast, Cablevision, Cox, Time Warner and satellite provider Direct TV.

Each film will be available for 30 days on the cable systems' main movies-on-demand channel. TrustMovies hopes to cover the other two soon: the Michael Winterbottom/Mat Whitecross version of Naomi Klein's Shock Doctrine and the Safdie Brothers' Daddy Longlegs.

Monday, January 25, 2010

Nicole Opper's OFF AND RUNNING covers adoption, track, color, class & sexuality


Documentarian Nicole Opper, shown below, explores so much (see headline above) in her new -- and very short (75-minute) -- movie OFF AND RUNNING that my reactions are split. I am grateful to have had the chance to meet this fascinating family: two white lesbian moms and their three adopted children -- the mixed-race Rafi (about to head for college); black Avery, just finishing high school and a budding track star; and their adorable little Korean brother, nicknamed Zay-Zay. But the final film seems to demand a longer, maybe more ragged but telling version: one that is not so cleaned-up and precise as what we have here.

Let's not do that "gift horse" thing: What we get is thought-provoking, entertaining and moving enough. Just knowing that such a family ex-
ists -- and that its parents are rai-
sing this fine group of kids -- is exhilarating and hopeful. Ms Opper gives us some (though not enough for me) background on and conver-
sations with her two moms, each with her own adopted child, who met and formed their own bond and then adopted a third child together.

When we enter this history, daughter Avery (below) is about to make her first effort to contact -- with some success -- her birth mother and will soon discover that her original name was Mycole Antoinysha. Though she excels at track, and is bright and popular,  "For years," she tells us, "I've felt out of place around black people." Her best friend at school, also of color, is an adoptee as well.


Off and Running is a very warm documentary. Its images, and especially its characters, are often beautiful; it's easy to love them all. And Ms Opper has chosen a number of telling moments to show us: Avery and brother Zay-Zay reciting a Hebrew prayer at bedtime, scenes between Avery and her boyfriend Prince, and especially the scene in which Rafi reads Avery a letter that he might send or say to his own birth mother, as a way of helping his sister with her situation. The effect here is heartbreaking but also intelligent and thoughtful. To say more would spoil some of the surprise in store.


So much happens in the course of Off and Running and yet I had more questions upon its conclusion than I did at its start, and I think this is because Ms Opper has opted for slickness and sanitization over reality. Not that anything in her film seems necessarily false but that too much of it comes off as arranged and very organized. There is clearly a lot going on once Avery connects with her birth mother, and she and her moms (shown above, center, and center right, and below in earlier days) allude to such trouble and tsuris occurring within the family. But we see none of it actually happening. In fact, much of what we do see in the documentary seems utterly tranquil; it is after the fact, when there has been time to consider what has happened and comment upon it, that we hear about anything negative. While the comments by all concerned are highly evolved and thoughtful, a bit of mess-in-the-moment might have made for a more balanced presentation. (It would also have entailed showing these characters in a sometimes less positive light -- which they would probably not have enjoyed.)


Does it sound like I am asking for another American Family situation like we got with the Louds some decades back? I wouldn't want that, either. So I'll be simply be grateful for what the movie gives us -- which is never less than riveting -- while realizing again how a good fictional account can fill in and expand a film's proceed-
ings to encompass the weirdness and the vagaries of "real life."


Off and Running opens -- via First Run Features -- this Friday, January 29, in New York City at the IFC Center.   You can find further playdates, theatres and cities here.

All photos are from the films itself (except that of Ms Opper) and come courtesy of  First Run Features.

Sunday, January 24, 2010

Why did Japan's DEPARTURES win last year's Best Foreign Film? And a note on this year's winner

The steal of the Best Foreign Language Film category at last year's Academy Awards ceremony by DEPARTURES (Okuribito), the Japanese entry directed by Yôjirô Takita (shown just below) and written by Kundo Koyama, could only have come as a surprise to someone who had not seen all five films. Besting critics' darlings Waltz With Bashir (from Israel) and The Class (France), not to mention Germany's The Baader Meinhof Complex and Austria's Revanche, this bizarre combination of death, tradition and cello playing did what so many of the winning films in this category have done down the decades: It moved, surprised and enlightened its audience.

Was it the best of these films? Not by a long shot. I'd have ranked them thusly: Baader Meinhof, The Class, Departures, Revanche and Waltz With Bashir (while I liked the latter film, I was not a huge fan: I think the movie would have profited from live action rather than animation, which -- yes -- made it seem unusually dark and brooding (and repetitive) for an animated film but did not begin to offer the complexities and specifics that might have been found in the performances of live actors.

