by ·Comments Off on Rat Film (2016, Theo Anthony)

A bunch of… things. Sometimes it seemed like the movie was taking different aspects of Baltimore life/history/politics and rat life/history/infestations and tying them together into a beautiful conspiracy web, and sometimes it seems like the pieces did not fit together but he doggedly left them in the movie.

The part everyone’s talking about is the movie’s discussion of “redlining” (via sci-fi voiceover), preventing certain (ahem, black) areas of town from getting investment and development, and how the redline maps from eighty(?) years ago line up closely to today’s maps of the city’s worst poverty, education, etc. The part nobody’s really talking about is the drag racing footage, or why he takes the very effective opening title scene of a rat trying to escape a trash bin and repeats it later in the movie.

Other bits from most-to-least-relevant:

– city employee who treats rat infestations and speaks the movie’s premise (the rat problem in Baltimore is really a people problem)

– scientist who studied population concentrations by building a rat High-Rise and documenting civilization collapse

– video game footage textured with Baltimore aerial maps, giving a post-apocalyptic meltdown feeling, discussing how the universe creeps in through the seams of the imperfect 3D environment

– rat hunters (couple of guys with baseball bat and fishing pole, and one with an array of guns)

– rat’s-height roving drone cameras, both real and VR

– a couple watching TV with their pet rats

– stylistic quirks (clicking sounds on edits, piercing electronic noise, white flashes)

Relevant:

Less Relevant:

The ending, in which Baltimore is leveled and begun again, bothered Katy, who says that suddenly telling an obviously fictional story and presenting it on equal ground as the rest of the segments calls all the movie’s facts into question.

Our screening was preceded by a short talk by Sarah Jeong which started by pondering a possible plot hole in the Star Wars film series (both the jedi and the empire have “long-distance” video chat capabilities, so why do the rebels fly around with their precious plans on a physical disc?), then presuming it’s because all the best communications technologies are held by governments and regular shmoes have no access to intergalactic data transmission, ending with a plea for modern net neutrality – genius.

Jordan Smith:

Rat Film embraces an off-kilter essayistic form that digs through the city’s legislative history of systematic segregation (in its way reminding me of Robert Persons’ mournful General Orders No. 9) and rat-infested back alleys of the city’s tenements, subversively suggesting along the way that the countless minorities left amongst the wreckage of unjust codification have been little more than rats in a failed experiment run by white bodies. Meticulously researched and eerily presented by an ethereal Siri-like voiceover, Rat Film‘s crushing thesis lands with a serious crunch that reminds of the death and detritus that’s been institutionalized since the city’s inception.

J. Fox:

What really gives Rat Film its charge is its interest in mapping, and in the ways that maps intervene on the world by representing them. The rat provides a convenient metaphor for the social, or at least the social envisioned as a disease-spreading mass — intellectual, economic, racial or microbial — that must be contained … When Rat Film engages a number of actual maps, from those redlining diagrams to 3D urban real estate models and VR platforms, it does so in order to stretch them to their pre-programmed limits, revealing those spots where they fray at the seams. What is left at the end is a world of precarity, one of predominantly African-American people made precarious by these instruments of social engineering, and of a world in need of new models for living.

by ·Comments Off on Distant Constellation (2017, Shevaun Mizrahi)

Our first movie at the 2017 True/False Film Fest, which was an overwhelmingly great long weekend. We were among the last three people let in via the Q for this one, sat in scattered chairs and loveseats lined up in a comfy space behind a coffee shop.

Slow and dreamy visit with the residents of a Turkish retirement home, sheltered indoors while a major construction project goes up across the street (Mizrahi goes out and joins the construction workers in the final minutes of the film). Looping atmospheric sounds instead of music, patterns changing with each scene. Focused on the people, their behavior and stories, with a few great visual moments (I’m thinking of the lineup of 4-5 women sitting down watching one who gets up to leave, the same scenario repeated later in the film). Presented as a test screening, so it might be released in a different form later, though I can’t imagine it’ll get much of a commercial release in the States. Judging from the reaction to one glorious long take, it’ll have to remain in the film – two guys stand in the elevator having long conversations, pressing the buttons to go up and down repeatedly, then to their annoyance a woman in a wheelchair is rolled in, and after a long minute she looks up and grins into the camera. It’s hard to explain in words why this was so wonderful.

