Review: 'Félix and Meira'
Félix and Meira begins with a traditional Hasidic Jewish dinner: singing, celebration and religious clothing. Everyone seems comfortable except for Meira, our protagonist, and immediately through visuals we sense that something does not sit well with her. Thus begins the major conflict of the film as Meira debates internally her commitment to tradition.
Because of the timeless nature of this culture, at the beginning it is deliberately unclear what time period the film takes place in. Meira is scolded by her extremely traditional husband for playing LP records, indicating the film is a period piece. Yet as the film goes on and Meira slowly ventures outside of her Hasidic bubble, we realize that the film does, in fact, take place in present day, yet we discover it through her eyes and slowly it becomes more modern. The visual palette (like a love child of last year’s Ida and A Most Violent Year) distinctly drives Meira’s journey, making the modern world look, in a distinct way, unlike anything I have ever seen in a movie.
Most romance audiences prefer the more saccharine Nicholas Sparks adaptations, but would truly enjoy seeing something much more subtle and powerful as seen in Félix and Meira.
While focusing on Meira and her doubts in her beliefs, the film quickly develops into a love story. Despite being married and living among the traditional culture, Meira falls for Félix, a bachelor without the same family values. This isn’t the adulterous kind of romance - everything is subdued, making even holding hands feel like a display of passion. The suspense remains because of how forbidden the relationship is in the first place, and thanks to top-tier performances and direction, the relationship between protagonists never feels inauthentic.
The dramatic sequences scattered throughout the film significantly outweigh the overall narrative. The symbols are rich without being overt. As said above, this is a movie full of subtlety that matches the emotional tone of the characters. The singular unsubtle moment happens right after Félix and Meira first spend time together, when the film transitions to an isolated clip seemingly unrelated yet emotionally moving. I would have been happy to see more of these, but alas because it only happened once, it draws more power to itself.
As stated above the primary conflict of the film is tradition vs. love, which is incredibly powerful yet not as universal in today’s world. Unfortunately, Meira’s husband is reduced to being a caricature and not given enough complexity as a character. Had he been more layered, it would increase the stakes in how difficult it would be for Meira to decide to stray away from him. Regardless, this is the romantic drama that people should yearn for. Most romance audiences prefer the more saccharine Nicholas Sparks adaptations but would truly enjoy seeing something much more subtle and powerful as seen in Félix and Meira.
Félix and Meira opens at the Laemmle Royal Theatre on Friday.
https://www.youtube.com/watch?v=obC5MAJkm-w
Review: 'Chappie'
Despite seeing this film on opening night, I already had caught word that it could potentially be a disaster. I otherwise saw the movie completely blind, knowing only the loose concept and the director/writer Neill Blomkamp.
Blomkamp captured lightning in a bottle in his 2009 debut feature, District 9, which remains one of the greatest modern science fiction movies in the way it serves as an allegory for the racial divide of South Africa, but also a high concept science fiction piece, not to mention a terrific action movie. Elysium, on the other hand (released in 2013), had an impressive concept but ended up as a rather hollow movie. Chappie, unfortunately, has more in common with the latter, primarily in that it never escapes the shadow of District 9. In so many elements, it feels like an attempt to recreate the wow-factor of that film.
In the end however, I did enjoy the film, knowing it was flawed beyond belief but at least it didn’t feel generic or bland.
The first confusing element is whether or not the film is supposed to take place in the future or in an alternate present day. There isn’t enough establishment of the world to verify either one. Chappie tells the story of a corporation’s brilliant young genius (Dev Patel) going rogue and making his own type of robot that isn’t the fighting machine it was intended to be. Chappie (a mo-cap performance from Sharlto Copley) is born, and must learn the nuances of humanity through the underground culture of Johannesburg. What works well are the small moments, such as Chappie learning English and early communication. But for all of those, an equal number of them feel incredibly hokey. The supporting characters are absolutely ridiculous in two different ways; The two main characters are played by rappers Ninja and Yo-Landi Visser from the South African rave-rap group Die Antwoord. Neither one has previous acting experience, which makes for brutally uncomfortable performances until finally you get used to them. The rest of the cast consists of notable actors (Hugh Jackman and Sigourney Weaver among others) who give their all toward undeveloped or misguided characters.
For what it is worth, the film is unpredictable in many ways. Especially since I avoided trailers, the story took many directions I did not expect. I was intrigued through the lengthy runtime, but also made painfully aware of its cringe-worthy bad moments. Ultimately, the film is weighed down by how implausible some of the decisions are and how little the details are developed, much like Elysium before it. If that sounds interesting to you, then by all means go see it, but if you’re looking for a well developed, quality project, you’re going to have to wait for something else to be released.
