by ·Comments Off on The Nightmare (2015, Akiz)

Now something from the Filmmakers of the Present, a section for first and second features. This would be at least Achim Bornhak’s third feature if letterboxd is to be believed – I see an oil-driller bomb-thriller from 1998 and a commie/model/groupie biopic in 2007. The director now goes by Akiz, because the name Bornhak allows for cheap puns in English-language reviews.

A thumping dance beat movie with strobey lights – Gaspar Noe influenced? Three girls, speaking German, attend a party and become concerned that a Tommy Gnosis-looking boy they know has shown up. Leaving the party in handheld wide-angle, Tina gets super-killed by a passing car while picking up a necklace – or she had a premonition of this happening – or she saw a cellphone video of it happening to someone else and simply passed out.

Either way, Tina isn’t quite the same when she gets home, having nightmares of a creature that raids her parents’ fridge at night. Her psychiatrist tells her to touch the beast and prove it’s real, so she does, and it is – and it’s blind and clumsy, and psychically linked to Tina, so she starts taking care of it until they’re discovered and separated by the government. So Tina dresses for a night at the club and heads to the hospital for a covert rescue operation.

Or maybe it’s Neon Demon influenced, I dunno, it seems somehow derivative even though I keep naming films that came out after this. Cutting back and forth on the beat between domestic/hangout scenes and club scenes is cool, but mostly reminded me of that great Michael Smiley episode of Spaced, and the movie is probably much more enjoyable if you can stand rave music.

by ·Comments Off on I Don’t Belong Anywhere: The Cinema of Chantal Akerman (2015, Marianne Lambert)

LNKarno opening night is an Akerman doc, watching as prep for LNKarno closing night No Home Movie. I ended up enjoying the doc, with its discussions of editing strategies in the feature, more than the feature itself. I am a sucker for these things.

Akerman worked at a gay porn theater’s box office, raising money for her early shorts, then stole boxes of expired film to shoot Je, Tu, Il, Elle. “My mother was at the heart of my work,” flashbacks to News from Home. Wonderful to see Saute ma ville, which I just watched, intercut with Jeanne Dielman, discussion of their similarities and her mother’s take on the latter feature. Gus Van Sant, whose Last Days was Akerman-inpired, weighs in. The doc has the same closing credits shot as True Stories.

by ·Comments Off on What You Gonna Do When the World’s on Fire? (2018, Roberto Minervini)

Louisiana and Mississippi, cutting between different threads. After the lovely and gentle Stop the Pounding Heart led to the intimate look of The Other Side led to the racist militia at the end of that movie, it’s nice to reset and spend time with the New Black Panther Party. And after a month of watching movies on the laptop screen, it’s nice to see this on the big(ger) screen, experiencing as close as I’ll get to cinema this summer.

Michael Sicinski on Mubi via letterboxd:

As with Minervini’s previous films, there is something both startling and a bit disconcerting about the degree of access he achieves, as well as the fact that his camera crew is almost never acknowledged. How does he get so close, capturing key emotional moments like Judy’s cousin Michael finally visiting his mother’s gravesite, or Judy herself meeting a fellow addict and describing her years of abuse? One of the things that Minervini accomplishes in What You Gonna Do…, both with these scenes, the New Black Panther meetings, and in some consciousness-raising moments in Judy’s bar, is a careful depiction of free black discourse, the kind of discussion about identity, politics, and culture that a community can have when they are not worried about how outside listeners will misconstrue their words.

by ·Comments Off on Jeanne (2019, Bruno Dumont)

Halfway through Jeannette, little Lise aged-up to older Jeanne Voisin, and now due to a casting snafu, she’s aged back down to Lise for the battles and trial. It’s Jeannette Redux for the battles – all conversations in the desert, Joan “sings” a song in voiceover, her horse dances to a drumbeat then all the horsemen dance around her in a choreographed pattern. Mostly notable here is Lord de Rais who looks 18 with lion-hair.

Why does the king (Rohmer actor Fabrice Luchini), who everyone respects, act like such a sleazy scumlord and wear a juicer-hat?