Memorable characters: A photographer with serious vision trouble fumbles with his camera gear speaking in helpless loops. A man with breathing problems talks in his sleep (“Merry Christmas”). A woman over 100 years old survived the Armenian genocide and is still suspicious of authority and afraid of persecution, asks to use a pseudonym on camera. And one man we revisit a few times, realizing at the end that he had a strategy all along. He reminisces about reading Lolita. He reads us one of his own erotic stories, and mentions that he prefers intimacy with a couple (no more than three!) more than the sex parties he’s attended. He boasts about the time he gave a 31 year-old woman an orgasm though he was much older at the time. Finally he proposes to the (30 year-old) director. I believe she turned him down, though we left before the Q&A, successfully sneaking into another movie.

J. Cronk:

This pairing of industrial upheaval with the burden of socio-historic tribulation can’t help but recall the docufiction experiments of China’s greatest living filmmaker, Jia Zhangke (particularly Still Life and 24 City), while Mizrahi’s formal acumen and rigorous compositional sense nod to the self-professed influence of Portugal’s Pedro Costa, whose Fontainhas trilogy similarly exposed and personified the souls of a neglected community on the brink of extinction.

by ·Comments Off on Toni Erdmann (2016, Maren Ade)

Sounds like an American-ready comedy premise (which is why there’s a rumored remake): uptight daughter gets a visit from her goofball dad who tries getting her to lighten up. Generic versions of this story have been made before, but this one uses some unique characters to change the trajectory, eventually revealing the daughter was maybe right to hide her true nature beneath a serious businesswoman facade, because when she lightens up, she’s almost psychotically awkward (shades of Ade’s debut The Forest for the Trees).

The infamous nude scene was different than I expected, at least. You figure a nude scene will be about sex in some way, and it’s not. Out of a combination of the quirky strangeness that her dad’s visit has perhaps inspired and frustration at a dress zipper, Ines (Sandra Hüller: Requiem, Amour Fou) answers the door to her party guests in the nude, then starts insisting they disrobe as well. Meanwhile her dad Winfried/Toni (Peter Simonischek) has dramatically upped his costume game from a moppy wig and false teeth to a giant Bulgarian hair-monster costume, and arrives at the party without saying a word, freaking out the already scared naked party guests. It’s clearly a very good movie, and even if I have trouble understanding Cinema Scope’s film-of-the-year acclaim, this may be the scene of the year.

Ade, probably predicting the failure of next year’s remake:

When I tried to shorten the film, it gets very banal and less complex. The film needed a certain length … The moment you take out 20 minutes, then you have the father coming, he’s an idiot, she’s a businesswoman… it gets very simple, very fast.

by ·Comments Off on Get Out (2017, Jordan Peele)

Daniel Kaluuya (my favorite Black Mirror actor) is dating Allison Williams (my fourth-favorite Girls actress), comes to visit her parents Catherine Keener and Bradley Whitford and brother Caleb Landry Jones (Antiviral) in an aggressively white suburb. At first there’s the socially-awkward but not overtly threatening kind of racial tension: dad brags about his Obama support and all the white family’s employees are black. But things get weirder after the mom hypnotizes Kaluuya and now he can’t tell if he’s being paranoid or if there’s a conspiracy, until it’s too late and he’s tied to a chair in the basement being prepped for brain surgery, so the highest bidder (blind Stephen Root) can flee his aging white body and live fifty more years inside Kaluuya’s.

A finely crafted thriller, and I’d never in a million years guess it was from the writer of Keanu. I could tell that Peele had made a super-effective movie when the white Nebraska audience at my crowded screening erupted in cheers when Allison Williams got shot (or maybe she’s just their least-favorite Girls actress as well). Betty Gabriel (The Purge 3) and Marcus Henderson (Insidious 4) play the grandparents play-acting as servants (she’s especially good – coldly suspicious then briefly vulnerable). Keith Stanfield (Short Term 12 and Atlanta, Snoop in Straight Outta Compton) is the party guest who yells the title line at Kaluuya when a camera flash wakes him from “the sunken place.” And comedian Lil Rel Howery is Kaluuya’s buddy in the TSA who gets all the best lines.