Now that TrustMovies has finally seen all five films (Departures just two weeks ago), the dichotomy he experienced around the time of the awards -- reading all the negatives from most of the "better" critics regarding Departures, yet constantly hearing such good things about the movie from one after another of what he would call the "average" art-house moviegoer, he thinks he understands what was going on here -- and why.

Departures takes as one of its main themes, death. Specifically the death of loved ones in the family. Tradition/ceremony is another important theme, as is music and the playing of the cello. We jump into the story as a tall and attractive Japanese man must leave his job as cellist in a minor orchestra and find another line of work. He ends up as the assistant to a fellow who runs a small town operation performing the tradition of readying corpses for cremation, including the proper clothing, make-up and various rites (these are nothing like us Americans have ever seen). Hence the "enlightening" part of the equation for winning Best Foreign Language Film.

I suspect it is this character's skill with the cello that allows him to succeed so well with the wide-armed movements required to perform the unusual disrobing and dressing of the corpses. In any case, he takes to this strange occupation -- think of it as the Japanese version of our own Six Feet Under cable series (without the embalming) -- like the proverbial duck to water. His wife does not, however, nor does his best friend. They loathe what he is doing, and here the Japanese culture of shame comes into play, and rather pointedly, too.

Yet the families of the dead truly need and love what he brings them as he grows more confident and skillful in performing the ceremony. He is mentored by an old gentleman who owns the establishment, and helped along by the young woman, with her own secret past, who works in the office. That's pretty much the movie, but until you see it and experience for yourself the remarkable ceremony -- and the reactions of the families -- you can't understand how bowled over were Academy members and many of us across America.

Even then, you may be able to resist its charms. My companion did, finding it utterly sanitized and fake. And I myself admit that there was plenty wrong with the movie: the lead, Masahiro Motoki (above, left, also seen in The Mystery of Rampo) as good-looking as he is and deft in his handling of the ceremony, is not a great actor. rather, he's one of those who tends to bug his eyes at key emotional moments and let us do the rest of the heavy lifting. Yet he is often so endearing and beautiful, and handles that special tradition so very well, that you may end up, as did I, forgiving him his tresspasses. The director, too, tend to overstate some of the comedy. And the finale, which is emotional enough already, does not need the incessant inter-cutting between Kobayashi and his wife. Surely the director could have come up with somewhere else to point the camera -- or just cut the scene by half, as the movie is already too lengthy.

Still, I will remember Departures much more vividly -- and probably longer -- than I will any of the other contenders for last year's Best Foreign Film. You owe it to yourself to experience this movie, faults and all.
*************
Now, regarding this year's BFLF award, at this point I've seen four of the nine films that made the short list -- The White Ribbon (Germany), Un Prophete (France), Ajami (Israel--a still from which is shown above), and The Milk of Sorrow (Peru).  The others are El Secreto de Sus Ojos (Argentina), Samson & Delilah (Australia), The World Is Big and Salvation Lurks Around the Corner (Bulgaria), Kelin (Kazakhstan), and Winter in Wartime (Netherlands).  Of those I've seen, I would pick the Israeli/Palestinian combo Ajami as a shoo-in for a nomination and maybe the prize.  I'll cover it in  detail  next week when it opens at Film Forum.  But for starters its dual pedigree from waring nations makes it prime award material, and while it's dark, it's nowhere near the darkness of last year's Gomorrah (nor nearly as accomplished, either) -- which, though heavily heralded, did not even make the shortlist.   But Ajami offers the triad:  surprise, enlightenment and some moving moments.  I keep hearing marvelous stuff about El Secreto de Sus Ojos, too, and because this one's said to be a classy, mainstream movie, I suspect it may hit the bull's eye with Academy members.  We shall see.

Saturday, January 23, 2010

The Drors' FOR MY FATHER gets a well-deserved theatrical run


When TrustMovies first covered the Israeli film FOR MY FATHER (Sof Shavua B'Tel Aviv), a well nigh irresis-
tible melodrama from director Dror Zahavi (shown below) & co-writers Idor & Jonatan Dror,  that made its NYC debut as part of the Israeli Film Festival in early December 2009, he was blown away by the movie.  That the film deals with Palestinian terror-
ists planning a bombing would seem to make his reaction appro-
priate, yet For My Father is so full of life -- so rich, moving, humane and even sometimes funny -- that the tears shed, chills felt and laughter experienced all seem utterly on the mark.