The start of the trial is all talk, but livened up by the actors, especially church master Nic l’Oiseleur (below, right), a Quinquin-caliber performer. The church is an infinitely more gaudy setting than the Passion or the Bresson, and all the non-Joan actors are more interesting than those in the other films – shot mostly in close-up but it’s a large echoey room so they’re all shouting. It’s maybe a more eccentric movie than the first, and for the better… not a big fan of the vocal songs, but the instrumental music is just great.

by ·Comments Off on The Pruitt-Igoe Myth (2011, Chad Friedrichs)

I know we have to be precious about everything now, and make time in our redlining documentaries for a guy to play a flute solo, but it’s sometimes nice to choose a topic, do the research, and put out a well-edited interview/narrator doc about that topic and how it fit into the history and culture. It’s also nice to take a thing whose name is synonymous with failure and close your doc with women who say they loved the failed thing, and it was the best thing in their lives, and you believe them and it makes you love it too. The topic here was a complex of high-rise low-income housing in St. Louis, which would’ve been great if it’d stayed 1956 forever, but instead turned into a Colossal Youth ghost story mixed with a The Wire crime scene, before being demolished in 1972.

by ·Comments Off on First Cow (2019, Kelly Reichardt)

Opens with a William Blake quote,

features Gary Farmer… and solo guitar music (by William Tyler, not Neil Young)

and has in Cookie the most self-conscious man in the West since Depp in Dead Man.

Even the trappers lining up to eat homemade “oily cakes” recalls the Billy Bob & Iggy campfire scene.

Soooo I liked it very much.

Cookie and King Lu stay together to the end, neither one taking the money and running. We already knew their fate from the surprise Alia Shawkat opening scene, but it’s still a shock to see friendship trump greed in this sort of movie. Adam Nayman’s article in The Ringer is the one to beat.

by ·Comments Off on The Trip to Spain (2017, Michael Winterbottom)

I’ve given up on the miniseries versions, if they’re even still making those, so I think I’m missing some important shots of amazing food. Besides this disappointing shortage of food footage, this is my fave of the Trip series so far… gets on with what we came to see, and saves the bulk of the wallowing for the end. I watched with subtitles while clattering about, assembling the shelves I hadn’t pieced together during Endgame, and was disappointed that all the Spanish – including names of dishes! – are subtitled “(speaking foreign language)”. The subtitlers never even figured out that this language was Spanish. Complaints aside, this movie had some choice exchanges:

Coogan on his new script: “It’s about a man looking for his daughter.”
Brydon: “This’ll be the follow-up to your film about a woman looking for her son … He should be looking for something else, you know, to avoid the comparisons. Maybe man looking for his car.”
C: “The thing is you can do man who’s lost his car. European filmmakers use huge, overbearing thematic metaphors all the time, so it could be a guy looking for his car, but actually he doesn’t realize… he’s looking for something much bigger than that.”
B: “A van.”
C: “Yeah, but the van of life.”

by ·Comments Off on Frances Ferguson (2019, Bob Byington)

Extremely sharply written movie, maybe his best of the three I’ve seen. 75 minutes of watching Kaley Wheless looking disappointed apparently doesn’t get old, since a few nights later, looking for something to play while falling asleep, I watched the first half of this again. Follows all the steps (labeled: trial, incarceration, probation, etc) after substitute teacher Frances gets caught sleeping with her hot dumb student in North Platte, NE.

by ·Comments Off on Happy New Year, Colin Burstead (2018, Ben Wheatley)

Family get-together/squabble movie. It’s less murdery than Wheatley’s other films, and went straight to TV, so I assumed it’d be minor, but it’s really nice, my favorite since at least Sightseers. Kill List star Neil Maskell is beardy vaping Colin, whose sister Hayley Squires (Babs of In Fabric) invites their shunned brother David (Sam Riley: Ian Curtis in Control). David arrives, everyone blows up, he causes a scene as expected, is kicked out then called back, then he flips the movie by being really nice to his parents while Colin’s rage escalates until he storms out. Shot handheld with very snappy editing. I’d had fun with the Wheatleys, but it looks like he’s got himself into Netflix Remake territory with the upcoming Rebecca… maybe I’ll catch up with The Wrong Door series instead.

Other actor highlights: dad is Bill Paterson (dad of Fleabag) and mom is Doon Mackichan, a TV comedy regular ever since The Day Today. Asim Chaudhry is behind the series People Just Do Nothing. And Richard Glover (Sightseers, A Field in England) is Lord Richard, who runs the place they’re renting for the party.

Come on, the headlamp has to be a Kill List reference:

Adam Cook in Cinema Scope 78:

It is through some seriously impressive tonal sleight-of-hand that Wheatley keeps us fixed on the comical and sensationalistic aspects of his intricate plotting only to ultimately segue into something poignant and touching … The humour comes from a keen understanding of human pettiness and the convoluted relationship between people’s actions and how they feel; so as the latter is revealed, the less funny the proceedings become, and we are left with a complex and troubling assortment of sadness, trauma, and vulnerability.