Review: 'The Search For Freedom'
"If you love what you're doing it ain't work, it's fun" - Warren Miller, Ski Filmmaker
Watching The Search For Freedom is like taking a vacation in your seat; we travel to vast and beautiful ocean shores, to gigantic snowy mountain tops, and even to giant rock boulders surrounded by dirt. Director Jon Long takes us to these places because that is where the subjects of his documentary – all professional or legendary figures in the world of action sports – find their happiness and purpose in life. It is here, in a barrel of a wave, kayaking off of a waterfall, or even free-falling from thousands of feet in the air, where they experience freedom. Aside from the mesmerizing footage and mind blowing athletics displayed here, the film sets out to answer one very simple question: What does freedom mean to you?
It's clear from the subjects in the documentary that the pursuit of freedom is equal to the pursuit of happiness. This happiness is found by living in the moment, focusing on the now and the power of the unknown. The basic nature of every human being is the search for freedom, and Long gathers a Who's Who of an ensemble cast that share insight into their respective sport, and demonstrate how they pursue it. Some of the cast includes skateboarders Tony Hawk and Danny Way, snowboarder Annie Boulanger, surfer Kelly Slater, rock climber Ron Kauk and ER doctor/ base jumper Glenn Singleman, to name a few. All of the interviews are passionate and from the heart, making for an inspiring and motivating watch.
Every other minute seems to be another epic montage that never fails to send chills down your spine and bring a smile to your face.
Aside from the athletes, The Endless Summer director Bruce Brown is interviewed, along with Quicksilver co-founder Bob McKnight and Patagonia founder Yvon Chouinard. While they may not be as much of a "fear seeker" as the others, these men are responsible for taking the phenomenon of extreme sports and creating its attainability for the mainstream, which lead to the beginning of the lifestyle culture as we know it today. Long does an excellent job of compiling these engaging interviews and breathtaking footage to show how these activities are both fun and a way of life.
The Search For Freedom plays very linear and doesn't stray from its thesis statement of "What is Freedom." While visually arresting and undoubtedly beautiful, there is not much in the way of storytelling. We are really just looking at a photographic montage with inspirational quotes. Not to say this is a bad thing, you really do not have to invest any brain power into understanding what is on screen and so you can truly just sit back and relax. An anthemic soundtrack gives the film an extra boost of power.
The setting for this screening, here at the Newport Beach Film Festival, truly could not be better. Every other minute seems to be another epic montage that never fails to send chills down your spine and bring a smile to your face. Jon Long and his cast prove that their passions are not just a sport, they are a way of life, and regardless if we're a professional or an amateur, pursuing our passion and finding our freedom will lead us down the road to happiness.
The Search For Freedom had its world premiere April 24, with a planned theatrical release June 10th.
https://vimeo.com/121174641
Review: 'Tales of the Grim Sleeper'
If a poverty-stricken African-American woman – a prostitute – is murdered in South Central Los Angeles, and the case is overlooked by the LAPD because of her "lifestyle," does her death matter?
At the disturbing core of Nick Broomfield's documentary Tales of the Grim Sleeper, this appropriated age-old, "If a tree falls in the woods" paradox is examined in all too real circumstances.
In July 2010, a man suspected of murdering over 100 women over a 25-year span was arrested, and shockingly, by accident. His name is Lonnie Franklin Jr., and his arrest happened to be a mere coincidence for police officers, who matched his DNA to 20 possible victims on a piece of trash he threw away (while investigating another unrelated case). Despite the staggering number of murders in the infamous crime-ridden city, the police never gave this serial murder mystery much thought, much less a made it a priority. Today, Broomfield goes to South Central to talk to those who went overlooked by police, and to find out more about this man gravely nicknamed the "Grim Sleeper."
Tales of the Grim Sleeper comes off of the uphill swing of many popular true-crime episodic today. This new wave of American entertainment finds its home at HBO, whose shows include "The Jinx," "True Detective," and the greatest television show in history*, "The Wire." This American Life's latest golden ticket, "Serial," is a podcast that tried to get to the bottom of a case that found Adnan Syed guilty of murdering his ex-girlfriend Hae Min Lee, despite a lack of any physical evidence. Just this April 20th, Serial became the first ever podcast to win a Peabody Award. Having an audience already fine-tuned to, and oddly enthusiastic about, real-life stories of murder and mystery, Broomfield presents a story so surreal it sounds like a horror film.