I find it interesting that this film is produced by Sony. For one thing, it means that you’ll get more blatant product placement than any film outside the Transformers series. It also feels like the type of project that is a hit on paper, but is undeveloped and misguided in its execution. In the end however, I did enjoy the film, knowing it was flawed beyond belief but at least it didn’t feel generic or bland. I hope that Blomkamp steps farther outside his safety net on the Alien franchise, which he is slated to direct next. If he takes the same approach as his last two films, it will similarly feel ambitiously interesting but hollow and misguided.
https://www.youtube.com/watch?v=lyy7y0QOK-0
Reviews: 'Da Sweet Blood of Jesus' and 'Oldboy'
Spike Lee re-entered the public eye once again just under two years ago with the bold decision to fund his next independent film by the crowdfunding website Kickstarter, and the fruits of his labor are now available for the general public to see. It’s been nearly a decade since Mr. Lee has been able to deliver a movie that was critically-approved, as his last few efforts have all been misfires for various reasons. I hadn’t seen his remake of Oldboy, a commercial flop from 2013, so I streamed it on Netflix in preparation for the film (see my thoughts at the end of the review). Unless you’re a meticulous viewer like myself, there is little to connect the two films by, other than a few signature flairs. Unfortunately, Da Sweet Blood of Jesus appears destined to join the later Spike Lee joints as another creative misfire.
Dr. Hess Green (Stephen Tyrone Williams) is a wealthy African history expert living in an isolated mansion in Martha’s Vineyard. He has but one vice: he is addicted to blood. The plot thickens when the wife of one of his associates, Ganja (Zaarah Abrahams) comes to visit, and she is brought into the bizarre and sordid world of blood addiction. Their relationship becomes the major plot point of the film.
There are a few things wrong with the film, but above all, there is a sense of pace that is completely missing from the picture. This is a slow movie, much like 2012’s Red Hook Summer, and is similarly in desperate need of a sense of forward progression and intrigue as to what is going to happen next. This is only found in a few moments, but the film suffers without a clear enough plot to drive the film forward. Even the chemistry between the two lead actors, which as you can imagine leads to romance, does not feel organic and rapidly jumps from complete strangers to timeless lovers.
For a film about blood-drinking, murder, and much more, the stakes of the film feel rather low–by the end of the first act there doesn’t appear to be anything to threaten the characters’ well being other than themselves, and it isn’t enough to maintain the movie. At a full 2 hours, this is a movie that is just too long for how empty it feels. The film is monotonous and as a viewer I lost interest quickly. Thinking to general audiences, I find it difficult to imagine any type of viewer finding enjoyment in this film. To the many who backed this film on Kickstarter (including myself), this is a huge let down.
Da Sweet Blood of Jesus is available to stream on Vimeo On Demand now and in theaters today.
https://www.youtube.com/watch?v=n739-zHeooQ
Oldboy (2013) (US)
Director: Spike Lee
Writer: Garon Tsuchiya, Nobuaki Minegishi (manga), Mark Protosevich (screenplay)
Stars: Josh Brolin, Elizabeth Olsen, Samuel L. Jackson
The first thing I read about Spike Lee’s 2013 remake of Oldboy after viewing it for myself was that the studio cut the film down from a 145 minute Director’s cut to a 105-minute movie. Hence, the film opens with “A Spike Lee Film” rather than the auteur's usual signature, “A Spike Lee Joint.” That information alone gives so much context with what isn’t working with Oldboy. The film lacks the character development and subtle build-up that is essential for any good film across all genres. All the major relationships of the film are without development or backing. For the first half of the film, this is acceptable because there is enough going on in the story to keep us entertained and intrigued. But as the film progresses and becomes more relationship-centric, it alienates the viewer.
If you’ve seen the original 2003 Korean film of the same name, then you will already know all of the major plot points of this film, which Lee does not deviate from here. Other than an obvious change of location and a few subtle differences, it is all the same story. An average man (Josh Brolin, whose character is much more of an a-hole than his Korean counterpart) is suddenly locked up for 20 years with no explanation–and then set free. He seeks revenge on his captor while searching for his missing daughter. The captor (Sharlto Copley, in an effectively weird but still underwhelming performance) challenges him with a game of asking not why he was locked up, but why he was set free.
The film does build to a twist, and it is the same as the original. In essence, there is nothing new to be gathered from watching this film over the original. The first one is more effective in all that it sets out to be: it is vile, emotional, action-packed, and has a powerful sense of style. As mentioned at the beginning, despite keeping the same story, this version can’t help but feel watered down. It’s a film very few people saw to begin with, and after viewing it myself, I can’t help but suggest checking out the original and skipping this version entirely. Both versions are available to stream on Netflix, though you only need to bother with one of them.
