The award-candidate docs returned to the Landmark, and we caught up with this and Honeyland, and watched American Factory at home – and all three got oscar nominations a week later. I was in a terrible mood after watching the reporter/activist filmmaker and her doctor husband try to raise a baby and run a hospital in an Aleppo warzone while losing all their friends and neighbors to bombings, and so didn’t properly appreciate the playful carnage of John Wick 3 when watching it some hours later.
At great personal risk, the director of this doc embedded himself with a jihadist family, allowing us to see how these people really live, to feel their personal struggles. Unfortunately, my feeling was “fuck this family” (the opposite of an empathy machine) as we watch the creepy-doll-faced oldest son Osama go from beheading and flaying little birds to military camp. His dad gets blown up by a mine and loses a leg, and it’s alarming to see him so quiet and dazed after getting used to him as a blowhard strongman. I guess this comes down on the side of “documentary that might be useful to someone,” not “movie I actually liked.”
Another magical drama about a refugee in hiding with a carefully balanced comic tone, this was inevitably going to be compared to Le Havre, my favorite movie of a few years back, and fall slightly short. But it’s nice to have more of refugee Khaled’s story in this one, as opposed to near-mute Idrissa in Le Havre, and the acknowledgement of the racism and xenophobia within the country’s citizens fueling the policies that are making it so difficult for him to gain asylum in Finland.
Syrian Khaled has bounced through ten countries on his way to Finland and is desperate to locate his one surviving relative, his sister Miriam, and bring her to a safer place. His Iraqi friend Mazdak offers communications help to look for the girl while Khaled finds work with Wikström (Leningrad Cowboy Sakari Kuosmanen), who has left his wife for reasons unknown and purchased a dumpy restaurant. Wikström and Khaled are given too little shared screen time for us to watch them bond (alongside a cute dog and three bedraggled employees who came with the building), but Wikström proves to be big-hearted, protecting his newest employee from the elements and the authorities.
Kaurismäki won best director in Berlin (A Fantastic Woman, Félicité, On the Beach at Night Alone). My moviegoing companions were surprised and appalled that Finland would not offer Khaled asylum and try to have him deported, but now that I’ve seen Stranger in Paradise, nothing is surprising. Others were dismayed by all the screen time given to amateur performances of rockabilly songs, but I preferred those to the half hour of backstory showing how Wikström came to run a restaurant. I recognized Kati Outinen (the wife in Le Havre) in one scene, and restaurant doorman Ilkka Koivula (probably also from Le Havre), but that apparently was not Carel Struycken as a bartender.
Pearl (Patrick Osborne)
Machinima/cutscene clip about a girl growing up with her dad with a car and music then getting too old for dad and hanging out with friends with the car and music then remembering poor dad and going back to visit. It felt kinda like an extended commercial, but not as good, surprising from the guy who made Feast. Ah, it was created with VR software, how cutting edge.
Borrowed Time (Coats & Hamou-Lhadj)
Bummer cowboy story, sad man goes to cliff edge where he accidentally killed his dad whom he was trying to help up with the use of a shotgun. It doesn’t feel like 3D animation is best suited for this sort of thing. The codirectors are seasoned Pixar animators.
Blind Vaysha (Theodore Ushev)
Girl is born with a left eye that only sees the past and a right eye that only sees the future, sometimes by a few hours and sometimes by thousands of years. Maybe you could do some cool things with this concept, but the movie’s only concerned with grabbing the viewer and saying look, wouldn’t this be terrible? Imagine if you had to live like this. Wouldn’t it be just awful? Wouldn’t it? Huh? The end. Ushev is a prolific shorts director and this is the first I’ve seen.
Pear Cider and Cigarettes (Robert Valley)
Long story of the narrator’s troubled friend Techno who gets rich then needs a liver transplant. At least this one has cooler visual style and music than the others, though it’s another sadness drama, and all women be sexy-ass bitches. The director was an Aeon Flux artist!
Piper (Alan Barillaro)
Still the best. Sandpipers rule.
The White Helmets (Orlando von Einsiedel)
Wrenching doc about self-appointed post-bombing rescuers in Syria, mostly set during a training session in Turkey. It would also turn out to be a really useful movie to use when looking for IMDB or Letterboxd users with terrible opinions to block, if either of those sites allowed me to block users with terrible opinions.