One Fassy, Several Cups.

Jose here.

Earlier today the 68th Venice Film Festival came to an end. Awards were given out to what seem to be some strange choices (gotta love when quriky jury members choose the most obscure people, no?)
with the Golden Lion (Best Picture) going to Alexander Sokurov's Faust. 

Just yesterday, our awesome correspondent from Venice mentioned how people expected this one to win and yet it doesn't even show up in the critical consensus. That must've been a dark horse if there ever was one. Apologies to the actual Dark Horse which came out empty handed.

The complete list of winners:

Golden Lion - Faust (Alexander Sokurov, Russia)
Silver Lion for Best Director - Shangjun Cai for Ren shan ren hai/People Mountain People Sea (China)
Special jury Prize - Terraferma (Emanuele Crialese, Italy)
Volpi Cup for Best Actor - Michael Fassbender for Shame (Steve McQueen, UK)
Volpi Cup for Best Actress - Deannie Yip for Tae jie (A simple life) (Ann Hui, China, Hong Kong)
Osella Award for Best Screenplay - Yorgos Lanthimos and Efthimis Filippou for Alps (Greece)
Osella Award for Best Technical Contribution - Robbie Ryan's Cinematogrpahy from Wuthering Heights (Andrea Arnold, UK)
Marcello Mastroianni Award for Best Acting Newcomer -  Shôta Sometani in Himizu (Sion Sono, Japan)

Perhaps the most significant thing about this festival, besides having given Fassy his first big acting award (he's just been around in the maninstream for a couple of years but it feels like decades, no?) might be that it probably won't line up in any way with Oscar. After all, when's the last time the little golden guy paid any attention to a two and a half hour long reimagining of Faust with Russian subtitles? In the festival's long history only two Golden Lion winners got into the Oscars' Best Picture lineup - Brokeback Mountain and Atlantic City - both of them lost.  The most "influential" awards here might be the Volpi Cups; in the past decade we've seen the likes of Julianne Moore (Far From Heaven), Helen Mirren (The Queen), Imelda Staunton (Vera Drake) and Colin Firth (A Single Man) repeat their nominations during the long awards season.

Dear readers across the ocean, should we be on the lookout for any of these movies when they are released here? How did you like our Venice coverage this year? How many acting awards did you think Fassy had won by now?

TIFF: Shedding Light on "Urbanized."

The best way for a film audience's eyes to light up is to produce vivid images on the screen. Gary Hustwit, director of documentaries like Helvetica and Objecitified now brings us Urbanized about urban planning around the world. It has an opening montage, despite being at least four shots long, that absolutely rivals or even betters the ones in Woody Allen's movies, because it depicts different and more rustic angles on certain landmarks. The Kremlin as seen on the background from a nearby bridge, the foreground populated by young people including one wearing an I ♥ NY shirt. A close-up of the St. Louis Gateway Arch, as silver and white as the rising moon. Unlike Allen, these visions are devoid of tourist-y romantic schmaltz.

The movie took me on a grand tour. It concentrates less on the touristy areas and more towards where the residents live and move around, these spaces depicted more magnificently than any monument. It brought out my nerd-like fascination of watching how Bogota has chosen buses over subways and trains or where Copenhagen has arranged the city's old streets to accommodate certain types of vehicles. It also shows how the depopulation and devastation of certain American cities can break the audience's heart more than the squalor in third world slums like those in Rio. This film isn't just composed of shots of city streets and the structures that line them, as the camera shows interviews of mayors, urban planners and advocated who are candid about their predecessors and each other.

Too bad it doesn't keep this momentum throughout the film but it does stick to its mission. Like most documentaries about worldwide trends, it inevitably has to show statistics about populations flocking to different cities throughout history and its effects on those areas with this kind of alarmingly increasing density.

The movie can also be criticized with heavy-handed leftist leanings. I saw it with an insufferably liberal audience that clapped whenever bikes or Jane Jacobs were mentioned. It tries to be more fair and balanced by including the voices that advocate 'unpopular' city building like the neglect in Mumbai, Niemeyer's 'spacious' method that he used in Brasilia, the sprawl in Phoenix and the anti-environmental renovations in Stuttgart. The film runs the risk of preaching to the choir, despite its beautiful realism.

TIFF: Spending time with auteurs, illegal immigrants and jailed filmmakers

Hi everyone. Amir here, making my debut on The Film Experience with some festival news from the Great White North.