I am a huge fan of Spike Lee’s work prior to 2006. He was a distinct and powerful voice of independent cinema whose movies varied in quality but almost always left me with something positive. And among those many movies, a handful are absolutely phenomenal. The same cannot be said of everything since. There is very little to defend about his late filmography, and as a fan this is frustrating because I am baffled by how drastically this film along with the others have dropped off in quality.
Having now seen both the studio controlled Spike Lee film in Oldboy and the completely independent Spike Lee joint in Da Sweet Blood of Jesus, they both ended up being poor products. On both sides of the coin, there is little substance to be gleaned. I am sincerely disappointed and do not see a bright future for Spike Lee joints that match the original power of his early filmography. It appears those days are long forgotten.
Oldboy is available to stream on Netflix now.
https://www.youtube.com/watch?v=WKz_AUF0GcU
Review: 'Racing Extinction', 'Brooklyn', 'Me and Earl and the Dying Girl', 'Slow West', 'The Diary of a Teenage Girl'
Final Days, Park City, UT: While the dust has officially settled on Sundance 2015, due to a jam-packed last couple of days capped off with a lengthy road trip home, I didn’t get a chance to write about the last few days of the festival, where I managed to see 5 of the festival’s biggest movies. Here are some thoughts on titles that without a doubt will be coming up again as they reach a US release.
Racing Extinction (US)
Director: Louie Psihoyos
Writer: Mark Monroe
Stars: Elon Musk
My final documentary comes from high profile filmmaker Louis Psihoyos, director of Oscar-winning documentary The Cove. Prior to the film’s screening, he proudly announced that since his last documentary, dolphin hunting has decreased by nearly 2/3rds, tangible evidence at the power of cinema. In his follow-up documentary, Racing Extinction, Louis takes a larger scope, discussing the endangerment and mass murder of multiple animal species all across the world. One, in particular, is the manta ray, which has become a delicacy in China and as a result, they are being slaughtered. Louis and his team infiltrate an illegal seller of these meats that are extremely expensive but remain a commodity because they are believed to cure cancer and other myths that serve as excuses for mass hunting. The reason the film excels is because it takes the micro-sized issues such as these and shows why they matter on a global scale. The extinction of species will have a drastic impact on the environment worldwide and is a metaphor for the current human behavior that is so damaging. The filmmakers do an incredible job of showing why this is happening and that, although this is by no means a quick fix, this is something we all must get involved with.
I am an environmentalist and a vegetarian so I fit squarely into the range of people who are most likely to see the film. But I recommend it to any viewers because this is not a film meant to tell you how grim the future is, it is one about showing how with the right steps we can make a difference in the world, and every single human being can help make a difference. I am inspired by this film and look forward to promoting it as the year goes on. In short, it's something that everyone should see.
Brooklyn (UK/Ireland/Canada)
Director: John Crowley
Writer: Nick Hornby
Stars: Saoirse Ronan, Domhnall Gleeson, Michael Zegen
Brooklyn was one of the premieres that generated the most hype over the course of the festival, despite a synopsis that appears rather pedestrian. Ellis Lacey, an Irish girl (played by a mature Saoirse Ronan) moves across the Atlantic to Brooklyn, New York in hopes of a better life in the 1950’s. The film is a chronicle of the challenges of leaving family and comfort behind with the lofty promise of an education and a career. Over the film’s runtime, we see Ellis go from a girl who can barely carry on a conversation to a full-fledged woman. A major part of this transformation is due to the romantic plot of the film. Through meeting Tony (Emory Cohen), Ellis finds herself able to adjust to being so far away from her family, and finally find her voice.
This is a sweeping romance in the old fashioned form, akin to something that would’ve been released in a different era of cinema. It doesn’t feel dated in its execution at all, but it feels like the type of film that seldom gets made today. In this regard, it is oddly refreshing to see a conventional drama unfold. For anyone who has ever traveled far from their family or been in a long distance relationship, this slow-burning drama will strike a personal chord. Fox Searchlight will be releasing the film later this year, and it seems destined to be a film that connects with all kinds of audiences.
*Me and Earl and the Dying Girl (US)
Director: Alfonso Gomez-Rejon
Writer: Jesse Andrews
Stars: Jon Bernthal, Nick Offerman, Olivia Cooke
On the final night of the festival, I had a ticket to the 9:45pm screening of the “Grand Jury Prize Winner” and when I got out of a film playing before it at 8:45pm, there was still no word on who the winner was. Finally, 15 minutes before the film was set to begin, thanks to Twitter, we in line were informed that the festival’s winner and the film playing that night would be the much anticipated Me and Earl and the Dying Girl. Through the entire festival, I had heard talk about how exceptional of a film it was, and now was my chance to see it for myself.
I was not disappointed. From the title you can get some sense of what you’re getting into, but Earl is a drama and a comedy about a senior in high school whose mother forces him to befriend the girl in his class who has leukemia. This is not meant to be either extreme of light-hearted or heavy-handed. Like any great film, it strikes a beautiful balance right in between.
