NYFF: From Russia with Love and 'Pomegranates'

New York Film Festival isn't just about the new. Here is Glenn on the restoration of Sergei Parajanov's 1968 avant-garde classic 'The Color of Pomegranates'.

Conversing at a bar last Friday night after the premiere NYFF screening of David Fincher’s Gone Girl, I mentioned to Nathaniel that I knew what shot I would choose for “Hit Me With Your Best Shot”. I’m not sure about you, but I frequently find myself attempting to work out what my selection would be when I watch a movie. As I’ve mentioned previously, I am very much into the visual and formal aspects of a film so whether it’s a cheap horror movie or a prestige epic my eyes attempt to scope these things out.

Which brings me to the restoration of Sergei Parajanov’s The Colour of Pomegranates (also known as Sayat Nova). This, quite frankly, is a film in which it would be impossible to find just one single piece of imagery to label the best.

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Snow Queens who have gone before us

It’s Tim, with a little bit of animation history for y’all. Not that you’d be able to tell from the details dribbled out so far (estranged sisters, talking snowmen, reindeer acting like dogs), but the impending Disney film Frozen began its development as a dramatic musical adaptation of Hans Christian Andersen’s “The Snow Queen”, a story first published in 1845. By this point, Frozen has drifted far enough from Andersen’s fairy tale that it’s probably more of an honorary adaptation than anything else, but that’s not all that unusual for Disney animated features. In the meanwhile, anyone looking to get their fix with a more authentic, faithful version of the story can look to a lengthy tradition of Snow Queen animated films, stretching back more than half a century.

From Russia to London with Sigourney-Love after the jump...

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Hot Docs: Pussy Riot - A Punk Prayer

Amir here, reporting from the Hot Docs Film Festival in Toronto.

Most critics who take notes during screenings will testify that, at least once, they’ve encountered a film that renders their notes useless. Pussy Riot: A Punk Prayer was one of those films, which is fitting since co-directors Mike Lerner and Maxim Pozdorovkin manage to capture the anarchic spirit of Pussy Riot quite authentically. Having started my notes with a relatively balanced number of positive and negative points, I found myself with almost a page full of crossed-out complaints and a film I felt compelled and excited by in equal measure.

Pussy Riot, an HBO produced documentary, follows Nadia, Katia and Masha, the three leading members of the now infamous Pussy Riot movement – a group of feminists who organize spontaneous demonstrations against the totalitarian Putin regime in Russia. [more]

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Oscar's Foreign Race Heats Up With Russian Controversy

Blow the horn. The nifty annual charts for Oscar's Foreign Language Film competition are up. With 25 films announced (26 if you count Iran's confusing "did they or didn't they?" issues with their internationally acclaimed marital drama A Separation) we're nearing the halfway mark of the list which usually tops out somewhere around 65 films.

Brazil, Bulgaria and Lithuania have announced

Current predictions are for fun speculation only since we don't even have half the official list. Let's not get too crazy in thinking we know how this plays out; this category often surprises both with submission choices and finalists. (Especially with their recent Executive Committee switcheroo powers. That must be how Dogtooth made it last year!)

Albania to Italy the most recent additions are Brazil's Rio slums crime drama Elite Squad 2, Bulgaria's Tilt which seems a little rock and roll / adolescent for Oscar (here's the trailer) and Colombia's The Colors of the Mountain.

Italy to Vietnam one new addition is a father/daughter drama from Lithuania called Back in Your Arms which takes place in the 60s but the backstory is very World War II. I want to see this ... I mean, it even has dance numbers!

RUSSIA has also announced...

When Nikita Mikhalov, the director and star of the very popular Russian Oscar winner Burnt by the Sun (1994) announced he was making the sequel some time ago I immediately predicted that a future nomination was sewn up. But beware of 'looks unbeatable on paper.' Burnt by The Sun 2: Citadel met with surprisingly rough reviews when it hit Cannes and was an expensive box office failure at home.

The controversy doesn't end there. Here's a quote from a recent Guardian article on this selection:

Vladimir Menshov, the chairman of the country's Oscars committee, has publicly called on Mikhalkov to withdraw his film. Apart from anything else, he said, there was something "inappropriate" about the veteran film-maker, who is a member of the committee, having put his own movie forward for consideration.

"This film, which came out in May, had an absolute critical drubbing ... it was never shown anywhere internationally," Menshov told Echo of Moscow radio on Tuesday. "And most importantly, it was a catastrophe at the box office."

Burnt by the Sun (1994), Oscar WinnerOn the other hand if an entire committe is making the decision, why shouldn't one mamber who is a working filmmaker be able to submit their films as long as they don't have deciding power? It'll be interesting to see if Oscar's love for the original transfers. It did provide a memorable moment on the telecast with the director and his adorable daughter Nadezhda (both stars of the film). Or will the Academy give this sequel the cold shoulder that it's receiving elsewhere. 

Have you ever seen Burnt by the Sun?

Are you glad to see the charts back?  

 

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.