NYFF: "The Loneliest Planet" With Gael García Bernal

The first of the senses that writer/director Julia Loktev hits us with over the opening black screen is sound. We heara  rhythmic pounding/creaking/breathing that's hard to place (sex scene? construction work?). When the fade-up happens, you'd never guess what image is waiting for you. It's something both utterly mundane and alien and strange. This is only the first of the surprises that await you as you journey across the Georgian wilderness with Nica (Hani Furstenberg) and Alex (Gael García Bernal) in The Loneliest Planet. 

Hani Furstenberg could eat Gael García Bernal right up in "The Loneliest Planet"

Nica and Alex are madly in love both with each other and their mutual wanderlust. They're seeking an authentic travel experience beyond touristy paths before they marry. English is their common tongue (though neither of their native languages) and the film makes the very smart decision of subtitling nothing, as they attempt to communicate with the locales and teach each other a bit of their native tongues. They sign up with a local guide Dato (Bidzina Gujabidze), the only other major character in the film, and they're off.

The Loneliest Planet ostensibly belongs to the arthouse school of contemplative "slow" films but there's actually quite a lot happening, as we observe Nica and Alex making love, absorbing nature alone or together and alternately building bonds with their guide and ignoring him. The space between each character is more geographically interesting than the landscape surrounding them. (Whether there's enough happening to justify its 113 minute running time is a separate question.)

The movies construction is such that you're climbing its mountain of details to the peak at Act One's curtain where "The Incident" takes place. And then you're climbing back down again in Act Two, with so much new to process in stunned silence.  "The Incident" (which is all I'll call it and what the director herself calls it) is a frightening and confusing moment that's also utterly believable and gorgeously acted. It's rendered all the more potent by the lack of constant cutting that mars so many pictures in the editing stage. The Incident is the movie's guaranteed conversation centerpiece which I fear most reviews with their lazy insistence on plot-plot-plot will give away. Loktev's mode throughout is observational and her refusal to offer up any commentary or (non visual) point-of-view on the matter will surely be counted as a detriment for some and a plus for others. Put another way she's masterfully collecting details but whether or not she has something to say about her treasured collection remains an open question to be answered by future films.

All movies engage your eyes and your ears by their very nature, but seize your visual and aural imagination only with skill. Loktev gently forces a third and dominant sense into the equation. Right from the very first startling image Loktev shows an extraordinary gift for the tactile. How many movies can you feel on your skin? Cold water, the brush of fingertips, a stone in one's shoe, hair violently tossing about in the wind and so many more sensations are beautifully captured. Most tellingly in The Loneliest Planet you can absolutely feel the warmth of a lover's touch and the unavoidable sudden chill whenever bodies separate.  B+ 

Previously @ NYFF
Melancholia - Michael gazes upon the end of the world with von Trier

NYFF: "Melancholia" This Is The Way The World Ends

[Editor's Note: Our NYFF coverage begins! You'll be hearing from Michael and Kurt and me. -Nathaniel]

Hey, everybody. Serious Film’s Michael C. here reporting from the New York Film Festival. I’m jumping right into the deep end of the pool with the first title so let’s get to it.

When the world ends in Lars von Trier’s Melancholia it is definitely going to be with a bang and not a whimper. The film opens with a stunning series of images centered around a rogue planet spinning out from behind the sun on a course to smash into Earth like a wrecking ball. It’s a dark nihilistic death dance, the B-side to Tree of Life’s sun-dappled song of life. The sequence alone is worth the price of admission.

From there the film splits neatly into halves. The first concerns the wedding of clinically depressed bride Kirsten Dunst to “aw shucks” wholesome groom Alexander Skarsgård. The second concerns Dunst and sister Charlotte Gainsbourg grappling with the whole possible destruction of the planet thing. Both halves follow similar arcs with characters hoping against hope that the worst case scenario can be avoided before remembering that this is, after all, a von Trier movie.

I’m not sure splitting up the stories was the wisest choice, since the second half never recovers the energy of the wedding scenes. I could write that the second half creaks under the weight of its symbolism, but if Von Trier is willing to fill the sky with an ominous death planet named after his own depression, who am I to point out that the whole thing is a bit "on the nose"?

