AFI Fest: New Order

By Abe Friedtanzer

 

It’s not often that I truly regret watching a movie. The rare occasions on which it does happen make me question my policy of reading as little as possible about a film before I see it. I might have, for instance, read these important disclaimers from Elisa’s brief rave review of Venice Film Festival Silver Lion Grand Jury Prize winner New Order: “it feels like your hope for the future of humanity is being beaten to death” and “‘Chilling’ does not even begin to describe the act of witnessing this story play out. Do not get attached to any of the characters.” I agree fully with those warnings and would add a few of my own when it comes to breaking down this brutal film…

Click to read more ...

Chi Film Fest: "Charlatan" an Oscar Submission

Coverage from the 56th annual Chicago Film Festival running October 14 - 25. 

by Nick Taylor

It takes a while for Charlatan, the newest film by Agnieszka Holland and the Czech Republic’s Oscar submission for Best International Feature this year, to get its feet under itself. The semi-fictionalized story of renowned Czech herbalist and healer Jan Mikolášek (played by Ivan Trojan for most of the film and by Josef Trojan, his son, as a young man), Charlatan opens with the death of president Antonín Zápotocký in 1957. With his biggest political ally and former patient gone, Mikolášek is warned to flee the Czech Republic before he's arrested by the Communist party. He refuses, either because he’s too bullishly stubborn or too self-flagellating, and is soon arraigned with his assistant František Palko (Juraj Loj) on death penalty-level charges that his lawyer proves are a sham with little investigation. The party doesn’t if the case is strong, or even real, as long as he’s executed. 

The film jumps between this scenario and following Mikolášek’s beginnings as a soldier in World War I, his training with a local herbalist named Mülbacherová (Jaroslava Pokorná), and the formation of his practice with František. Charlatan delineating these timelines with a color tint heavy enough to satisfy anyone who found the dual threads in Little Women difficult to track...

Click to read more ...

AFI Fest: I’m Your Woman

 By Abe Friedtanzer

Career-defining roles are a blessing but one with a downside. Audiences can have trouble separating actors from those parts in subsequent projects. Rachel Brosnahan is a great example of this, taking off as the title character in The Marvelous Mrs. Maisel when it premiered in 2017. Even her CIA agent character in a Sundance selection from this past year, Ironbark, now titled The Courier, felt like she could easily have been a comedienne who decided to go into espionage later in life. Fortunately, the opening night film of this year’s AFI Fest, I’m Your Woman, indicates that Brosnahan may be indeed be branching out and trying something different…

Click to read more ...

Truth-Telling

Monty @ 100: Unexpected ending with "The Defector"

by Nathaniel R

Sadly, we now reach the finale of the Montgomery Clift filmography. The shroud of sadness and tragedy that hung over Clift's second act in motion pictures (Raintree County through Freud) have often obscured the quality of some of the films. Despite the broken souls and grim reaper feeling exuded by The Misfits and Judgment at Nuremberg in particular -- it's part of their subject matter, after all -- Clift's acting prowess was actually on the rise again.

His declining health and addictions interfered. After Freud there was another four year intermission from the silver screen as there'd been just after From Here to Eternity. With 1966's The Defector the curtain raised again and filming went smoothly for a change. But no third act came. Both Clift (then 45) and his director Raoul Lévy (then just 44) died that year, Clift of a heart attack shortly before the movie's release and Levy, shortly after, by his own hand...

Click to read more ...