The reason I found the film so easy to connect to all viewers is because all of the cinematic elements on this project seem to come together in a most harmonious fashion. No film element is left underutilized. We are told the story visually through the great camera work and the exceptional production design. However, these are just accentuations of what is an incredible story, a roller coaster of humor and sincerely touching moments. After seeing the film, it was so clear why this is a winner. It just delivers across the board everything you could ask for in a movie and feels so refreshing despite being a rather tried genre. As an added bonus, the film has a countless number of homages and references to classic cinema, so is especially fun for avid film-goers. Of all the films I saw at Sundance, I look forward the most to revisiting this gem: it represents exactly the type of quality films that find a path to success through the festival.
*Grand Jury Prize: Dramatic Winner, Audience Award: U.S. Dramatic Winner
*Slow West (UK/NZ)
Director: John Maclean
Writer: John Maclean
Stars: Michael Fassbender, Kodi Smit-McPhee, Rory McCann
On the final Sunday of the festival, they screen the winners of various categories, and I made sure to catch Slow West, the New Zealand film that won the Grand Jury Prize for World Cinema Dramatic. Ironically, the film is set in the United States during the classic Western era, and features a non-American but recognizable cast including Michael Fassbender and Kodi Smit-McPhee. Distributor A24 has picked the film up for some sort of release this year.
The film follows a 16-year-old boy who meets a drifter named Silas (Fassbender) on his journey across the West to catch up with the girl he loves. Over the course of the film we learn more about why his love moved out here and why he is following her. Like any Western, there are bandits and villains scattered throughout the perilous journey, and he will need all the help he can get from Silas in order to reach his destination. The film gets off to a slow pace at first, but before too long develops into an intense action adventure where there is no way to predict what will happen next. There are some brilliant moments of set-up and payoff here that are so seamless you don’t realize that they play into the story until after it has passed. It does a fantastic job of keeping with the conventional Western tropes but also feeling fresh and like something we haven’t seen before. Because the film is a brief 84 minutes, it's also difficult to find too many faults once the story really takes off. For any fans of the Western, this film can be added to the catalog of modern Westerns that are ensuring the genre and the spirit of the West lives on.
*World Cinema Jury Prize: Dramatic Winner
*The Diary of a Teenage Girl(US)
Director: Marielle Heller
Writer: Marielle Heller
Stars: Bel Powley, Alexander Skarsgård, Kristen Wiig
My final film of the festival before embarking on a 10-hour journey home was one I was rather thankful to see. Just a few days earlier, I had a chance meeting with the film’s director, Marielle Heller, and had a rare opportunity to speak with her about the industry and how she got to where she is. The film is a testament to the independent spirit, telling a story that could never have been made in a conventional studio. The story is about 16-year-old Minnie (Bel Powley), whose coming-of-age story becomes radically different than the norm when she starts sleeping with her mother’s boyfriend. As can be inferred, despite the gloss of coming-of-age comedy, this is at times a difficult film to watch with a subject matter that’s difficult to digest. However, at its core it is a universal story about learning what matters and how to healthily achieve confidence in yourself. As pointed out to me by a fellow festival-goer, it’s a rare teenage coming-of-age story that is told from the female perspective, both in its protagonist and in the writer/director. The result is another film that feels refreshing and something worth sharing with the general public. Interestingly, the film actually won the award for Cinematography, and knowing that going in gave me a special appreciation for the craft of the film, especially in the choices of lighting. The film is a 1970’s period piece which allows for a more immersive experience and helps explain the rather unconventional relationship that develops between Minnie and her mother’s boyfriend. Overall, this represents a great voice in film and shows us a story that wouldn’t normally be seen as universal, but is done in a way that we all can relate to, and the final message of the film is something that everyone should hear when they are going through the doldrums of teenage years.
*U.S. Dramatic Special Jury Award: Excellence in Cinematography
And with that, so ended my experience as a volunteer at the Sundance Film Festival. In total, I managed 25 films and saw a film at every single venue of the festival. For anyone who is a lover of independent cinema, Sundance is a true haven and a place to surround yourself with like-minded people. I'll also add that part of what makes it both special and daunting is that no two experiences are alike and that everyone who comes here will see a different set of movies and have a different experience. I've been very happy to share mine here at CINEMACY, and down the road hope to find myself at the festival again!
Review: 'How To Dance in Ohio', 'The Chinese Mayor'
Day 9: Park City, UT: Hard to believe that it’s been this long here! Today I went after some of the more low profile documentaries that I chose due to interest in the subject manner over the buzz they’re receiving. Normally, I’d be after another movie tonight, but it’s rather quiet here. I wasn’t sure why until I saw Col Needham’s Facebook page with the view from the judge’s roost, and it hit me: they don’t screen anything major tonight because the judges are all deliberating to announce the winners of the festival tomorrow. Admittedly, and with no disrespect to the crop that I’ve seen, I don’t think I’ve seen too many of the winners, so I’ll plan on using the final 2 days to hit any of the top movies I can see.