Although For My Father had been picked up by Film Movement for U.S. DVD distribution at the time of its festival debut, no theatrical release was planned.  Things change, fortunately, and now here it is opening in New York City at the Quad Cinemas this coming Friday, January 29.  The film eminently deserves theatrical play: On its home ground it was nominated for seven Israeli film awards, while winning two more from international festivals. The Film Movement box art quotes Eric Alterman at The Huffington Post, who calls the movie "transcendent."   Indeed it is.  And indeed it has a lot to transcend.


A film to which the cliche "Romeo and Juliet story" most definitely applies, For My Father is manipulative as all get-out, yet once its situation is in place, so deftly and realistically do the director and writers work everything out, and so beautifully performed is the film by its entire cast, that it simply takes off into the stratosphere, leaving you moved and chastened to an almost unbearable degree.


The filmmakers set up a conundrum which both the characters and us viewers first try to work out and then would be happy simply to escape from. And because the performers, particularly the two leads (Shredi Jabarin, shown above, and Hili Yalon, shown below), are so beautiful & persuasive, they win us over completely, as do the supporting actors (several are shown two photos below) -- each well cast and delivering an utterly lived-in performance.


So much of Israeli and Palestinian life -- from the workaday world to family, friends, religion and even soccer -- is encompassed by this movie that you come away from it enriched on many levels, even as you've been held fast by its simple and riveting plotting.  The use of soccer is especially telling and ironic, never more so than in its final and all-too-meaningful shot.


Though the set-up may manipulate, For My Father's follow-through plays absolutely fair from a just, ethical and honest standpoint. That this movie honors its situation and its characters -- Israeli and Palestinian -- so well may be its strongest point. I absolutely and unequivocably recommend it.

Friday, January 22, 2010

DROOL opens (in L.A.); Laura Harring stars in Nancy Kissam's comedy


How nice to see Laura Harring, the voluptuous young lady from Mulholland Drive (the one whose career did not take off like a house afire), in a leading role once again. It would have been even nicer to have seen her in a leading role in a good film. But, ardent movie lover that TrustMovies is, he takes what he can get. And in this case, he's got a colorful, over-the-top time-waster.


Written and directed by Nancy Kissam (shown at right with shades and cigar: The shot is courtesy of Slamdance, at which Ms Kissam's screenplay won an award), DROOL is brightly colored and, as it moves along, very predictable in almost every way.  That it lasts a mere 85 minutes is one of its saving graces.  The other can be found in the film's performances, all of which, though fairly broad, are good enough (even given what the poor actors are sometimes asked to do) to make the movie bearable.

For me, the biggest problem with so many gay and lesbian films is their insistence on a happy ending at all costs. I realize that most of us want this (Isn't that what movies are supposed to be about?) but it helps if we arrive there via a route that offers some surprise and characters who possess the quirks and nuances of reality.  Ms Kissam's set-up is heavy-handed enough, but from there she slams each event so hard it finally hurts, right up to the requisite bring-us-all-together -- races, sexes, the works! -- finale.  Oh, well.  It's all quite happy, as I mentioned.


In addition to the beautiful Ms Harring (above), the movie offers the gorgeous Jill Marie Jones (below) as a spicy new neighbor, Mummy man Oded Fehr as the abusive hubby, and Ashley Duggan Smith (bottom, left) and Christopher Newhouse (bottom, center left) as Harring's children.  Kissam draws consistent performances from her cast; everybody's on the same page: characterization via broad-stroke, felt-tip marker. Situations, events and people are all overdrawn, particularly in comparison to another comedy that also opened this week: The Paranoids.   The differences between the way these directors handle their films seem to me both striking and pertinent.  As quirky as is The Paranoids, it never loses touch with reality.  Drool -- in all its primary-color palette and "quirks" as big as boulders -- rarely seems to approach it.


Clearly these films are aimed at different audiences, and since comparisons are of course odious, I should just shut up and suggest that, if you prefer your films on the easy-to-digest side, give Drool a chance.  (That title comes from what the Harring character's hubby does, automatically, during sex.) The film opens today, January 22, via Strand Releasing, only in Los Angeles at Laemmle's Sunset 5 complex, on a daily, two-performance-only schedule.  Can a DVD release be far behind?