Having an audience already fine tuned to, and oddly enthusiastic about, real-life stories of murder and mystery, Broomfield presents a story so surreal it sounds like a horror film.
Friends of Lonnie's line the streets near his once lived-in home and this is where Broomfield starts his journey into the "Grim Sleeper's" world. Asking Lonnie's friends personal questions, we are painted a picture of a man who was philandering and a bit "weird," but nevertheless a seemingly good father and neighbor. When police raided his home and finally put the cuffs on his wrists, some were shocked, but mostly everyone sighed in relief, including Pam Brooks.
Pam becomes Broomfield's tour guide for the city, transforming into unofficial journalist by fielding questions for Broomfield, who she feared would get shot for his being a white man with a camera asking questions. Brooks is a firecracker; an ex-prostitute and crack addict, she is now four years sober. While on the streets she had an intimate encounter with Lonnie that she almost never escaped from. Her previous experience with him is the catalyst for her help in this film.
For those unfamiliar with Broomfield's filmmaking approach, it is quite unconventional in its DIY-style. For instance, he uses Google Maps to illustrate places as opposed to a more visually pleasing, modern looking interactive map. He carries the sound equipment on his chest and the boom mic in his hand, with another crew member serving as his cameraman. It is reminiscent of a college-budget student film, which at times can be distracting, as the guerrilla camerawork lends to his inserting of himself into every scene, sometimes unnecessarily. The film at times becomes more about Broomfield and his "fish out of water" situation than on the actual subjects. But on the other hand, this style is extremely personal; he establishes direct connections with the people and in the area which he roams.
Lonnie himself never speaks in the film, as he is currently behind bars awaiting a trial date. The stories, or tales, told in the film build him up to be this mythical creature, so an interview with him would have given the film more balance and stability. Theories run rampant throughout the community, questioning the possibility of crooked police officers contributing to the deaths, and covering it up by adding them to the Grim Sleeper's total. Another theory is that Lonnie's son had something to do with the incidents. More investigative journalism on Broomfield's part could have explored these different avenues and either uncovered or, put to rest, these claims. Instead, we are left wondering what to make of the grand accusations presented, and then glossed over just as quickly as they came.
Under the helm of a different director, Tales of the Grim Sleeper would have been a different film, and arguably to better results. Contrary to popular takeaway, I would trade Broomfield's casual interview style for a harder hitting investigative approach. The interviews he conducts are mostly assumptions or educated guesses about the life of Lonnie Franklin Jr. It's hard to find credibility in the What Ifs. The end of the film hits the hardest as survivors of the attacks finally speak, finally giving us some sort of concrete evidence. Tales of the Grim Sleeper is so outlandish, shocking, and culturally relevant that of course it's going to drop a few jaws, but the ever scarier afterthought is how these murders went unaccounted for, for so long. Now that is truly haunting.
*Not a proven fact, although this reviewer begs to find a show any better.
Tales of the Grim Sleeper premieres on HBO on Monday, April 27th.
https://www.youtube.com/watch?v=3Gh2dOxMAvM
Top 10 Best Earth Day Films on Netflix
Happy Earth Day! While we should be celebrating this holiday 365 days a year, April 22nd marks a day when we come together to say one collective "We Love You" to our planet. We've sifted through thousands of films on Netflix to come up with the top 10 best Earth Day movies to watch today, tomorrow, and any other time you feel like appreciating Mother Nature.
Tracks (2013)
Based on a true story, Robyn Davidson (Mia Wasikowska) travels 1,700-miles across the deserts of West Australia alone, with only her camels and dog as company.
Directed by John Curran, Tracks also stars Adam Driver.
Blackfish (2013)
This award-winning documentary is a mesmerizing look at the controversial captivity of killer whales, and how its affects are deadly to both whales and humans.
Directed by Gabriela Cowperthwaite, the film features Sea World's infamous killer whale Tilikum.
Cast Away (2000)
One of Tom Hanks most memorable roles, Cast Away is a classic that finds Chuck Noland (Hanks) stuck on an island doing everything he can to survive.
