TIFF Quickies: 1001 Grams, Sand Dollars, Labyrinth of Lies

Nathaniel's adventures in Toronto. Day whichever.

Three more quick takes on Norway's Oscar submission, a LGBT romance of sorts in the Dominican Republic and a surprisingly intense film from Germany that I hadn't heard of before arriving.

Bent Hamer directs Ane Dahl Trop in the Norwegian Oscar submission "1001 Grams"

1001 GRAMS
How much does a soul weigh? I don’t mean to bring up painful memories of 21 Grams, but everything in 1001 Grams must be effortfully measured. Lab technician Marie is just such a meticulous woman, in charge of the official Norwegian kilo, which is to be weighed and calibrated in Paris at an annual seminar to ensure that all countries kilos are the same or else: chaos! Though the oddity of this international standards milieu suggests a comedy, what we get is stonefaced drama... or possibly comedy so dry, I needed a humidifier in the room to get it. Bent Hamer, who directed two previous Norwegian Oscar submisssions O'Horten and Kitchen Stories (neither won nominations), so precisely calibrates this new film that every image feels carefully storyboarded. There's a gorgeous balance of stark blues and bright whites and he often abandons our lonely protagonist in silhouette in dark sparsely furnished apartments. Even Marie’s car, an cute electric thing, fits the color schemes. When Marie and her colleagues take smoke breaks at work the images are so strictly shot that the actors seem like mice stopped for a moment to think (?) in a narrow stretch of  bureaucratic maze. Marie is so controlled that she can’t even express her grief when her father dies, and the actress Ane Dahl Torp, doing fine if limited work by the nature of the role, has to squeeze all Marie's hurt into tiny hollow syllables like “takk” (thank you) when people wonder how she’s doing. It’s a solid movie but unfortunately its strength, that crafted precision, is also its weakness. There’s so much time spent establishing how regimented, monotonous and empty Marie’s life is that the film turns into a dull laborious watch. Things eventually begin to change for Marie when she meets a bird-loving Frenchmen at a business seminar but the actual drama is so backloaded that it's tough to make it to the final stretch. Slightly touching in an unusually low key way, but it’s a complete mystery as to why Norway chose it as their Oscar submission over the daring and hypnotic Blind (Sundance review) which was also in the running. C+

Yanet Mojica and Geraldine Chaplin star in "Sand Dollars"

SAND DOLLARS
Wealthy septuagenarian Frenchwoman Anne (Geraldine Chaplin) is wiling away her twilight years on a private beach of the Dominican Republic. There’s little to tether her to France, her only child being estranged, and she’s fallen in love with a young local girl named Noeli (Yanet Mojica) though she knows almost nothing about her. Money is often exchanged though Noeli is neither, strictly speaking, a prostitute nor a kept girl. This intimate and relatively stable relationship (two years and counting) begins to crack when Anne wants to take Noeli back to Paris with her permanently. Sand Dollars hits its encomic colonialism, class disparity, and exploitation notes relatively indelicately  -- there's no mistaking the themes -- but the odd connections between its characters are, in contrast, delicately observed. Noeli's true feelings are hard to read, but she is both an attentive lover and shameless about requests for money. Little details begin to accumulate like the way Anne's mascara clumps always look like she's crying even when she's happy, how Noeli dances both for self pleasure and with awareness of the practical value of her body, the way that even when Noeli's boyfriend  looks away he's weighing the presence of "the old lady". The film gets under your skin especially with the complications of actual affection where only a business transaction would be easier for everyone. A minor film but sensitively delivered and blissfully short (80 minutes) in keeping with its slim story. B/B-

LABYRINTH OF LIES
For the first reel or two of this postwar German drama, I wondered why they’d cast such a handsome but blank lead actor (Alexander Fehling) as the protagonist Johann Radmann. Radmann is an ambitious young lawyer who, somewhat on a whim, takes an interest in unpunished war crimes and former Nazis teaching school children that a local activist reporter has clued him in to. But the initial empty suit impression is a false one. At a party early in the film the reporter tells his bohemian friends that they have to encourage Radmann until his flicker of humanity turns to a raging fire. It’s meant as a ‘loosen up’ joke, and very smartly delivered as an offhand remark rather than foreshadowing. But this is exactly what happens in this impressive debut feature from Giulio Ricciarelli. Fehling's performances, very well modulated, grows more and more intense as the new case shifts from curiousity to a detective-like fascination and then full blown righteous vendetta with Fehling's blown out eyes and angrier voice dramatizing that he hasn't slept in weeks, and that his daydreams are all nightmares. The story is fascinating, detailing the widespread ignorance about The Holocaust in Germany just one generation after the war. Auschwitz, for example, the chief subject of the investigation, is a place most young Germans the lawyers talks to have never heard of. Labyrinth of Lies is glossily made (perhaps too glossy?), well acted, and moving with a constant throughline of the need for survivors to tell their stories and for people to understand their own country's history and face their own demons.