Thursday, January 21, 2010

André Téchiné's GIRL ON THE TRAIN opens; Deneuve, Dequenne and Blanc shine


It's been ten months since TrustMovies first viewed André Téchiné's THE GIRL ON THE TRAIN (the original review is here; click and scroll down), yet the film, as do most from this director, contin-
ues to haunt his thoughts.

Téchiné (shown just below) is a movie-maker who seldom spells things out:
not the theme nor the moral nor even sometimes the plot itself.

The latter is true this time around, as the key event happens late in the film, yet it packs such a wallop that, were it to occur in any other filmmaker's movie, it would set the entire tone as well as our view of title character.  That this does not happen here is due to the director and co-writer (with Odile Barksy and Jean-Marie Besset) having earlier pre-
sented such a rich and full view of the young woman of the title -- played well, as she does all her roles, by Émilie Dequenne (below) -- and of her world. Consequently, we viewers cannot perform the usual rush-to-judgment done by the media, politicians, even some of those people close to the girl and the event.


Téchiné gives us perspective -- plus the links we need to family, society, politics and the like. Dequenne's mother is played by the great actress Catherine Deneuve, who continues to find, with the help of some of France's best directors (Téchiné, Desplechin, Ozon) interesting and varied roles to play well into her senior years.

Deneuve is aided by actors like Michel Blanc, Mathieu Demy, Ronit Elkabetz, and especially Nicolas Duvauchelle (shown at right, who plays Dequenne's boy-
friend). They all help make Girl on the Train one of the more unusual -- and troubling about the way we live now -- foreign language films in some time.

Thanks to Strand Releasing, the movie opens Friday, January 22, in New York City at the IFC Center and at City Cinemas 1 2 3. A national rollout will follow, so you may get this one in or near your city.

Wednesday, January 20, 2010

See Brent Leung's HOUSE OF NUMBERS; ignore the fundamentalist backlash


When HOUSE OF NUMBERS -- Brent Leung's excellent documentary about AIDS and HIV -- opened for a week's run last year, it was savaged in a particu-
larly nasty review in The New York Times.  When, last September, Trust
Movies read that review, he immedi-
ately concluded that the film was not worth his time.  Big mistake.  He should have read between the lines.  Because Mr. Leung (shown below) questions the "received wisdom" and the medical/political establishment party-line on AIDS and HIV, the Times reviewer (as well as another in the British medical journal Lancet only this month), suggests that Mr. Leung will next turn his attention to questioning the existence of gravity.

To begin with, any scientist (or even a well-informed layman) who imagines that the law of gravity and what is known about AIDS are remotely comparable in quality or quantity should turn in his degree or give up his day job (and perhaps become a Times reviewer!).  Both reviews also claim that House of Numbers is a forum for AIDS "denialists."  I do not think so.  The documentary never denies the existence of AIDS or HIV. But it questions -- and question hard -- various held-as-gospel concepts about HIV and AIDS.

What is the diagnosis for having AIDS, and what symptoms does this diagnosis include?  Don't ask.  Or if you do, be sure to note what country you're visiting at the time. (Funny that neither of the above nasty reviews tackle this question -- or cogently address any of Leung's primary points.) Diagnoses have changed so over time and over country that this becomes one of Leung's major problems with how AIDS and HIV are perceived.  AIDS testing is another.  The filmmaker goes to South Africa, takes an AIDS test from a sweet young woman who should probably not be giving the test, or at least should be offering better information, and while in that ex-Apartheid place, looks into the major poverty there and wonders, as do many South Africans, some of whom we hear from (see below), that perhaps there is some mixing-up going on between AIDS diagnoses and immune systems racked by malnutrition and disease.

Leung does not insist that one condition equals the other -- something that both the Lancet and Times reviews above say he does; the Lancet review also says that House of Numbers claims that there is no connection between HIV and AIDS. It does not.  Instead it offers up the possibility of co-factors -- a damaged immune system due to poverty or drug use (doctor-prescribed or recreational). Yet neither review mentions the co-factor theory (which has been around for some time now.)

Approaching 70, TrustMovies predates the AIDS epidemic.  He saw it happen here in New York City and has seen numerous friends, acquain-
tances, sexual encounters and one full-time lover fall to the disease.  He's followed the ins-and-out of the official story and has from time to time questioned it -- as have many others who some-
times have had problems accepting what the medical establishment and drug companies are telling us.  This does not make us AIDS denialists, but we do believe that there is much more to the story that is being told. And we wonder, as does Mr. Leung and some of his interviewees (one of  which is shown above), why so little funding is given over to any theories other than those of the toe-the-line establishment?  Instead, money and research goes to prop up what seems like a faulty-from-the-start theory, full of holes, and to the drug companies, which keep pumping out a lifetime of drug therapies to those infected.

