Katy picked this, an accidental sequel to my series of George Harrison docs. We got to see choice clips from The Long Good Friday and Mona Lisa, Time Bandits and Withnail and I, interviews with lead actors and Pythons and so on… a successful Saturday night.
Tag: filmmaking
A Bookshelf on Top of the Sky: 12 Stories About John Zorn (2002, Claudia Heuermann)
Heuermann’s second of three(?) Zorn movies contains some gems. Zorn credits Carl Stalling’s cartoon scores with teaching him new forms. He explains the rules of Cobra to its participants, which would’ve been useful for me to see a year ago. We sit in on a remaster of the Morricone album, and catch JZ’s enlightening interactions with the musicians during a rehearsal.
But the movie is also tediously about making the movie, about Claudia’s struggles to book an interview with Zorn, and questioning what the movie will be and how to piece it together, including footage of audience screenings of scenes we watched earlier. It returns to re-enactments of the director first hearing the Naked City record and getting into this kind of music, but these meta-elements feel like filler, because all we learn about Claudia is she likes Zorn’s music and is making a doc about him… two things that were pretty easily assumed going in.
Ramona (2023, Victoria Linares Villegas)
Landlady aka Abstract White opened with a nice improv set, as we sat down in front at the Blue Note. Solid film, made by professionals, unlike certain other things we’ve seen this week. Fiction about a pregnant teen runaway hoping to become a movie star. Lead actress Camila wants to meet actual pregnant teens and have discussions to understand her character. In the second half of the movie the actually-pregnant kids take over and start playing the roles. Dominican Republic, all lower-class girls whose moms also got pregnant young and were hoping to break the cycle, but it’s established that all the local males are shits. Victoria’s second feature after It Runs in the Family, which she brought back to the fest this year along with a key influence, Makhmalbaf’s A Moment of Innocence.
Milisuthando (2023, Milisuthando Bongela)
The Onions opened, incongruously to the film, three goofy white guys playing bright pop songs. Movie starts with a way-zoomed-in cellphone video of a woman disrobing before a Mandela statue. Director’s family is from South Africa, grandma disparages Mandela for ending apartheid. Then we get educational segments on history of the black-only Transkei district, featuring excessively unedited news archives interviewing relentlessly optimistic Black kids and their parents on the eve of integration. Movie goes off the rails with two (not just one!) extended conversations between the filmmaker and her white friends about privilege and prejudice revealed by some minor personal interactions, the visual in these sections just subtitles over an annoyingly dark-grey screen with a couple lines visible on the edges.
In Front of Your Face (2021, Hong Sang-soo)
Two sisters go out for a walk and the stars of the previous movie I watched walk by – it’s another day in the Hongverse.
Lee Hye-young is a former actress back in Korea and staying with her sister Cho Yun-hee (lead guy’s mom in Introduction‘s restaurant scene). She has a meeting with director Kwon Hae-hyo (Yourself and Yours) who wants to film a feature with her, but would settle for a short film, but would settle for sleeping with her. She tells him (before telling her sister) that she’s dying, has a few months, and he leaves her a bittersweet message the next morning (“What I promised yesterday can never happen.”). Elsewhere on the trip, she haunts the house where she used to live, reminiscing and coping (“I believe heaven is hiding in front of our faces”) and visiting the cafe run by her nephew (the star of Introduction).
Antoine Thirion in Cinema Scope:
In a body of work whose narrative scope seems to diminish a little more with each film, In Front of Your Face is still surprisingly laconic: its story unfolds over 24 hours and has barely ten scenes, one of which takes up a good third of the film … While the film’s deceptive structural simplicity seems to adopt its heroine’s fixation on presence and the present, things never cease quietly going off the rails.
Body Double (1984, Brian De Palma)
After Rotterdance I was in a Rear Vertigo Window Remix mood, and De Palma got me covered. It’s suspense-comedy, with lead guy Jake (Nancy’s sympathetic doctor in Nightmare on Elm Street 3) as the world’s most awkward loser, set up to witness a fake crime. He’s introduced being fired from the movie Vampire’s Kiss since he can’t perform his grave scene due to high anxiety claustrophobia, then going home to catch his wife enthusiastically cheating. He does get to kiss the girl he’s stalking (Deborah Shelton of Plughead Rewired: Circuitry Man II) after almost chasing down her purse snatcher, but fails to save her life in an absolute mess of a driller-killer murder scene.
Enter Melanie Griffith, too thin to be a porn star. Now an accomplished stalker, Jake starts acting money after his sex scene with Melanie, impresses her with the fancy place where he’s staying, then reveals that he’s familiar enough with her work to have recognized her through the telescope in the staged crime scene. He overcomes his claustrophobia, defeats the murderer, and gets re-cast in Vampire’s Kiss. Really not a great movie but pretty fun. Between Scarface and Wise Guys, De Palma had to get the 1980s out of his system, making a movie that contains a whole Frankie Goes to Hollywood music video.
The Cathedral (2021, Ricky D’Ambrose)
Flatly factual narrator, feeling very director-filming-his-childhood. At age 13 the kid develops an interest in filmmaking, imagine that. The frame not always completely still, I noticed a couple of slow zoomouts. Shooting floors and walls and tablecloths seems to excite Ricky – also the light playing on the carpets, but Terence Davies he ain’t.
Early celebration with excited father:
Richard meets Lydia in 1986 (he played the President in Dark Phoenix and Officer Krupke in West Side Story, and she was just in the new Top Gun). Richard fights over money with Lydia’s dad Nick. I forget which grandma is which – Josephine stays a few months with Pianist Robert, and Claire dies before our main couple breaks up in 1997. Lydia meets Peter and has a deaf second child, Richard marries Judy, a Trinidadian who scams him. Jesse is going to Chicago after high school, and will presumably be making short films in The Souvenir Cathedral Part II.
Later celebration with terrible ventriloquist:
The Fabelmans (2022, Steven Spielberg)
A complicated movie, currently being discussed in every publication, so I needn’t bother. He is still The Most Popular Filmmaker Of All Time, and some of the dialogue is really “hit the themes on the head” and “spell out the character motivations” clunky/obvious, yelling out the ideas so nobody can miss them, rather than letting us make connections. But I can’t be mad about it, because even the stuff I knew would be coming was really beautiful on screen… that last five minutes with Lynch/Ford was perfect, and the final shot (re-framing the horizon line) made me gasp.
The Fire Within: A Requiem for Katia and Maurice Krafft (2022, Werner Herzog)
Fascinating alternate take on the Krafft legacy, with the same footage but a different focus from Fire of Love. That one’s story goes that their volcano research and publicity saved lives, while Herzog opens by saying they’ve been criticized for convincing others to move closer to the same eruption that caused their deaths. FoL tries to get inside their relationship, Herzog compliments the technical excellence of their filmmaking and photography while showcasing the destructive forces of nature. The Ernst Reijseger requiem music perhaps goes too big, but Herzog’s fourth(?) volcano movie is predictably great.