Germany was the first country to ever try its own soldiers for war crimes and if there is a significant mark against the film it's that this is, frankly, an impossible story to squeeze into a 122 minutes motion picture. It's implications are so vast and though the movie has many fine scenes and is appropriately sober about the psychic turmoil of survivors and the need to understand your nation's own character and face your own personal demons, it also wants to be a detective story and a romance. Labyrinth is sometimes so swift that some of the developlments and results feel convenient rather than desperately produced or are brushed off so quickly that they matter less in retrospect. I rarely ask for movies to be longer but this one could have used Zodiac's willingness to chase loose ends and run on for at least another half hour or so. B+ 

Alexander Fehling loses himself in horrific documentation of World War II

Also at TIFF: 
A Little Chaos
The New Girlfriend
Wild
The Gate, Cub, The Farewell Party and Behavior
The Theory of Everything and Imitation Game
Foxcatcher and Song of the Sea
The Last Five Years
Wild Tales and A Pigeon Sat on a Branch Reflecting on Existence
Force Majeure, Life in a Fishbowl and Out of Nature
Mommy
The Kingdom of Dreams and Madness
Charlie's Country

TIFF: Vignettes with Mike Leigh

Nathaniel's adventures at TIFF. Day 2

Day 2 was just magical from start to finish with 3 great movies and 1 solid one. Two of the films you've already read about here in Sweden's stellar Oscar submission Force Majeure and Norway's Out of Nature about one man hiking around in the wilderness on a long weekend. I like to think of the latter as Norway's counterpart to Reese Witherspoon in Wild - which I'll be seeing soon - though I doubt Reese takes her clothes off for a wank and runs around starkers. Day 2 was something of a vignette day since I will remember it primarily as the day I saw Mike Leigh twice and hid from the rain with him (long story - save it for the podcast!), the day I scarfed down melted cheese sandwiches with Nick & Joe in an highly unglamorous take-out setting, and a day of not one but 2 great movies composed of vignettes.

WILD TALES. an amazing Argentinian delightVignette films, like their cousin the omnibus, are tough beasts to pull off because you're essentially asking the audience to reinvest in the movie every 20 minutes or so, as if they've stumbled into a short film festival. They're also bound to feel uneven with some segments much richer than others. But here's two films that pull it off with real aplomb...

Argentina's Wild Tales is directed by Damián Szifrón but produced by TFE's favorite Pedro Almodóvar who I imagine is just thrilled with the results. It seems like a movie he would love what with its colorful characters, amusingly melodramatic and twisty stories, and at least three vivid female characters though it's not as actressy as his movies. Let's just say everyone in this six story movie is ...on the Edge of a Nervous Breakdown, and not just the women. Wild Tales was a big hit at Cannes earlier this year and it might possibly be Argentina's Oscar submission. It's easy to see why since the title is accurate. You feel like anything could happen primarily because not so very many minutes into the terrific opening vignette, it does. It starts just like any movie might with a beautiful woman being chatted up by a handsome older stranger as their flight takes off. But then they realize they have an acquaintance in common. Another passenger overhears them, interrupts and...

No, I shan't tell you more because this movie is best seen cold as the surprises are half the fun. Let's just say this free-fall into insanity sets the tone for the whole film which plays like a highwire act of dark comedy, violent thrills, and romances gone awry. Of the six segments, of which only one is just "good" (that'd be the one starring Argentinian cinema's Mr Ubiquitous Ricardo Darin), I had two favorites. The third vignette takes place on a long stretch of dusty highway where two men piss each other off while driving. Neither of them can let any affront go. It's a stretch of cinema that should make the majority of the world's action directors ashamed of themselves for not bothering to pack in as many thrills and cleverly choreographed beats into 2 hours that Szifron manages in 20 minutes. The final sequence centering on a wedding reception that goes sour and descends into utter chaos is also pretty damn great, and funny too. Don't read anything more about it and if gets released, jump in. A-

VENICE GOLDEN LION WINNER!
Sweden's A Pigeon Sat on a Branch Reflecting On Existence comes from one of Mike Leigh's favorite directors Roy Andersson. Hence the first Mike Leigh sighting of the day since he came to the show with Mr Turner's primary non-Timothy Spall Oscar contender Marion Bailey. The room was jam-packed with press many of whom were laughing out loud and very frequently which is not all that common in critics screenings, I have to tell you.