How to Dance in Ohio (US)
Director: Alexandra Shiva
High school and college are challenging times to read social cues and deal with all kinds of emotion, but can you imagine those experiences on the Autistic spectrum? This documentary follows 3 women from ages 16-22 who are on the spectrum and go to the same center run by Dr. Amigo to help people learn how to read social cues, and carry on lives that aren’t disrupted by their disability. With all of his patients, he organizes a prom as a sort of culmination and an opportunity to put what they've learned at school to the test.
While the film lacks the production value or scope of some of its documentary stablemates here at the festival, it is successful because the story is so touching and the practice is incredibly effective. Thanks in part to a great community but also due to these individual’s determinations to lead prosperous and independent lives, they become people we root for. It’s a tad too long and might not be as strong as it could be, but it remains a very touching piece and demystifies Autism and those whose lives are affected by it. The film has been sold to HBO and so will play there sometime this year.
The Chinese Mayor (China)
Director: Hao Zhou
Writer: Hao Zhou, Zhao Qi
After taking a quick break in the Yarrow lobby and casually sitting next to John Cho for a hot minute, I watched my first film in the World Documentary competition, a category that is generally the least likely to ever be released stateside. One of the most powerful films I saw last year, We Come As Friends, takes a harrowing journey into South Sudan and takes a brilliant experimental approach, yet has only been released in festivals and two countries: France and Austria. So while I could have seen another documentary in the US competition, I chose this as it might be my last opportunity to catch it.
From text at the beginning we learn that Datong, China is the most polluted city due to years of coal production, and now is trying to save face and create a place that is welcoming to visitors. At the forefront of this initiative is the titular mayor, who is attempting to create a city center that is welcoming to tourists and enhances the ancient parts of the city. The trouble is that this vision means displacing over 100,000 people! The filmmakers followed mayor Geng Yanbo for a year and a half to complete this film, and while not every piece of footage hits the mark, we see the conflict firsthand through the view of its lead character. At times he seems to be doing the best thing for the people, but other times he seems to be creating the problem. The question then arises of how much power he actually has: is he calling the shots or is he just a bureaucratic puppet? The film gets started slowly, and relies too much on text for a modern documentary, but still lands a strong finish as the story gets more complex. The story at first seems irrelevant, but ends up representing all that is wrong with what is going on in China today.
While I may not have seen as many of the buzzed about films here at Sundance, I continue to be thankful for the number of intriguing documentaries that, regardless of their craft, have each given me a greater depth of knowledge. Here’s to two big final days and then a trek home after an incredible festival!
Review: 'People Places Things', 'Don Verdean', 'Songs My Brother Taught Me', 'Z for Zachariah'
Day 7: Park City, UT– On Day 7, I inadvertently did a Jemaine Clement double feature, to drastically different results. The last few days I've been catching up on some of the US Dramatic films, like below:
People, Places, Things (US)
Director: James C. Strouse
Writer: James C. Strouse
Stars: Jemaine Clement, Stephanie Allynne, Derrick Arthur, Celia Au
People, Places, Things covers a comic book artist dealing with midlife challenges of fatherhood, teaching college students, and exiting a relationship with his ex-wife. Clement is funny and engaging in the lead role, and his New Zealand flair plays extremely well. It’s a clever script and well-made all around. The most comparable film in terms of tone is Richard Ayoade's Submarine, except that this is a more adult story. The film has a great message and while it isn’t a laugh out loud comedy, it’s charming and a worthwhile watch.
Don Verdean (US)
Director: Jared Hess
Writers: Jared Hess, Jerusha Hess
Stars: Sam Rockwell, Amy Ryan, Jemaine Clement
From Jared Hess, director of Napoleon Dynamite, is the premiere of his latest comedy, Don Verdean, another attempt at creating an iconic comedy character. Sam Rockwell in the titular role is an archeologist looking for the next great biblical artifact but to no avail. Unfortunately, the film does not know exactly how to utilize its humor or place its jokes and ends up feeling very empty. After a promising start, the film gets bogged down in flat sequences and some unimpressive, offensive humor that isn’t forgiven because it isn’t clever. Jemaine Clement plays the Israeli assistant Boaz, and you can guess how much they try and make a laugh out of the Middle East through his character. I am sorry to say that this was not something I could recommend and, for as iconic as Napoleon Dynamite became, I expect this one to quickly slip away.