Directed by Robert Zemeckis, the film also stars Helen Hunt and "Wilsoooon!"
Force Majeure (2014)
This drama takes place during a family's ski trip in the French Alps, whose relationship is put to the test when they suddenly find themselves staring down an avalanche.
Directed by Ruben Östlund, this film was also nominated for a Golden Globe last year.
Virunga (2014)
A Netflix original documentary, a group of soldiers from the Congo risk their lives to save the last of the world's mountain gorillas.
Directed by Orlando von Einsiedel, Virguna is Executive Produced by Leonardo DiCaprio.
Waste Land (2010)
On the outskirts of the world's largest landfill in Rio de Janeiro, garbage pickers collect trash and make beautiful works of art.
Directed by Lucy Walker, Karen Harley, and João Jardim, the film also features contemporary artist Vik Muniz.
Chinatown (1974)
Los Angeles is the backdrop to this classic mystery noir film as a private detective who is hired to expose an adulterer, becomes involved in a downward spiral of corruption, deceit and murder..
Directed by Roman Polanski, the film also stars Jack Nicholson and Faye Dunaway.
Prince Avalanche (2013)
Two highway workers spend the summer of 1988 away from their lives in the city and embrace the the isolation of the empty road.
Directed by David Gordon Green, the film also stars Emile Hirsch and Paul Rudd.
Maidentrip (2013)
If you're looking for an inspirational documentary, this is it; 14-year-old Laura Dekker completes a solo two-year voyage around the world.
Directed by Jillian Schlesinger, Maidentrip uses footage Dekker shot herself at sea.
Vanishing of the Bees (2009)
This film looks at the current- and crucial- situation of the disappearing honeybee, and how it is affecting the economy and our ecology.
Directed by Maryam Henein and George Langworthy, the film is narrated by actress Ellen Page.
Review: 'The Road Within'
Showcasing at last year's Los Angeles Film Festival comes The Road Within, a melodramatic story about three young adults struggling with psychological disorders who embark on a road trip in a bid to forget the past and embrace the mystery of the future. This coming of age film comes from writer/director Gren Wells, whose previous screenwriting credits include the Kate Hudson starring A Little Bit of Heaven. What the script itself lacks in emotional investment and uniqueness is made up for in captivating performances, giving this the little-indie-that-could a small shot at success outside of the festival circuit.
Vincent (Robert Sheehan) has Tourette's syndrome, and as a result, uncontrollably blurts out curse words and experiences involuntary bodily movements. After the death of his mother, Vincent's father Robert (Robert Patrick) admits him into an experimental psychiatric hospital, where he meets his OCD centric roommate Alex (Dev Patel) and Marie (Zoë Kravitz), who is battling anorexia. Spontaneously, after a day (or two) after Vincent's admission, they decide to break out of the clinic and steal the car of their therapist, Dr. Rose (Kyra Sedgwick), and the merry band of misfits head West, with nothing but the clothes on their backs and their issues in full force.
We're not anticipating the story as much as we are observing the character's flaws, and the actors themselves.
It's not long until Dr. Rose and Robert are on the trail, and a mild game of cat and mouse ensues. Literally a day later, Dr. Rose and Robert happen to randomly find the escapees in the middle of the forest. A fast thinking plan distracts the duo long enough for the group to speed off to California. While on the road, all three disorders collide like a car crash reminiscent of The Three Stooges; there is yelling, cursing, and general law-breaking, yet the story unfolds at a snail's pace. Of course, it's during this time that Vincent and Marie become close, and Alex confronts his issues head on. But even these pivotal plot moments seem dull in comparison to the chaos in the car.
The story is tepid at best; we know where the film is headed from the very beginning. We're not anticipating the story as much as we are observing the character's flaws, and the actors themselves. Sheehan is extremely convincing as both a Tourettes sufferer and American, both of which he is not in real life. His British accent is completely masked by his unparalleled impersonations of various tics and mannerisms. If it were anyone else playing the part of Vincent, this would have been a completely different movie and not in a good way. Zoë plays Marie with a tough exterior but knows when to let the emotion through. Struggling with anorexia when she was younger, she talks about her uncomfortable experience dropping down to 90 lbs to play the part in Nylon, which is definitely worth the read. Of all the performances, however, it is Dev Patel that steals the screen as "clean freak" Alex. He is on the receiving end of taunting from Marie constantly, but through all of his mundane routines, his solemn heart shines through and makes him undeniably likable. Of all of the roles Patel has taken, Alex may be his biggest emotional one to date.