It was interesting – as it is every year - to see the usually quiet Toronto turn into a total frenzy and the usually laid-back Torontonians line up on the streets to see their favourite stars (which so far has included the likes of Bono, George Clooney, The Goz and Brad Pitt). The greying chilly weather didn’t stop the festivities on the first day and it was only fitting that my festival experience started on a happy note as well with the screening of Aki Kaurismaki’s Le Havre.

Le Havre

The film centres on an unlikely friendship between Idrissa, a teenage African illegal immigrant and Marcel, an elderly French shoe shiner in the titular harbour in France. As the police forces search around the city to find “the missing boy”, Marcel (Andre Wilms) hides Idrissa and tries to find a way to reconnect him with his mother in London.

Kaurismaki doesn’t deal so much with the socio-political implications of illegal immigration. Instead, he wraps the issue in layer after layer of dry humour and his particular brand of absurdist comedy. Aided by his impeccable comic timing and the terrific deadpan wit of his leading man Andre Wilms, Le Havre makes for a delightful two hours at the theatre.

This is not the type of film that you can read much into. Not to say that there’s no depth, but what Kaurismaki sets out to do is to charm, not to make a statement, and he succeeds at that. Even more charming than the film was Wilms himself, who showed up in person for a Q&A (having clearly indulged in generous amounts of alcohol backstage) and managed to equal his character’s deadpan line delivery with remarks like “French Rock ‘n Roll is like English wine” in reference to a lengthy scene with French rocker Little Bob.

Despite Wilms’ terrific performance, the highlight of the film for me was Jean-Pierre Darroussin’s hilarious turn as the sympathetic inspector Monet whose costume was right out of a Pink Panther movie and his inexpressive face was a perfect fit for this role. At the end of the day, I imagine this is a film everybody will like, but few will love. If you get a chance to see it though, don’t pass up.

This is not a Film

The second day’s experience was bitterer, though no less entertaining as I watched This is not a Film, the experimental film by Iranian auteur Jafar Panahi and documentarian Mojtaba Mirtahmasb. If you’re unfamiliar with the story, Panahi is one of Iran’s most important filmmakers and a Venice Golden Lion winner who is now under house arrest for political reasons. Though his situation has stirred much controversy for the vague basis of his charges, he is still serving his 20 year ban – one that includes prohibitions on filmmaking, screenwriting, giving interviews and leaving Iran – and waiting to hear the final verdict on a proposed 6 year jail sentence. Under these extreme circumstances, Panahi sets out to expand his creative limits.

Mirtahmasb takes his camera inside Panahi’s house and films him as he reads and re-enacts his final screenplay in his living room, mapping out the film on his rug “Dogville style” and visualizing the story for the audience. For a society that is reserved about their personal lives to the point of impenetrability, This is not a Film is a major revelation. It’s unprecedented in Iran to see a documentary that goes so intimately inside someone’s house to show him have breakfast, take care of his pets or even get out of bed in their underwear and hang about the bedroom.

What, I imagine, is more appealing to a universal audience is that this film is one of the best made about the creative process, one that shows the passion filmmakers feel for their craft and the energy they put into it. Panahi tears up as he watches behind-the-scenes footage of his old films and even resorts to filming things with his iPhone just for the heck of it. That a ban as long as twenty years can’t stop him from planning a future film is only a testament to how much he loves cinema.

The film isn’t short on symbolic imagery either and while the final shot of the film might be too on-the-nose for some, the extensive intermittent footage of Igi, Panahi’s pet Iguana is subtler and more provocative. As the iguana moves around the house and overcomes endless obstacles on its way without ever giving up, it’s hard to miss the allegory of Panahi’s patience in the roughness of the Iguana’s scales and his restraint in its seemingly pointless quest around the house.

Red Carpet Convo: Glamour Casual, Festival Orgy, Namesake Pets

Nathaniel: It says "Jose is busy. You may be interrupting."
Jose: I'm lying about my status.
Nathaniel: Pants on fire! You are never too busy for fashion. This week's red carpet lineup is kind of scattershot. That's how I feel right now with four festivals seemingly happening simultaneously this week.
Jose: That we know of. Film festivals are the Starbucks of the movie world.
Nathaniel: One for every zip code. 