A Pigeon... which does indeed include pigeons sitting on branches (albeit mostly offscreen),  bills itself as the final part of a trilogy of what it means to be human. And it starts with three short scenes called "Three Encounters With Death" which are beyond hilarious. I will never forget the ancient little lady hanging tightly on to her purse because she wants to take it with her when she goes. Every scene in the film is its own little continuous shot vignette in which the camera does not move but the things within the frame do, albeit sometimes very slowly. The two most frequently recurring characters are gag salesmen who keep announcing that they're there to help people have fun but are the glummest downers you ever did see, perpetually frowning, failing, frumpy and shuffling as if they're zombies across Andersson's often brilliant mise-en-scène . Not that anyone in the frame looks "alive" per se, since Andersson's figures are nearly all chalky white with a touch of ginger in their hair. The salesmen turned out to be my least favorite running gag in the movie and definitely wore out their welcome a bit though they're super funny at first. My favorite recurring bit was the generic repetitive dialogue heard whenever anyone onscreen answers a telephone. As if all the disconnected oddness weren't perplexing enough, there are three amazing period piece scenes involving warring soldiers, a musical number in a diner, and a slave ship (a very disturbing sequence).

Andersson strikes me a singular director, but there is one comparison point I feel comfortable sharing. I kept thinking of Jacques Tati, because the longer you stare at the sometimes crowded sometimes spare shots, the funnier they become and the bigger their comic payoffs whenever anything changes within the frame you've been visually searching for more things to discover or giggle about. I'm still scratching my head over this film but I'm already kicking myself for having missed Andersson's previous films. Several people have told me that I would love them. They were right and I am a fool for taking so long to get to them. A-

one of many screamingly funny but morbid scenes in "A Pigeon..."

Can you tell that I'm having a great great festival this year?

Venice Film Festival Winners

Manuel here to catch us up on the winners of the 71st Venice Film Festival.

The big story (as far as US-based coverage goes) is the "shutout" of Alejandro González Iñárritu Birdman. As it turns out, the Alexandre Desplat-led jury went with another feathered-titled film. Find the full list of winners below.

Golden Lion: A Pigeon Sat On A Branch Reflecting On Existence by Roy Andersson
Grand Jury Prize: The Look Of Silence by Joshua Oppenheimer
Silver Lion (Best Director): Andrej Koncalovskij, The Postman's White Nights
Best Actor: Adam Driver in Hungry Hearts
Best Actress: Alba Rohrwacher in Hungry Hearts
Marcello Mastroianni Award (Best Young Actor): Romain Paul in Le Dernier Coup De Marteau
Best Screenplay: Rakhshan Banietemad and Farid Mostafavi, Ghesseha (Tales)
Special Jury Prize: Sivas by Kaan Müjdeci

An Emmy nomination. A Venice Film Festival Award. A plum role in an iconic franchise's upcoming entry. A couple of ensemble films opening at the Toronto Film Festival. It's a great time to be Adam Driver, don't you think?

Horizon Awards:

Best Film: Court by Chaitanya Tamhane
Best Director: Naji Abu Nowa, Theeb
Special Jury Prize: Belluscone. Una Storia Siciliana by Franco Maresco
Best Actor or Actress: Emir Hadžihafizbegovi in These Are The Rules
Best Short Film: Maryam by Sidi Saleh

Venice Classic Awards

Best Restored Film: Una Giornata Particolare, Ettore Scola
Best Documentary on Cinema: Animata Resistenza, Francesco Montagner and Alberto Girotto

Which of these films are you most excited about? Just as Hungry Hearts shot up on my own list of "look out for" films following its pair of awards, I'm sure there are others inching up on people's lists of Fall Season films to catch before year's end (it's around this time that my own pretty much looks thrillingly overwhelming).

TIFF: Mommy = Xavier Dolan's Best

Nathaniel's adventures at TIFF. Day 1

Technically speaking day 2 has just ended and it was an incredible day with consistently great films and memorable offscreen moments. But one day at a time. Day 1's highlight was the Cannes holdover Mommy from Xavier Dolan.