Some of the reception has focused on whether it’s a scary/effective horror movie, which is the same kind of horror-purist bickering that lowered appreciation for Cabin in the Woods and The Witch. Come on everyone, break out of your genre holes. Peele more accurately calls it a “social thriller,” and says he’s working on four more.

Alan:

One minute in, this movie that will play every mall in America makes it viscerally clear that it’s not black guys who are scary – it’s neighborhoods packed with sheltered dopes who quake at the very thought of black guys … Get Out is searing satire, with scary/comic riffs on slavery and assimilation, but it’s also a smashing crowd-pleaser of a horror film, complete with mad science, cult-like crazies and a creep-out homage to Jonathan Glazer’s Under the Skin … But even as Peele brings the house down, we see the serious toll of all this horror on Chris’ face and body. Neither the movie nor anybody watching can take it all as a joke.

–
April 2024: Rewatched on a whim… now I’ve got a whim to rewatch US and NOPE. Peele might be the major filmmaker whose first three features’ titles have the fewest letters.

Presumably Stephen Root never wakes up… it’d be even worse if he does:

I forgot about the scene where Howery explains his theory to the police:

by ·Comments Off on Life, Animated (2016, Roger Williams)

Owen is graduating soon, getting his own place, in a relationship, finding employment. He’s also got autism, and didn’t speak for years as a kid until his parents figured out that he’d memorized all the Disney movies they had on video, and learned to speak to him in character with Disney dialogue. So the movie follows Owen now, and through photos and home videos from the past, drawings and cartoons by French effects company Mac Guff, and editing of Disney emotions into real events. Owen and his dad do decent character voices, and someone on letterboxd writes “This is the happiest you’ll ever be to see Gilbert Gottfried.”

by ·Comments Off on Indignation (2016, James Schamus)

I wondered about the nursing home intro, but in the end felt it was the best framing device of an older woman recalling dead friends since Atonement. Bulk of the movie follows serious-minded, self-assured Marcus as he learns (and ultimately fails) to navigate a college full of distracting human elements – a patronizing dean, a sexy rich girl, noisy roommates and people who want atheist Marcus to define himself as Jewish (and at the same time want him to attend the school-mandated chapel services). After he’s caught buying his way out of church (he’s not wealthy, but felt that getting out of church was morally necessary), he’s expelled, sent to the Korean war, killed.

Marcus’s girl Olivia is Sarah Gadon, Gugu’s white sister-cousin in Belle, Pattinson’s wife in Cosmopolis, the sick celebrity in Antiviral – I should be able to recognize her by now. If I watch this again, need to pay more attention to her character, now that I know more about her emotional instability and tragic end. Marcus is Logan Lerman, who starred as loner high school freshman in Perks of Being a Wallflower, now a loner college freshman. He’s magnetic, and his clash with the equally serious and self-assured dean (Tracy Letts, writer of Bug, also in Homeland and Christine), mostly represented in one extra-long, tense meeting scene, was reason enough to keep watching, though I didn’t get much sense of narrative progression or the movie’s point until it all comes flooding in at the end.

M. D’Angelo:

A chilling illustration of nails that stick out being hammered down, lent additional blunt force by the strangeness of (fairly recent) history … Also rare and exciting to see intellectual ferocity onscreen, even if it’s the annoyingly self-righteous undergrad variety.

by ·Comments Off on Evolution (2015, Lucile Hadzihalilovic)

A strange movie to begin with – I had to remove “weird” and “mysteriously” from all over this post. Suffice to say that everything that happens in this movie happens mysteriously. There’s a tiny bit of dialogue, and low music during intense moments, but most of the time it’s all unsettlingly (mysteriously) quiet. Lucile is typecasting herself as a creator of inexplicable fables where children grow up in isolated gender-segregated environments then are set free into our world in the final minutes.

Nicolas lives with his mother who isn’t his mother (Julie-Marie Parmentier of Around a Small Mountain) down by the sea. She feeds him wormy kale stew, lets him hang out with the other boys in town who are all the same age, assures Nicolas that the dead boy he spotted underwater was just a dream, and sneaks out at night to slither in nude star-patterns with the other boys’ mothers (who aren’t their mothers).