Nathaniel: So...this first batch is a mix of Deauville (Kate Bosworth, Shirley Maclaine, Emma Stone), Venice (Keira Knightley) and a regular ol' boring premiere somewhere (Marion Cotillard). 
Jose: I recognize the dress so it was NYC.
Nathaniel: See. I'm not even here I've already fled town mentally if not physically... yet.
Jose: I have always wondered how movie stars lose their baby fat so freaking fast. What has Marion been eating after petit Marcel was born?
Nathaniel: She's no longer eating for 2 but ‪½ ... actresses, you know.
Jose: Hopefully Guillaume is feeding the wee lad tons of baguettes and souffles but then again said baby isn't the face of Dior and Mommy is.

Nathaniel: Kate Bosworth eats for ‪⅕ so lets start with‬ her. 
Jose: lol. Remind me again, why is she famous for?
Nathaniel: I can't remember... OH the worst Lois Lane. And a surfer movie, I think.
Jose: Oh true. Also for bicolored eyes and for dating Alexander Skarsgård. 
Nathaniel: If you have to live on next to nothing there are worse things to nibble on.
Jose: She's totally doing a Pam face. He should get her a gig on his show.

Nathaniel: I think this dress is kind of pretty but she is soooo tiny and the dress so delicate that it gives the impression that the tiniest gust of wind -- even something as little as the wind currents coming off another speeding luminary passing her on the red carpet -- would all but knock her over.  
Jose: Kate is pretty but god am I bored trying to say something about her.
Nathaniel: So let's talk about Shirley Maclaine. She was there to be honored for her entire career. I think they showed the ballet epic The Turning Point (1977) of all things. This outfit looks appropriate glitzy and shiny and I love Shirley Maclean Beaty but how can she not afford a better wig? 
Jose: lol. Blame her colorist? This totally reminds me of that Sex and the City episode when Samantha follows her ex BF in disguise wearing a wig from the Raquel Welch collection.

The Many (Great) Faces of Shirley Maclaine

Nathaniel: Jose, it needs to be asked. In the cable system of your mind, are Sex & The City repeats running on like 400 of the 1000 stations? 
Jose: No, but Shirley and I both own the DVDs.
Nathaniel: Anyway, she looks really happy and she certainly deserves lifetime achievement plaudits. It's really a wonder to me that more young actresses don't hold her up as an icon. Her career was stellar, longlasting, and full of interesting movies and classic. And there are so many pixie types. But I guess none of them have a personality even remotely as large as hers. Which is maybe the problem. You can be merely elegant and fashionable and pretend you're the next Audrey Hepburn and people will go along with it for 5 minutes but to try Shirley Maclaine...
Jose: Amen. Anne Hathaway maybe when she grows up? 

Nathaniel: So Emma Stone. Stunning again. This color is gahsome on her. But I have to say... I still don't have a bead on her personal style at all. 
Jose: Her style is "Go with the greatest working designers and blow mortals' expectations every single time."
Nathaniel: Way to narrow it down.
Jose: Remember when I complained about Kate Winslet's structural obsession *fashion nerd alert*?
Nathaniel: Yes?
Jose: Well Emma is doing it right. She went with Roland Mouret, known the world over for his love of structure BUT he does structure with delicacy.
Nathaniel: I'm assuming "the world over" meaning "fashion nerd world"?

KEIRA, GWYNETH, "GLAMOUR CASUAL" and JOSE'S DOGGIE (!!!) AFTER THE JUMP.

Click to read more ...

Venice: "Killer Joe", Last Days & Critical "Carnage" Consensus

[Editor's Note: Manolis has been reporting for The Film Experience and the Greek site Cinema News. We thank him for that. You can read all the Venice reports here. - Nathaniel R]

Emile Hirsch worshipping at Venice's red carpet

This is my last report from Venice which I'm writing from Athens. During my last two festival days I caught five films ranging from great surprises to total mediocrities.  

Quando La Notte
This little Italian romantic drama about a troubled young mother and a mountaineer would have benefited immensely by trimming 15 minutes from its running time. The last reel or so of the film is totally unnecessary and unfortunately shows of Cristina Comencini’s weaknesses as both screenwriter and director. The two stars, Filippo Timi and Claudia Pandolfi give very good performances, but they weren't enough to save the film from the Italian critics who just massacred it. Interesting subject matter, mediocre film.