Day 8: Park City, UT–
Songs My Brother Taught Me (US)
Director: Chloé Zhao
Writer: Chloé Zhao
Stars: Irene Bedard, Dakota Brown, Cat Clifford
Sundance has been especially strong in curating American Indian culture, and this film continues that tradition. Taking place on the Pine Ridge Indian Reservation near the Badlands in South Dakota, Songs is the story of two siblings growing up “on the rez” looking for role models and deciding their future. Their stories are incredibly similar to the actual stories of the reservation, and many of the actors are playing characters based on themselves. The film takes a slow pace that gives a slight sense of meandering, whereas the primary conflicts could be stronger if they remained the primary focus. I am very happy this film exists because without it, these stories wouldn’t be told (and they’re incredibly underrepresented), but the film itself is not as strong or innovative as it could have been. The Q&A following the screening was extremely powerful, especially seeing the actors and director in real life. Surprisingly, director Chloé Zhao is actually from Beijing, China, and having grown up feeling without an actual home, she was fascinated by a group of people whose lives are so connected to their land and home. I believe the concepts and principles will lead to even more nuanced filmmaking ahead.
Z for Zachariah (US)
Director: Craig Zobel
Writer: Nissar Modi
Stars: Margot Robbie, Chris Pine, Chiwetel Ejiofor
In the vein of other “last man on Earth” films, this takes place after an ambiguous apocalyptic event and a woman (Margot Robbie) appears to be the last person on Earth, until she meets Loomis (Chiwetel Ejiofor) who is ecstatic to come across another person. For the first half of the film we see their relationship develop, and their major conflict is that she is a woman of faith and that he is not. However, being the last two people alive, they begin to develop feelings for one another, and slowly become closer, until the stakes raise when a younger man who is also of faith (Chris Pine) enters the picture. The film excels at developing the tension between the characters, and since these are the only three people we see onscreen it has the luxury of finding the gaps and subtleties between their interactions and the high level of tension. It leaves a lot of elements ambiguous, making the end result a little less memorable because so much is left unsaid. In the end, it’s a great change of pace for the post-apocalypse genre and ends up being something very different and hard to predict compared to the conventional fare. I will be curious to see how it is marketed and sold to the general public due to its unusual nature.
Review: 'The Stanford Prison Experiment', 'Ivy', 'Welcome to Leith', 'Most Likely to Succeed', 'Zipper'
Day 5: Park City, UT–The festival is starting to move quicker and now it’s all about staying healthy and pacing myself throughout day. It’s been a great time with the first group of Chapman students who came, and I look forward to seeing a second group tomorrow. I’ve also thoroughly enjoyed getting to know the volunteer team at the Prospector Theater who now have become a miniature posse of our own. I even had the privilege of meeting Jacques, a graduate of Chapman/Dodge’s graduate program who is also a volunteer. As it turns out, he was the one who told my friend Almog about volunteering, and Almog was how I heard about volunteering here! In other words, without this guy I would not be here today!
Another fun tidbit: in the mens’ bathroom stalls of the Yarrow (I can’t speak for the women) a desperate screenwriter has printed out a letter asking for producers to consider his screenplay along with contact information. He gets points for creativity. I guess the logic applies that no matter who you are, everybody has to go! Anyway, onto the latest films I’ve seen:
The Stanford Prison Experiment (US)
Director: Kyle Patrick Alvarez
Writer: Tim Talbott
Stars: Olivia Thirlby, Tye Sheridan, Ezra Miller
Only my second narrative that’s in the competition, this film is a dramatic retelling of the infamous 1971 experiment that taught people worldwide about situational behavior, and the importance that authority and roles play into decision making. I knew quite a bit about the experiment going in, but was still enthralled by how it played out on screen. An all-star, almost all-male, cast includes Billy Cudrup, Nelsan Ellis, Ezra Miller, and Tye Sheridan, and over 2 hours you begin to feel how the prisoners and the guards may have felt. This is a successful film all around and may give more publicity for those who weren’t aware of this experiment and how much knowledge was then gained from it afterward.
Ivy (Turkey)
Director: Tolga Karaçelik
Writer: Tolga Karaçelik
Stars: Osman Alkas, Kadir Cermik, Hakan Karsak
My first in the World Dramatic competition turned out to also be my first experimental and truly non-traditional piece. The coolest part for me was that I got to sit next to the producers (one is German and one is Turkish) and chat with them before the film started. The film itself is in Turkish and tells the story of 5 seaman on a freighter boat that has been marooned due to lack of funding. The film is incredibly psychological and each of the characters can be seen as representations of types of Turkish beliefs and backgrounds. It is a bit slow and takes a sharp magical realism turn in the last third, and as mentioned, this feels like a film where I may not have a grasp on the culture that created it and therefore, may not understand all of the conventions at play. Regardless, it was nice to see something that pushed me out of my comfort zone quite a bit.