Melancholia would have to qualify as a minor disappointment considering the shattering impact Von Trier is capable of, but still, it's an experience worth having. The whole cast is aces. Dunst rises to the occasion with a bone deep convincing portrayal of smothering depression, while Kiefer Sutherland, to my surprise, punches through in a big way as Gainsbourg’s wealthy put-upon husband. Best of all, is the wall to wall breathtaking cinematography by Manuel Alberto Claro, which, by the way, is probably the film's best shot at awards attention. The whole thing has a cumulative effect greater than the sum of its flaws.

Dangerous Expectations

For what it's worth...

I saw A Dangerous Method last night and enjoyed it. With the New York Film Festival press events in swing (the festival proper starts on the 30th) and other screenings happening to the side we've arrived at our favorite time of year... Prestige Picture let out of the gate! As we speak, Michael and Kurt are watching Lars von Trier's Melancholia (which I've already seen and found fascinating and difficult to let settle) so you'll be hearing about these two movies shortly and later on when they open, too. Fall season is best because even when the movies aren't perfect they offer plenty to talk (and argue) about.

This adaptation of The Talking Cure (a phrase used in the movie unlike its new title) won't hit until November so my proper review will wait but I wanted to note straightaway that it wasn't quite what I was expecting -- almost stately, subtle and one might even say uptight to the point of refusing catharsis. Keira Knightley handles her difficult role well and without vanity, jutting her jaw out grotesquely and contorting her body to the point that it's even more alien and angular than one might have ever found it before. It's as if she's never read any of the critiques of her beauty. (I would like to note that I don't take kindly to the common hateful screeds about the actual looks of actors that are so popular on the web but this is rather like Sarah Jessica Parker -- who I personally love to look at -- agreeing to co-star in a picture entirely about horses.)

Freud (Viggo) and Jung (Fassy)Loved Viggo as Freud but was quite surprised to have difficulty with Michael Fassbender for the first time. I'm guessing that repression is, like depression, difficult to act in a mesmerizing way. For what it's worth my favorite male portrait of stifling repression is probably Anthony Hopkins in Remains of the Day who I would have handed the Oscar to in 1993. I am not overly fond of Hopkins so maybe I just have issues with male repression onscreen? A point of comparison: I was similarly unwowed by Daniel Day-Lewis when he made The Age of Innocence which is the picture my mind kept drifting towards.

As to Oscar speculation: I suspect that if there is Oscar play then The Age of Innocence is a far better comparison than Remains of the Day. But I suppose it all depends on whether AMPAS is in a repressed well appointed 90s period piece mood (they've kind of moved away from that lately, right?) and how the competition holds up when all the game pieces are on the board. 

NYFF Overflows with Fascinating Auteurs & Oscar Contenders

Gael Garcia Bernal gets licked at the New York Film FestivalSince I'm not doing Toronto this year (I hope to convince a few volunteers to do coverage for the site. If you're going and you're a reader/writer...) I plan to go full hog on the NYFF. I will also be enlisting at least one extra member of the Film Experience team to join me so that we have more for you. Below you'll find the final lineup culled from the official site but I've divvied it up for you into categories.  Please do let us know in the comments which films you're most interested in hearing about, or, if you're in NYC, which films you plan to see.

Buzzy Indies
Martha Marcy May Marlene, in which Elizabeth Olsen leaves a cult in time for her Oscar campaign, directed by Sean Durkin (USA)
A Separation, a tense family drama that keeps winning awards, directed by Asghar Farhadi (Iran)
Shame, directed by Steve McQueen, in which sister Carey Mulligan visits her sex addict brother Michael Fassbender. From the director of Hunger so therefore MUST-SEE... even if constant Michael Fassbender sex scenes weren't enough (UK)

Will Their Countries Submit Them For Oscar's 'Best Foreign Language Film'?
The Kid With A Bike, directed by Jean-Pierre and Luc Dardenne, is about an abandoned 11 year old. It won prizes at Cannes because it's a rule that all Dardenne Brothers films do, don'cha know. (Belgium) 
Le Havre, directed by Aki Kaurismäki (Finland)

Miss Bala in danger

Miss Bala, directed by Gerardo Naranjo, in which a beauty pageant contestant runs into trouble with a drug cartel. I'm curious about this one. (Mexico)
Once Upon A Time In Anatolia, directed by Nuri Bilge Ceylan -- I've never really understood the cinephile adoration -- it's a crime drama about the search for a missing body(Turkey) 
The Student, directed by Santiago Mitre, a political thriller about a student who falls for a radical organizer (Argentina) 