The Exchange
The Israeli film within the Competition section started off nicely. Eran Kolirin's follow up to the much praised The Band's Visit watches an everyman watching his life from the outside; he can't figure how he ended up living the life he lives. He starts to view his life from a different perspective. What begins as a somewhat original premise soon becomes repetitive and by the film's end the story seems to have gone nowhere. But for the most part it's entertaining and Rotem Keinan gives a nice turn in the lead role. 

Faust
This was much anticipated in Venice and many thought that it would turn up to be the eventual winner. I am not so sure. Faust is clearly the work of a master director and I adored Aleksandr Sokurov's previous efforts like Mother and Son, Russian Ark and Elegy but this 140 minute film felt closer to 280. Great imagery and cinematography do not guarantee a great film.  There is too much dialogue in “Faust” about difficult and philosophical matters but not enough time to “digest” all that's being said. The actors were not impressive or to be fair, I was not impressed by the way Sokurov directed them. The movie split the audience with several walkouts and others loving it. Faust is not an easy film and though it is difficult to deny its artistic merits, this is not Sokurov's finest hour.

Killer Joe
The best late surprise of the festival. William Friedkin (The Exorcist, The French Connection) is back on form with a film that reminded me somewhat of movies from Tarantino and the Coen brothers. Nobody expected this to do as well as it did, but the press reactions were very encouraging. This black comedy based on the play by the acclaimed Tracy Letts (August Osage County, Bug) has several fine performances: Juno Temple is superb, Thomas Hayden Church and Gina Gershon are hilariously pathetic and Matthew McConnaughey gets what may well be his finest screen role.  I would add the phrase “Best Supporting Acting category contenders”, but the film is clearly not the Academy’s regular cup of tea. I can imagine the voters walking out of the screenings at a particularly campy moment (which involves a chicken leg) but I would be very surprised (and delighted) if it does win Oscar traction.

Eva
Another nice surprise. This Spanish sci-fi film from director Kike Maíllo has great production values and a screenplay about a shy man designing robot software which manages to hold the audience’s attention consistently. One of its great successes is that, despite its genre, we never think “imagine what they could do if they had a Hollywood style budget”.

The visual effects may not be many and spectacular, but they are exactly of the quality and quantity that such a film needs. Eva stars the always watchable German/Spanish star Daniel Brühl and the 12 year old Claudia Vega who is a revelation.

Critical Consensus
During the Festival, a special version of Variety magazine is published in Venice (half of it in English and half in Italian). In a special chart critics from major publications (Times, Screen, Le Monde, Indiewire, Herald Tribune, La Republica and others) provide their star ratings. It is interesting to see the critical consensus about the In Competition films; English language films dominate with both Roman Polanski's Carnage and Todd Solondz Dark Horse faring much better than expected. Please note that the films competing in the last 2 days of the Festival are not yet included in this chart and this chart will not necessarily reflect the opinions of Darren Aronofsky's festival jury.

The rankings go like so.

1. CARNAGE - 3.95/5 average (four 5 star reviews)
2. SHAME - 3.45/5 average (three 5 star reviews)
3. IDES OF MARCH - 3.45 (two 5 star reviews)
4. DARK HORSE -3.23 (three 5 star reviews)
5. TINKER TAILOR SOLDIER SPY -3.14 average
6. A DANGEROUS METHOD -3.11
7. A SIMPLE LIFE -3.02
8. POULET AUX PRUNES (CHICKEN WITH PLUMS) -2.95
9. WUTHERING HEIGHTS -2.95 
10. TERRAFERMA -2.83
11. ALPS -2.69 (two 5 star reviews)
12. THE EXCHANGE - 2.68 (two 5 star reviews)
13. 4:44 LAST DAY ON EARTH -2.65 (one 5 star review)
14. PEOPLE MOUNTAIN, PEOPLE SEE -2.52 (two 5 star reviews)
15. HIMIZU -2.34 (two 5 star reviews)
16. UN ETE BRULANT -1.80
17. SAIDEKE BALAI -1.68
18. QUANDO LA NOTTE -1.58

I personally support SHAME, ALPS, and CARNAGE.

Closing my series of reports from Venice, I would like to thank Nathaniel for the hospitality as well as the Greek site Cinema News, and you, the Film Experience readers.  I hope you've enjoyed the brief reports. Ciao,

-Manolis