However, TrustMovies is no scientist.  So he asked an acquaintance and occasional web reviewer who is a science writer for some corroboration. Anthony Liversidge, above, founder and managing editor of Science Guardian, was happy to give it  Liversidge has also been following the AIDS/HIV story for decades and says that House of Numbers get its facts right and is, in his opinion, a trustworthy documentary.  (In fact, Liversidge covered the film
long before I did.)

I have now seen the documentary twice -- and could easily sit through it another time or two, so dense is it with information and statistics, not to mention interviews with a number of establishment and anti-establishment figures, all of whom answer Leung's questions and often dig themselves deeper and deeper into the muck. (Little wonder a number of these people are up in arms about the film; it does not make them look good.)  Leung paces his film well, and threads along his main story the smaller stories of several individuals worth hearing.  There are man-in-the-street interviews, as well those with the big boys (and girls).  It all adds up to 90 thought-provoking minutes.

My biggest question after viewing House of Numbers is why there is such an enormous backlash against it.  Were it as "wrong" as its opponents claim, they could easily contest it on a point by point basis; instead they simply keep trying to stop it wholesale -- as though it has no right to be seen and heard.  I have spoken with director Leung several times now and learned that, at screenings, groups and individuals are often lined up shouting against the movie.  Journalists originally disposed favorably toward the film post-viewing, suddenly come out against it after "a good talking to." This strikes me as censorship, which has no place in real science -- although throughout history, it is always present.

House of Numbers hints at a conspiracy between medical establishment and drug companies.  God knows there has been enough conflict-of-interest scandals in that department over the years -- from doctors hawking cigarettes in ads and TV commercials way-back-when to the more recent examples.  Celia Farber did some fine investigative reporting for Harpers some time back on the subject of AIDS drugs, and more recently in New York magazine, David France reports on what the AIDS cocktail concoction is doing to AIDS sufferers now.  AIDS drugs have always been dangerous:  AZT was toxic-unto-death; the latest batch remains toxic enough to noticeably shorten the life span and productivity of its users.

Regarding the possibility of mistaking (deliberately or otherwise) African (South and otherwise) poverty symptoms for AIDS -- as Leung and others continue to suggest --  this seems quite a legiti-
mate question.  So far as the gay community and a suppressed immune system are concerned, this connection has been on our minds since AIDS made its nasty debut in the early 1980s. Its appearance came at a time when many gay men were doing drugs that we now know suppress the immune system.  But rather than owning up and then investigating this at the time, the connection was played down so that gays' "lifestyle" could not be blamed for acquiring AIDS.  Yes, of course, there was and is enough homopho-
bia out there already, so one can understand gay leaders' reluct-
ance to admit to possible lifestyle consequences.   But, hello -- what if?  Suppressing the truth eventually comes back to bite you in the ass; by now it's little wonder so many gay posteriors are a bit raw.

From the very start AIDS research smacked of trouble.  American claims to have discovered the HIV virus were almost immediately countered by those in France (that's Luc Montagnier, above).  While the prize eventually went to both scientists/countries, suspicions were never really put to rest.  Since then so many questions have arisen regarding the virus and the disease -- its source, diagnosis, even the very existence of the virus, that -- instead of truly answering questions and looking further for missing information, the establishment instead decided to stonewall, and has continued this stance ever since -- calling the questioners everything from crazy to murderous because "denialism kills" (that's the Lancet).  I think it's time to call out the real denialists: doctors, researchers, drug companies and politicians who are unable and/or unwilling to allow dissent and questioning -- and the shrieking banshees at screenings who want to keep this film from being seen and discussed.  These are the kind of tactics indulged in by our former political administration, are they not?  Power closing rank and discrediting all disagreement.  I'm not even saying that House of Numbers is right about everything.  But it absolutely needs to be seen and argued about.  It's not the best documentary of the year by a long shot -- but it may be the most important.  



Your next chance to see the film begins this Friday, January 22, when it be screened in Portland, Oregon, at the Regal Fox Tower Stadium Ten.  Take that chance, if you're in the area. Check the film's web site for further screenings, and look for a DVD to be released later in the year.