Welcome To Leith (US)
Directors: Michael Beach Nichols, Christopher K. Walker
Writers: Michael Beach Nichols, Christopher K. Walker
Stars: Craig Cobb
This is a documentary I was curious about due to similarities toward last year’s The Overnighters, which many people know is a favorite of mine. This time we are back in North Dakota for a straightforward documentary about a town with a population of just 24 residents that finds itself slowly attempting to be taken over by menacing White supremacists from around the country. Tensions ensue as some of the most disturbing individuals I’ve seen onscreen spout their beliefs and rightfully are met with great resistance by the small community. In an era where students are taught in schools that “racism is over” and multiculturalism is still a difficult dream to fully realize, it is radical to think that there are people who believe that there is a supreme race and that others need to be eradicated. One particular shot juxtaposes the main white supremacist with a shot of a TV in the background covering the Donald Sterling scandal: this is one of the most brilliant juxtapositions I have ever seen in a documentary. In this one image, we see the range of racism and the lack of progress across the United States. The film’s story continues the notion of how different certain places in the US truly are, and that North Dakota may be the closest we have to the Wild West today.
Day 6:
Most Likely To Succeed (US)
Director: Greg Whiteley
Writer: Greg Whiteley
Stars: Scott Swaaley
In the Documentary Premieres category, this is a film that questions if the educational system is still relevant in the United States today. The doc starts with an analysis of why the current system came into place, and how the work force it was created for is certainly not the same one it was when it was created. Think about this tidbit: the US educational system has not been altered in 125 years! The system was designed to train people who would work in hard labor or factory jobs, and many of the conventions (ringing bells for example) were created to prepare people for factory work. Today, this is all done by computers. Is the education we needed then, the same that we need today?
The film then explores High Tech High, a San Diego charter school that defies all conventions of a typical school. Instead of books, tests, and grades, students create projects that blend all subjects into one. Learning is more focused on collaboration with other students and learning soft skills instead of facts. It is radical, but the results are stunning. The students are empowered and challenged in ways that never would happen in a conventional school setting. Watching the film feels like watching the school of the future. I was reminded of all of the brilliant professors and teachers who have inspired me, many of whom broke conventions and didn’t abide by traditional principles.
As someone who never particularly fit into the conventional high school or education system, I found the film gratifying in how well it debunks what makes our system so outdated. It doesn’t take into account that students learn in different ways and that memorizing facts is something that doesn’t need to be done in the era of a computer. The film’s runtime flew by as I was riveted by the information about schools, the stories of students and teachers at High Tech High, and the optimism for the future of education as a place where a real learning instead of a massive memorization is created. I believe this is another film that is relevant to everyone, and fit perfectly with where I was because just before the film, I was carrying on a conversation about post-graduation plans and what I wanted to do to continue to improve and educate myself. Due to its relevance and ability to hold attention and tell incredible information and story, this is now my new favorite film of the festival so far.
Zipper (US)
Director: Mora Stephens
Writers: Mora Stephens, Joel Viertel
Stars: Lena Headey, Dianna Agron, Elena Satine
The title will lead you exactly where you think it's going, as it focuses on a District Attorney Sam Ellis (played by Patrick Wilson) dealing with his addiction to sex and it's slow escalation that matches his political gains. The all-star cast includes Dianna Agron, Lena Headey, Ray Winstone, Christopher MacDonald, and Richard Dreyfuss. Movies about adultery are easy to find and this one fits in just fine with the rest of them. It’s beautifully shot and captures the slow erotic build of Sam and his need for companionship. There is nothing completely revelatory and you will not walk away from the film with any new insight on why politicians cheat on their wives or get caught up in scandals. Regardless, this is a film with a sublime cast and gives a good fix of dirty politics like the way that The Ides of March did a few years back. Since this film is a premiere, it will be headed to theaters sometime this year, and then you too can get a fix of watching inner desire unfold.
Review: 'Hot Girls Wanted', 'It Follows', 'White God'
Day 3: Park City, UT– By this point, having been in Utah for 6 days, I’m already beginning to forget what regular life is like outside of the film festival world. It’s been a bustling last 48 hours so here’s my best stab at summarizing everything that has happened.
My Saturday morning shift remained smooth and those 4 hours are getting easier by the day. The only real surprise was giving walking directions to Kristen Wiig, who I didn’t recognize at first, who was avoiding taking the bus to keep a low profile. Shortly after lunch I made my way over to the Temple, which is a great theater aside from the fact that it is far away for my first movie of the day.