It's attention-grabbing from its first frames with an unusual aspect ratio. Technically speaking it's a 1:1 but if that means nothing to you (I'm not an aspect ratio geek either) know that it's square. Since square is not our beloved and horizontally familiar widescreen, the image feels alarming vertical, more akin to a cel phone shape. This description helps convey the movie's undeniable modernity but it doesn't convey it's lush beauty. (I've heard Mommy knocked as 'the first instagram movie' but, hey, Emmanuel Lubeszki is on instagram so let's not knock it as a Beauty Delivery System.) 

Technical film geekery aside, know this: the screen can barely contain the movie's explosive feelings. Hell, the aspect ratio can't even contain this movie's explosive feelings in one of its own best and most atypically tender jokes. 

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TIFF: Charlie's Country

Nathaniel's Adventures at TIFF. Day 1

There's nothing like the fresh smell of na movies in the morning. Or the coffee while watching the movies. I love starting the day with a movie. Always have. It's easy to do that at TIFF where things start rolling at 8:30 AM. So I popped out of bed and hit the theater. At my second movie at 11 AM, two filmmakers in the seats next to me joked that the fairly robust attendance on the first morning of press & industry screenings was because late night boozing hadn't begun yet. "Not so," I interjected, having been to a pre-TIFF party the night before and spotting some familiar faces. "I know for a fact that someone here has a hangover." They laughed and I realized, too late, that it probably sounded like a confession. T'was not, I swear! I left that pre-TIFF party sober and l-o-n-g before I hear it wound down. 

CHARLIE'S COUNTRY [Australia]
Time has been good to aboriginal actor David Gulipil's face. His first starring role was in Walkabout way back in 1971, but four decades later when you see him on screen in historical films like Ten Canoes (2006) or epics like Australia (2008) his shock of tangled grey and white hair and those visible years on his skin have granted his memorable face even more big screen potency. It's a great face to spend time with and the Dutch-Australian director Rolf de Heer knows it, often just leaving the camera on him for long stretches when not much is actually happening. His latest collaboration with Gulpilil (they co-wrote the film) is a character drama about an old man named Charlie who longs for the "old ways" and resents white Australia and all the policies of "The Intervention".

I know absolutely nothing about Australian politics that I didn't learn from the movies. No two ethnically and morally fraught political situations are exactly comparable -- I don't mean to be reductive --  but what we see in Charlie's Country (and every politically or historically minded Australian film before it), reminded me so strongly of America's own often shameful history and treatment of Native Americans that it was easy to be quickly engrossed without actually understanding details. Much of Charlie's struggles and personal setbacks are a complicated result of a mixture of that politically stacked deck, hopeless self-sabotage, and his respect for "the old ways" that feels both completely genuine and goosed up for whenever he wants feel righteously offended. Charlie longs to track and hunt but isn't allowed to have weapons, he hates fast food but that's all his community has easy access too. The film's best moments are when Charlie's natural sense of humor and feisty spirit busts through the sad political reality: Charlie pretending to be a better tracker than he is; the joy of cooking in nature's "supermarket"; Charlie's friendly antagonistic relationship with both the local cops (they greet each other with "white bastard / black bastard" bickering) and his own community. 

I'd like to heartily recommend Charlie's Country but the truth is it aggravated me as often as it moved me. The pacing is strangely glacial and some of its most superb moments are ruined by goosing them too far. Take for instance a tough scene in a hospital where a doctor asks Charlie if he can just call him that because "foreign names are hard for me to pronounce." If you're paying any attention at all the moment arrives like a cold hard slap. It's enough to enrage you on Charlie's behalf but he underlines it himself with a muttered "so now I'm a foreigner?" He rubs the sting away with his own vocalized indignation, no longer requiring yours. Worse yet is the repetitive (if thankfully sparse) musical score that sounds exactly like a Clint Eastwood parody. Eastwood shouldn't even score his own movies, let alone other people's! There's a wonderful moment late in the film in which Charlie remembers a dance performance from his youth and you hear, all too briefy, the thrilling indigenous didgeridoo. Why not use that for scoring since the movie's heart, like Charlie's, longs for the old country. B-/C+

Also at TIFF: A Little Chaos, Wild, The Gate, Cub, The Farewell Party, Behavior, The Theory of Everything, Imitation Game, Foxcatcher, Song of the Sea, 1001 Grams, Labyrinth of Lies, Sand Dollars, The Last Five Years, Wild Tales, A Pigeon Sat on a Branch Reflecting on Existence, Force Majeure, Life in a Fishbowl, Out of Nature, The Kingdom of Dreams and Madness, and Mommy