If you're interested in a film for character study, The Road Within is a good start. Tourette's Syndrome, like other disorders, is one of the biggest challenges an actor can tackle because is both and internal and external battle. All three actors find the line between realistic and overboard and carefully execute a performance worth a watch. If you're looking for an inspiring road trip movie about a group of friends experiencing life's highs and lows, this is not it, however, its desire to be a sentimental film does deserve a nod of approval.
The Road Within opens at Laemmle Theaters today.
https://www.youtube.com/watch?v=ZEA0LfvcpFw
Review: 'Alex of Venice'
Chris Messina may be better known as Danny Castellano on "The Mindy Project," or from his feature film roles in Argo, Vicky Cristina Barcelona. He may even be recognized as Dianna Agron's cheating husband in the Sam Smith music video, "I'm Not The Only One." With an impressive resume so far, Messina now adds to it the title of director, in Alex of Venice, his debut film that is every bit as quietly commanding as the title sounds.
On a foggy Southern California morning, surfers wade in the ocean looking like seals, and hundreds of tourists pack the commercial Venice Beach boardwalk. But in the quiet suburbs of the beach town, Alex (Mary Elizabeth Winstead) sets out to change the world – or rather, keep the world exactly as it is without it changing any further.
Alex is an environment lawyer whose mission is to preserve the city's natural habitats. Yet the nature of the job, coupled with her extreme drive and work ethic, leaves little time for family. What can only be described as years of frustration later, her artist/surfing husband (Messina) reveals that he can no longer be a "Stay at home housewife" to her career and wants a break. Blindsided by the sudden change, Alex is left alone, which although scary at first, ultimately becomes an opportunity to re-discover who she is and find peace with the person she has become.
As the proverbial glue holding her family together, Winstead gives another powerful and soulful performance that we can now expect from any film with her name in it.
At its core, Alex of Venice is all about the actors. The script is simple enough to execute on an indie budget, but what really makes the film stand out rests in the hands of the characters and fortunately, the is no weak link here. Mary Elizabeth Winstead in the title role is becoming a name synonymous with exceptional, grounded and powerful performances, and she is no different as she pushes this small indie film to highly buzzed about levels.
The film's most notable supporting character is Don Johnson, who plays Alex's father, an aging actor who's early onset Alzheimer's causes him to grapple daily. Johnson brings an exceptional performance to the screen, seeing him struggle with his lines to Chekov's "The Cherry Orchard," in which he has been cast as the lead role, is extremely moving.
As the proverbial glue holding her family together, Winstead gives another powerful and soulful performance that we can now expect from any film with her name in it. Her humor comes from the presumably off-script impromptu actions and nuances of her character against the stresses of a life-changing work case, an ailing father, and dependent ten-year-old son. Her attitude and now forced responsibilities as a working single mother is contrary to the Venice beach lifestyle, her workaholic nature is juxtaposed in a city of free-spirited artists.
In keeping with the easy-breezy nature of the film, music contributions from the Los Angeles band Poolside, self-described as "daytime disco," along with Alexander Ebert's "A Million Years" to close the film, are summations of the film's blissful and sentimental vibe.
Messina has a clear vision for Alex of Venice, all of his experience on set as an actor has made his transition behind the camera seem easy and natural. Long camera takes dominate the early scenes, giving the impression of fluidity and ease. While the script has some unresolved story lines and overall, isn't very strong in its linear story, it is the cast that makes it work.
Give in to your suspension of disbelief for this one. Taking out a few curse words and unnecessary sexual language could have seen this film with a PG-13 rating as opposed to R, which the film is, and would most likely have given the film a larger platform, and seem more appealing to the audience at large. Flaws aside, Messina should be proud of his debut film.
Alex of Venice opens at the Laemmle Royal Theatre on Friday.
https://www.youtube.com/watch?v=I0_JydvJ9-I
Review: 'Dior and I'
A man's journal is read aloud over grainy black and white footage of women from 1947: their wardrobe reflects the time period – a crucial moment in women's history when traditional, civilian dress, and military attire was being traded for more masculine-femme looks like fuller skirts, rounded shoulders, and cinched waists. Most notably, the revival of the skinny black suit revolutionized the way women dressed, empowering those who came back from WWII, and ultimately set a trend that changed the fashion world – and history – forever.
The pioneer of this new sartorial vision, the one credited as The Godfather of the "New Look," is Christian Dior, owner of the aforementioned journal, and whose empire would far success his impactful life on this earth.
Dior and I, a fashion documentary from director Frédéric Tcheng shot in the spring of 2012, serves as an exclusive look behind the runway and into the nitty-gritty world of haute couture (a world that, sadly, is beginning to disappear). The film pays homage to Mr. Dior with a story that is both personal and informative. While Dior and I may only lure those with an interest in high fashion, do not be mistaken, everyone can appreciate these sequences of beautiful and artistic pieces coming to life– and that alone is worth the watch.
For all of the glitz and glamour overshadowing most fashion-centric documentaries, Dior and I does an excellent job of staying grounded, even if the ground is covered in couture.
Dior and I continues the fashion icon's legacy with a new artistic director: the minimalist Belgian designer, Raf Simons. Simons has only six weeks to create, execute and display his first ever haute couture collection under the famed brand; whereas five to six months is the typical construction period for such grandeur shows, Simons undeniably hits the ground running.
Simons, a very low-key leader, is quite the collaborator when it comes to designing his debut collection, fully relying on Dior's in-house seamstresses, essentially factory workers in white coats rather than blue collars, to literally pull it all together, hand-sewing every single piece. Dior is one of the last fashion houses to board such ateliers, or workrooms, and this alone is another fascinating dimension to the film; the camaraderie in the ateliers between Simons and the hard-working seamstresses, some who have worked at Dior for over 40 years, is very humanizing to watch. There is no trace of a catty, backstabbing workplace vibe like The Devil Wears Prada would suggest.
Another interesting angle is observing Simons' personal creative process, his unique idea of marrying fashion and art. As a self-proclaimed fan of the work of American painter Sterling Ruby, Simons challenges the ateliers and himself by recreating Ruby's artwork on cloth. However, he is set on the imprimé chaîne method in which the thread is printed on before it is woven into cloth. His more ingenious idea, however, is his vision for a floral runway: each room of the rented Parisian house where the fashion show takes place is covered in different colored flowers. This scene takes your breath away, millions of flowers invigorate the senses just by looking at them. It's beautiful and overwhelming, as Anna Wintour, Jennifer Lawrence, Marion Cotillard, and other celebrity guests can't stop complimenting Simons' vision. For all of the glitz and glamour overshadowing most fashion-centric documentaries, Dior and I does an excellent job of staying grounded, even if the ground is covered in couture.
Though, as a VOGUE reading, New York Times Fashion section enthusiast, I was expecting the film to hit a littler harder, as ultimately, this documentary should be categorized as a "day in the life" type film. Just like the pastels in the patterns of the beautifully constructed garments, Dior and I felt like a broad stroke of muted self-appreciation. There is absolutely no tension felt as six weeks turn to five, and so on, as Raf doesn't appear to let his nerves show. Not that this makes for a boring watch by any means, but it's definitely not a Project Runway type of suspense that I myself find ridiculously enticing.
Dior and I opens at the Nuart Theatre this Friday.
https://www.youtube.com/watch?v=sUIvJQUhB5I
Director Kornél Mundruczó on 'White God'
When White God premiered at the 2014 Cannes Film Festival, it was to the amazement of everyone in the audience how a film that looked to be a simple cross between Homeward Bound and Oliver & Company was actually a cautionary tale about self-imposed human "superiority" over lesser animals, and a pressing metaphor for the political tensions in contemporary Europe. It was evident after that first screening that director Kornél Mundruczó was a visionary, a very risky and bold artist. His execution of White God included a teenage protagonist who had never acted before, a canine cast of over 200 dogs, and a script that blended genres– not an easy feat for any director. In our exclusive interview, Mundruczó is still blown away by the amount of attention his "small Hungarian movie" is getting. I'm also happy to report that all of the dogs used in the film (which were taken from various shelters), were all adopted after filming! A happy ending all around. We begin:
When you first started writing White God and you envisioned the release day, what did you have in mind?
