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.
Tag: true false
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.
Three Women (2022, Maksym Melnyk)
Bjork-voiced loop-harpist Moriah Bailey opened, then after the film we saw her again at a free concert in a church. Good crowd response to this one, beginning before the film started when the one-minute fest trailer had no sound so we provided the footstep foley by stomping at our seats. Fun to see the director in person who we’d just watched onscreen too – Ramona might’ve been our True/Falsiest film this year, but this was our True/Falsiest theatrical experience. The three women are Post Office Worker, Poop Scientist, and Lonely Widow Hannah. Maksym and his cameraman “The German” start out in observational mode, then befriend Hannah and the movie becomes about their little community. She cooks for them, they buy her a pig. We also follow the scientist counting cave bats and witness her great triumph in finding bear shit in a field.
Forms of Forgetting (2023, Burak Çevik)
Drona opened, singing their earnest young sibling pop in unison. Burak finds a hole in a frozen lake where someone has been net fishing. A person seen only torso-down pulls up the net partway, drops it. Next guy pulls up the net partway, drops it, and so on. Is this a form of forgetting? Many other such forms appear… elephants, who never forget… buildings being constructed and demolished… buried bodies in a shipyard which was once a prison. The most extreme form is when a dead person’s brain is removed during autopsy, as seen via Brakhage film playing on a laptop. The centerpiece scene, a multi-layered couple conversing about their (fictionalized) relationship, each one sharing a dream they’d had, was inspired by a love of DVD commentaries.
Burak is probably the biggest name director we saw at T/F, with his Blake Williams / Bohdanowicz crossover movie currently in Cinema Scope and his Belonging making a splash a few years ago – or maybe he’s a tie with Stratman.
Tension Envelopes (2023, Robert Greene)
A new depopulated Greene short played before the feature – thoughts from within an envelope factory appear as titles over shots of city landscapes. A playful little experiment with some horrors-of-capitalism thrown in.
Going to Mars: The Nikki Giovanni Project (2022, Michèle Stephenson & Joe Brewster)
Inspired by Montage of Heck, they wanted to make a musical but found a poet as their subject. Virginia Tech mass-shooting was cut from the film because test audiences thought it gave our complicated figure too much of a movie-triumph moment. Opens more spacey and abstract (the people in front of us, terrified of abstraction, fled before the movie even started) before settling into a portrait of the late-career artist, recently reconciled with her son and getting to know her granddaughter. Poetry spoken in context with her life story and media appearances worked great, much better than the written samples I read on my phone to prep for the movie. Katy thinks it didn’t get inside Nikki, that it’s all public image. The filmmakers signal that we’re not gonna get some late-life emotional breakdown by including TWO instances when Nikki refuses to answer Q&A queries about painful moments in her past. Michèle has previously made a couple of Haitian/Dominican docs, Joe has made a Giancarlo Esposito drama, and most recently they made “a magical realist, immersive, episodic virtual reality experience” about American racism.
Serotonin Shorts
Moomin (Zach Dorn)
Desktop video (cellphone in portrait mode) dude telling story of trying to win a claw-game moomin for his Canadian girlfriend. After they break up he combs through their text messages emphasizing the in-joke importance of the moomin, then fails to win one in an online app. Fine as a short opener, demonstrates the difference between cute and good.
Love at First Byte (Felizitas Hoffmann & Theresa Hoffmann)
Sentient public transit surveillance system falls in love with a passenger. Blurry and repetitive, Katy has tried to forget this ever happened.
Example #35 (LucÃa Malandro & Daniel D. Saucedo)
Cubans love Santiago Alvarez! Reversed and inverted images, okay, but leave your colonoscopy footage at home, please.
No Elements (Barbara VojtaÅ¡áková)
A broken-up couple had shot lots of film around the city and down by the river, her film project that he’d picked up during their relationship and now wants to take over and complete, while she is ambivalent. Nice reversed-footage tricks.
While The Night Falls (Amir Aether Valen)
You Are Not Here (Nastia Korkia)
Afraid I didn’t take notes on these two, but recall that Katy was concerned about consent in the Russian funeral film. That movie’s director Korkia was returning to T/F after her feature GES-2 played last year.
Crossing Voices (2022, Raphaël Grisey & Bouba Touré)
Our seventh True/False. Travel is exhausting, so we took Thursday off and started early on Friday… earlier than musician Cemone James, who arrived late. Seems like only her guitarist and keyboardist were awake. The movie is a quite long and rambling montage of archive footage, still photos, video, film, computer map imagery, and radio broadcasts. Protests and strikes, neverending for decades, trying to be able to live and thrive in their own land. At one point Touré nicely sums it up, panning over the photos and posters covering the wall of his room, saying “life is a struggle” again and again and again. He stays in France, spends a few months a year back in Mali. Between protests he became a photographer and hung out with Med Hondo. He died in early 2022, his close collaborator Grisey finishing the film.
Mija (2022, Isabel Castro)
Our feelgood closing film was the opposite of Sirens, which claimed not to be a “rock doc” but was one. Castro set out to make a rock doc, but the subject dropped out, so she followed pop star Cuco’s jilted manager Doris instead, as Doris discovers a possible new star in Jacks. None of this was my kind of music, especially when played “live” (as in Sirens, we only get one concert before the pandemic hit), but the story goes to interesting places. The inter-generational immigrant experience brought back The Namesake, and Doris’s dad getting his green card was the fest’s biggest moment since the kidnapping, and the second time we heard mid-film applause. Opener Andreas Kapsalis plays classic covers on fancy acoustic guitar – I remember him from previous fests, and had the same reaction: annoyance at the Pink Floyd song, then warming up to his captivating style.
After Sherman (2022, Jon Sesrie Goff)
Gullah culture, netmaking and baskets. “I wanted to weave with images.” Too sleepy and abstract for me post-lunch, a a hodgepodge of media and ideas, though it came together in the second half. Kind of an American The Territory as the whites terrorize and murder then grab land. The director’s dad had been a minister who survived a mass shooting at his Charleston church – it gets around to this gradually across its abstractly-named chapters. Susan Alcorn opened on pedal steel.