Nicolas is taken to the hospital for a belly injection, then again for an ultrasound, which detects a rogue heartbeat down there. So I guess the mermaid-mothers are raising boys and growing new things inside them? We see from Nic’s friend Victor’s fate that the boys don’t survive the birthing process. Nurse Stella (Roxane Duran of The White Ribbon) takes a liking to Nic because of his sketchbook, takes him through the underground caves acting as human scuba gear and releases him back to the city.

Very nice photography, especially the underwater scenes in the beginning, with an alien coolness that recalls Under The Skin. The women having gills and the birthing experiments might point towards the movie title for clues as to what’s going on, but it doesn’t feel like a mystery to be solved, more an imaginary world (more dangerous than it first appears) to soak in for a while. Recalls some glimpses from the A Cure for Wellness trailer, but I disagree that Evolution counts as horror.

Ehrlich:

It’s been a decade since Hadzihalilovic’s only other feature, 2005’s Innocence, and it seems as though the writer-director has been hoarding her nightmares ever since … If Evolution has a thematic through-line, it’s Hadzihalilovic’s propensity for stripping male bodies of their autonomy … it’s an oblique return to childhood, to a time when there was no clear boundary between imagination and reality, when everything you didn’t understand was beautiful and terrifying in equal measure.

D’Angelo: “To watch Hadzihalilovic’s films is to be reminded that life itself is a deeply perplexing mystery — that we’re all born into rigidly stratified societies, laden with inexplicable rules and run by people whose minds we can’t access.”

by ·Comments Off on An Oversimplification of Her Beauty (2012, Terence Nance)

A first-person semi-documentary by Nance about his uneven love life, which also contains a second-person semi-documentary by Nance (How Would You Feel?) about his uneven love life, plus fragments of a first-person documentary by Nance’s ex Namik, plus drawn animation and stop-motion and other things. The presentation is great fun, and though all the navel-gazing relationship talk gets to be a bit much, it’s not an overlong movie and all the shape-shifting kept me happy.

Not the first documentary I’ve seen to contain its own test screening. I thought Nance had a new movie in Sundance last month, but I guess it was a live performance of his project where he googles phrases about black kids and follows the results down a wormhole, then posts the results on his vimeo page. I watched for a few minutes, but the online version seems to be missing essential narration.

Flying Lotus did the music for this and LoveTrue which I saw a few weeks later. And I tried to look up articles or interviews about the film but instead got caught up in a highly entertaining essay Nance wrote about Exodus: Gods and Kings in which he convincingly labels Ridley Scott a white supremacist. Ah no wait, here’s a Filmmaker interview in which Nance claims he was playing “the type of guy she wouldn’t like” on camera so the story would make sense, which complicates things even more.

by ·Comments Off on Lincoln (2012, Steven Spielberg)

“You know what the people are. You know that the inner compass that should direct the soul towards justice has ossified in white men and women … White people cannot bear the thought of sharing this country’s infinite abundance with Negroes.”

I’m not fully convinced that Daniel Day-Lewis’s Abe Lincoln is realistic – he seems too wise and charming, too capable and upright, too able to manipulate fellow politicians who ought to know better, too perfectly Spielbergian. But that kind of politics sure felt good to watch in the present day when leaders of the “Party of Lincoln” run our government like cartoon villains. This is actually covered in the film when TL Jones dresses down a spineless adversary: “The modern travesty of Thomas Jefferson’s political organization to which you’ve attached yourself like a barnacle has the effrontery to call itself the Democratic Party.” Even after all the acclaim I wasn’t sure it’d be that captivating a film, but every performance is on point, the story is true-ish and meaningful and inspiring, there’s drama and humor and it’s got the best lighting I’ve seen in any movie all year.

Opens unexpectedly with post-battle David Oyelowo talking to the president. Besides Lincoln and his wife Sally Field and son Joey Gordon-Levitt there’s David Strathairn as the hesitant secretary of state, James Spader and John Hawkes as the president’s lobbyists sent to change senators’ minds (via bribery if necessary), Tommy Lee Jones (with a hairpiece so ridiculous he makes a joke of it himself) as a radical leftist senator. Walt Goggins and Adam Driver pop up, and Stephen Henderson of Fences, and Jackie Earle Haley and hundreds more.

Soldiers sent to meet the confederate delegation: