AFI Fest Closing Night - The Big Short

Anne Marie here, wiping the glitter from my eyes after another year of AFI Fest.

The closing night party of AFI Fest presented by Audi was the premiere of The Big Short, the star-studded story of the 2007 financial crisis. Director Adam McKay is best known for comedies like Anchorman, but in defiance of genre expectations, McKay has adapted a book by Michael Lewis of Moneyball fame. Nearly the entire cast walked the red carpet: Steve Carell, Ryan Gosling, and Christian Bale were in attendance (minus Brad Pitt), along with the lesser-used-but-no-lesser-in-our-minds Melissa Leo, Finn Wittrock, Adepero Oduye, and Academy Award Winner Marisa Tomei.

The Big Short is a tough sell as Wall Street movies go. If it had been made 2 or 3 years ago, McKay's comedy drama might have been considered on point, but after the Occupy Movement, Wolf of Wall Street, and an economy finally limping back towards recovery, The Big Short may have trouble motivating an audience. Part of its challenge is that McKay's protagonists are the traders who profited off of the collapse of the economy. Three groups of traders - Christian Bale's glass-eyed genius, Carell's angry Chicken Little, and Brad Pitt's charismatic "retired" trader, all corralled by Ryan Gosling's slick Wall Street insider - see the housing market bubble about to explode, and decide to bet against the house. McKay attempts to portray them as prophetic, or at least clear-eyed in the face of systematic stupidity, but a third act shift towards righteous indignation does away with any good will that may have been built.

Tone is a struggle overall for McKay, and the weakest point of a film with a lot of balls in the air. How exactly do you make a movie about the financial market that is entertaining, informative, and accessible? Drawing from his comedy roots, McKay keeps the build up to 2007 fairly light, adding fantastical inserts in order to explain financial concepts. (The audience favorite was Margot Robbie in a bubble bath explaining subprime loans.) However, these stylistic risks, along with random intertitles and quick montages, as often as not obscure rather than enlighten. Once the financial crisis hits, McKay pulls an abrupt about-face, and righteous indignation takes hold. Whether audiences take to the film's message may depend on how redundant this righteous indignation feels 2 hours into the movie and 7 years after the fact.

At the afterparty, crowds swarmed around the major stars who made a fairly hasty exit. However, we stuck around and got to meet Adepero Oduye, who plays a small role as Steve Carell's advisor in The Big Short, but is better known as the star of Dee Rees's lauded 2011 film Pariah. Nathaniel snagged a picture with Oduye and chatted with her about Meryl Streep's shoutout at the 2012 Golden Globes (all roads do lead to Meryl).

Later, we got into a brief conversation with Oduye about Pariah's influence. She was extremely gracious as she gushed over the film's personal signficance for her, and its importance in LGBTQ representation of people of color. Then we chatted about passion projects. We ended the conversation with a hug. That was hands down the warmest way I've ever ended a film festival.

AFI Fest: Der Nachtmahr

Kieran wrapping up myAFI Fest in Hollywood.

German visual artist turned filmmaker, Akiz’s Der Nachtmahr immediately announces its desire to confront its audience. The film begins with a super that warns about the strobe effect, which has been known to cause seizures (supposedly) in certain audience members. It then follows it up with a second super that cheekily reads “Anyway…”

For better or worse, Der Nachtmahr's opening scene certainly live up to its lurid promise as we follow high-schooler Tina (Carolyn Genzkow) and her group of friends at a rave party. Booming, assaultive techno music fills the diegesis as we watch Tina and her friends drink, do various drugs and night swim. The flashing, disorienting strobe light effect used in the party scenes is meant to mirror Tina’s fragile mental state, which starts its dramatic decline the night of the party. She begins to see a small, alien-like creature around her house, leading her parents and her friends to question her sanity. [More...]

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Interview: The Filmmakers of Dominican Republic's Oscar Entry 'Sand Dollars'

Jose  here. In the sensitively told Sand Dollars, we see love become a transaction, as aging tourist Anne (Geraldine Chaplin) buys the affection of local girl Noeli (Yanet Mojica) who indulges the wealthy woman by providing her company and sexual favors. However soon we learn things aren’t as clear as we thought, and we realize there is much more than meets the eye in the relationship between these women. Directed by Laura Amelia Guzmán and Israel Cárdenas, in their third screen collaboration, Sand Dollars explores sexual tourism in an unexpectedly touching way. Rather than being a “social drama” or a morality tale, it’s an acutely observed portrait of people optimizing their best way of survival. For the rich white lady, this comes in the illusion of regained youth, for the young woman it comes through economic benefit, but also in the sense of emotional safety provided by Anne.

Both characters are portrayed beautifully by the lead actresses, Mojica is a force of nature, and Chaplin has truly never been better. Sand Dollars has been selected as the Dominican Republic’s official Oscar submission, and with the film currently being shown in New York cinemas, the filmmakers were kind enough to answer a few questions I sent them via email.  

JOSE: Was it difficult to get funding for a film about an interracial lesbian romance ...?

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Pilou Asbaek Goes To "A War"

Memorize this face as you'll be seeing a lot of it.

This is Pilou Asbaek, who appears to be the love child of Michael Shannon and Leonardo DiCaprio, but whose acting is surprisingly subtle given that visual prompt. Now picture him shaggier and with a sword as he'll be joining Game of Thrones for Season 6 to play Euron Greyjoy. GoT has become to Scandinavian and Northern European stars what Law & Order once was to NYC stage actors or Harry Potter was to older British thespians; the place they all end up in some capacity large or small! You'll also soon see him as Pontious Pilate in the Ben-Hur remake and then reunited with Scarlett Johansson (he played her cowboy hat wearing boyfriend in the first scenes of Lucy) for Ghost in the Shell  a couple of years from now. In other words, he's suddenly in demand.

But for now he's just a respected Danish actor (a TV star at home, and best known abroad for A Hijacking as well as a brief stint on The Borgias)  making the rounds with his country's Oscar submission A War. It's a real contender for the finalist list and then possibly the big deal Oscar nomination. Asbaek plays a Company Commander in Afghanistan who comes under hot water back home for a questionable decision he makes to save his men while they're under heavy gunfire from the Taliban. Though there are a couple of violent scenes, A War is quieter than its title suggests and more concerned with ethical and psychological fallout from going to war. And its legal consequences, too, as the movie is partially a courtroom drama

At a cocktail reception following the film I was surprised to hear from Pilou that most of the soldiers he shared scenes with were actual soldiers rather than professional actors. I wondered if he felt like a mentor, teaching them how to act with the camera and he humbly suggested that the opposite was true. He couldn't make one false move as an actor since it would read inauthentically while in the company of actual soldiers who were just doing their jobs.

Pilou and his director Tobias Lindholm both referred to the war in Afghanistan as "our Vietnam" in conversation. They drew the comparison because the Danish people never quite understood what they were doing in Afghanistan in the first place -- it's the only war they've ever fought that did not touch their borders. (In the early Aughts, Denmark apparently had a more conservative leader than usual who jumped in with Bush & Blair). A War is vaguely reminiscent of Susanne Bier's great film Brødre (2004, remade in the US as Brothers in 2009), though that one centered on PTSD. Given that the films are more than 10 years apart it's obviously a war that the Danish people are still struggling to make peace with.