I'm so happy to have this movie in the USA, of course, it's still a small Hungarian movie. When we started to do this movie, we didn't know if it would be too radical; I didn't know [how to describe] this movie because there were not many examples of films that used dogs in the way I wanted to use them, and the melting of genres. Once we got in the editing room I realized this movie would work, haha.
The blending of genres is definitely unique; are there any screenwriters or directors you admired going into this movie?
Hmm, that's difficult because there are a lot, but most of them are just from my memory and childhood. I grew up in the countryside, not far from Budapest. You could watch movies in the city at two places– one of the places was The Cultural Hall where you could watch the classics. There was also the City Cinema where you could watch all of the American movies. I watched Fargo, Blade Runner, Terminator and all the Post-Apocalyptic movies a lot. So both styles were quite important to me, all of it coming from my memory. I tried to find answers in the contemporary reality I am living.
You've made films before, but your cast was relatively unknown. Tell me about the casting process. How did you find "Lili"?
It was really long actually. We saw lots of girls for the role, but at one point I recognized that I needed someone who doesn't want to be an actress. At that age, I just wanted someone with personality. Soon after, I started casting at normal high schools and I would ask them if they could imagine themselves in a movie. This one girl came [to audition] and the girl behind her was Zsófia Psotta. What she did was amazing, the scene that got me was the scene where she is sleeping and then wakes up and leaves the room while her father is sleeping in the room, and she wants to escape. That was a silent scene and she was absolutely amazing. I told her immediately that I would like to shoot this movie with her but the problem was that she wasn't totally sure she wanted to be in the movie because she didn't want to miss class and change her life. I tried to convince her; I went to her mother with flowers and cakes and said [I need your daughter for my film]. Finally, she decided to be a part of it and from then on it went very smooth and easy. I've never had this kind of an adventure with an actress.
The scenes with the dogs are mesmerizing. Was there any use of CGI?
There was no CGI. That was my main conception, that would have made my life very difficult. At the beginning, everybody thought it was impossible but then I met trainer Teresa Miller from Los Angeles and she found "Luke" and "Body" who play Hagen, as well as the other 200 plus dogs from shelters. She highly socialized them together without any domination or fights. I didn't want to illustrate how humans thought animals should react in the scenes, I wanted to shoot the dog's real emotions. At a certain point, the dogs started to give an amazing amount of energy and emotion for the movie. Much more than I had expected before, and then I recognized that their patience, concentration, and curiosity is what made this movie.
I'm actually getting a puppy tomorrow and this film gave me a whole new perspective on dogs.
Haha right!
I know the dogs are trained, but I'm sure there was a lot of unpredictability on set.
We actually used a very special method during shooting. On one hand, we really wanted to use the perspective of the dog so we went really low with the camera and we built different types of rollers to get that perspective. And then in an empty lot in the countryside, we held lots of rehearsals with Hagen and the pack. The dogs [socialized] with us as we simulated camera moves, microphones, all sorts of things so they wouldn't be afraid while we were shooting. Dogs like to cooperate with humans, they'd die for us, and on set they gave a lot of energy; by the end I knew all of them name by name, all 200 of them. The shooting day wasn't very difficult because of all the rehearsal time we had. We rehearsed for three months and then we shot for almost half a year– our schedule was a week of rehearsal, a week of shooting, a week of rehearsal, a week of shooting, etc. It's so obvious that the dogs are absolutely writing the script as well.
What was the most difficult scene for you to orchestrate?
The huge action scenes with the cars and humans in city, and then the crowd of dogs come running out together. We had really limited time to block the city streets, like a few hours. Everything was previously rehearsed but still, the logistics of shooting that scene were challenging. Other scenes were also difficult, like just walking with the dog, that was always difficult. There are so many interests and distractions on the street, dogs are always so curious. So just to create a normal walk when no humans were in the scene, like when Hagen is walking across the bridge. In the editing room, the dog fight scene was a really difficult process because the dogs were really happy to meet each other and wouldn't stop playing. So while editing, we had to find the smallest few seconds of their "play" that looked like "fighting" to make it believable.