Oscar Players... Maybe
The Artist, directed by Michel Hazanavicius, an homage to Old Hollywood (France)
Carnage, directed by Roman Polanski, an adaptation of the hit play (see previous posts) (France/Germany/Poland)
The Descendants, directed by Alexander Payne, in which George Clooney has multiple crises (USA)
My Week With Marilyn, directed by Simon Curtis, about a week in Marilyn's life during the filming of The Prince and the Showgirl (see previous posts) (UK)

Auteur Mania... (I don't make a habit of missing films by these men)
A Dangerous Method, directed by David Cronenberg, about Freud (Viggo Mortensen), Jung (Michael Fassbender) and their crazy subject (Keira Knightley), (UK/Canada/Germany)
 Melancholia, directed by Lars von Trier, in which Kirsten Dunst's wedding plans are plagued by the impending apocalypse. (see previous posts) (Denmark)
The Skin I Live In, directed by Pedro Almodóvar, in which the director finally reunites with Antonio Banderas for a gruesome tale of revenge involving a plastic surgeon. (previous posts) (Spain)

Miscellania
4:44: Last Day On Earth, directed by Abel Ferrara, bills itself as an "apocalypse trance film". Starring Willem Dafoe. (USA)
Corpo Celeste, directed by Alice Rohrwacher, is about a young girl struggling with religion. (Italy)
George Harrison: Living In The Material World, music documentary directed by Martin Scorsese (USA)
Goodbye First Love, directed by Mia Hansen-Løve, tracks a first love over eight years (France/Germany)
Pina, directed by Wim Wenders, which is a 3D dance film and tribute to Pina Bausch (Germany/France/UK)
Play, directed by Ruben Östlund, which is a provocative movie about African immigrants taking advantage of Swedish peacefulness (Sweden)
Policeman, directed by Nadav Lapid, which includes wealthy anarchists and anti-terrorist police (Israel/France)
Sleeping Sickness, directed by Ulrich Köhler who won Best Director at the Berlin Film Festival. It involved doctors combating an epidemic of, well, the title (Germany/France/Netherlands)
The Loneliest Planet, directed by Julia Loktev, is an English language drama about a couple falling apart. Starring Gael Garcia Bernal. Yay. (USA/Germany)
The Turin Horse, a meditation "on the interconnectedness of things", directed by Béla Tarr and Agnes Hranitzky (Hungary/France/Germany/Switzerland/USA)
This Is Not A Film, directed by Jafar Panahi who is currently appealing his prison sentence in Iran, and Mojtaba Mirtahmasb (Iran)

Have at it in the comments!

NYFF "My Week With Marilyn" as Centerfold. Er.... Centerpiece!

News continues to trickle in about this year's New York Film Festival, the 49th (September 30th through October 16th). So, yes, expect 2012's festival to pull out all the stops to honor its own 50th birthday. We always cover this festival since its the easiest for The Film Experience, being NYC based, but this year we're aiming to do thrice the amount of our usual coverage. Stay tuned.

Here's what we know so far.

Opening Night ~ Roman Polanski's CARNAGE
Centerpiece ~ Simon Curtis's  MY WEEK WITH MARILYN (World Premiere)
Closing Night & Lineup In General ~ TBA... though it's usually selections that previously debuted at Cannes or Toronto. THE SKIN I LIVE IN is frequently rumored.

The Burmese Harp (1956)Masterworks ~ This is the section where they show old films, rare prints and retrospectives.

This year they'll be screening a restored and aspect-ratio corrected print of William Wyler's much-Oscar'ed Epic BEN-HUR (1959) which is a MUST for big screen viewing. I've had the opportunity once and the chariot race has to be seen blown up for maximum effect. There will be a rare screening of Nicholas Ray's experimental WE CAN'T GO HOME AGAIN (1973) which he tinkered with until his death in 1979. And the bulk of this section is a Centennial celebration of Japan's chameleonic Nikkatsu Corporation. They're showing over 30 of their films including the Oscar Best Foreign Language Film nominees THE BURMESE HARP (1956). More on that sidebar event here.

Tickets go on sale on September 12th unless you're a Film Society member in which case you can purchase early. Among the older films, I'm definitely taking in The Burmese Harp which I've never seen.