Hot Girls Wanted (US)
Directors: Jill Bauer, Ronna Gradus
Writers: Jill Bauer, Ronna Gradus
It wasn’t until the movie began that I realized I’ve created my own theme of documentaries involving exploitation of women. Hot Girls Wanted is another exposé, focusing on the modern Internet porn industry and the women, most of whom are barely 18 and are being lured into stardom. The documentary dances between being a social commentary on young people’s obsession with fame fueled by pop culture, combined with some personal stories of a few girls. Personally, I found the social commentary elements more poignant than the individual stories, but their stories do add a human element. A lot of questions that people have about porn and the girls that are in it are answered in this film, especially their relationships with family and even boyfriends. Like my other two docs that I’ve seen this year, regardless of the artistic prowess, these are films that are telling important stories that otherwise wouldn’t be discussed. A major revelation that fits with The Hunting Ground is that so much of porn being created includes violent behavior toward women. The material of the film is something that I would like to see explored and discussed much more.
After the film, it was time for a quick rest and some dinner. Next I headed to try and catch Z for Zachariah, and despite getting there an hour early, I was not able to get in. That’s the first film I haven’t been able to get into as a volunteer. However, it ended up being the best thing that could happen: instead of going to the movie, I headed to Main Street to see Park City in its full action. I met up with a friend of mine Meredith Stewart, who acted in a project of mine set for an April finish, and we visited a few different venues including BuzzFeed, the North Carolina Film Commission, and one unnamed one. Of course, the party scene at Sundance is an experience difficult to describe and constantly overwhelming, but coming back this year I felt much more comfortable. Like the volunteers, these parties are full of people who are genuinely interested in hearing about you and sharing their talents. Over food and drinks, I managed to meet a handful of other directors, songwriters, actors, and more.
The highlight of my night would be meeting Col Needham, creator and CEO of IMDb. I recognized him immediately and struck up a conversation, star-struck at meeting the individual who played such a massive role on the way I have viewed and researched films for my entire life. I can’t imagine being a film buff without the website and was incredibly grateful to meet him and his wife Karen. Among all the people I have met so far, this has been the most exciting.
It Follows (US)
Director: David Robert Mitchell
Writer: David Robert Mitchell
Stars: Linda Boston, Caitlin Burt, Heather Fairbanks
A midnight movie following a night of socializing isn’t the best way to internalize a film. Overall, It Follows is a solid modern horror film but I definitely was not as engaged as I was in other scary films I’ve seen. It’s more of a mood piece than a pop-out horror and focuses on teenagers and their anxieties regarding their sexual experiences. It takes some risks in cinematography and has a great soundtrack, but is otherwise a niche film good for horror audiences but not something that transcends the genre.
Day 4: Park City, UT–Another similar day of volunteering and socializing (including a Chapman University party), and managed to see one great film, the Hungarian film in Spotlight called White God.
White God (Hungary)
Director: Kornél Mundruczó
Writers: Kornél Mundruczó, Viktória Petrányi, Kata Wéber
Stars: Zsófia Psotta, Sándor Zsótér, Lili Horváth
Objectively the film sounds preposterous, but believe me it works. A young girl’s pet dog is scorned for being a mutt in Budapest, and finally, the dog is sent away. From the dog’s perspective, we see it endure a variety of abusive owners in what seems like a cross between Oliver Twist and Rise of the Planet of the Apes. Eventually, the dog retaliates, along with hundreds of other poorly treated dogs, and things escalate as they seek out their revenge.
They say the greatest films transcend genre, and White God with its balance of drama, action, and comedy, can be marked as such. Considering the protagonist of the film is a dog, it is a directing feat that this character brings out a real performance that varies over the course of the film. The soundtrack is absolutely phenomenal, adding so much heightened tension to the film. Music plays a crucial role in setting the tone and adding character – even the main girl is a trumpet player. On top of the music, the cinematography manages to capture so much.
There are so many layers on this film worth discussing it is difficult to capture it in writing. For this reason alone, it might even be worth a second viewing. The primary theme is the relationship between humans and animals, and the strange, master-pet relationship that occurs between us and them. How does one draw the line between loving an animal and controlling it? There are hints toward other themes, such as human consumption of animals, that are also poignant and relevant. As a warning, this film does feature some dog fighting that is difficult to stomach (enough that a few people left the theater), but it is made clear in the credits and hearing the director speak that no dogs were harmed in making the film. The other theme that the film builds to is compassion. It’s a criticism of our abrasive and often violent interactions both with animals and with other humans, and how this is not the way to reach success.
Hearing director Kornél Mundruczó speak after was just as interesting, and the dog star of the movie was present as well! First, all of the dogs used in the film were from shelters, and after filming was completed each of them found a home! He also had some poignant comments on the title, which is abstract: he said he wanted a title that was contrasting the movie not just illustrating the movie. A pretty incredible concept, and after seeing the movie and hearing his reasoning, it’s a brilliant title. White God is not in the competition but rather in the Spotlight category because it played at Cannes earlier this year. Regardless, due to its depth and poignancy and masterful use of craft, this is currently my favorite film I’ve seen at the festival.