Your attendance at Sundance was talked about, specifically Hagen's appearance and his little red carpet bow tie! Was was that experience like?
For a European film, Sundance is a real international festival; in my eyes, it is the most important festival to premiere a movie. I was so glad they chose my movie, it is a very open minded festival. For this small Hungarian movie, we took a lot of risks working with children and animals, melting genres, and so it wasn't necessary a "comfortable" film. In Cannes, we started to feel the audience reacting very well and that gave us a lot of hope. This was my first time at Sundance and we had such a great audience.
I'm really looking forward to your next project, what can we expect from you in the future?
I'm working on two projects now, one is an adaptation of an amazing book called "Ice" by Vladimir Sorokin and my original script about a refugee.
Review: '3 Hearts'
3 Hearts (3 Coeurs) has, on paper, all of the right ingredients of a love story to attract an audience; with a reputable cast set against a provincial French backdrop and a classic tale as old as time, the story of a love triangle between a man and two sisters set the stage for a highly tense and romantic story. Unfortunately, our hopes for the film outperform the film itself, making for one disappointing and tonally confusing film.
Marc (Benoît Poelvoorde) is a middle-aged, balding businessman; well off, but lonely. After he misses his connecting train to Paris, he begins to wander around the ghost town that is Valence (a six-hour train ride from the French capital). He soon meets Sylvie (Charlotte Gainsbourg) a beautiful woman with tomboy charm; her hair is unkempt, she smokes likes a chimney, but her allure is breathtaking. It's easy to see why he falls so quickly and deeply for her, with her immediately returning his early affections. But after a failed attempt at reconnecting a second time in Paris, each one thinking the other stood them up, they both go their separate ways. Never expecting to see each other again they reopen up their hearts to love. It's not long before Marc finds a connection with Sophie (Chiara Mastroianni), who he soon marries. When Marc discovers that Sophie is Sylvie's sister, and that he cannot suppress his feelings for the latter, Marc finds himself at a love crossroads–between his new love, and his true love.
Despite its beautiful vintage aesthetic and Parisian setting, 3 Hearts is a lofty story with a foggy vision of a specific genre.
This emotional film is absorbing with its incredible performances from all three leads. Their struggles and torment is felt through their actions, making the dialogue feel almost unnecessary to its unspoken counterpoint. To director Benoît Jacquot's benefit, he features an extraordinary cast who all seem comfortable on screen and really knew their character at their best and worst. Despite these character and performance points, I struggle to find more positive things to say about this film.
Despite its beautiful vintage aesthetic and Parisian setting, 3 Hearts is a lofty story with a foggy vision of a specific genre. What is most off-putting comes from the film's score; just about every time Sylive appears on screen, after she and Marc reconnect and start up an affair, an overpoweringly heavy bass plays ( a lá Jaws) which is meant to implicate tension but comes off more like a cheap horror slasher film, which I couldn't help but laugh at the longer it went on. Another distracting sound choice is the sudden inclusion of a narrator halfway through the film, which begs the question–did the film not make sense once it was completed and was felt necessary to include to explain the story? Or was this just a terrible mistake in style, as this film is cheapened by this mysterious voice appearing very sporadically and out of sync with the rest of the film.
From a visual perspective, there is no denying that the locations are beautiful; yet 3 Hearts finds a way to make even Paris look tacky. The glaring camera zooms onto characters and extreme dolly shots here are reminiscent of a poorly made 90s comedy, not a tense drama about love and missed connections. These stylistic choices unfortunately made a lot of moments unbelievable, making it hard to suspend our disbelief for this film.
Ultimately, there are too many confusing and laughable stylistic choices that make 3 Hearts anything but forgettable. It is unfortunate because the performances are powerful and touching, as Gainsbourg especially knows how to play vulnerable with a tough exterior that we can all relate to and sympathize with. Even she cannot rid the tackiness of the film's execution.
‘3 Hearts’ opens in Los Angeles at Laemmle Theaters this Friday.
https://www.youtube.com/watch?v=qSsM7Fh7rwM