by ·Comments Off on Le Révélateur (1968, Philippe Garrel)

I can’t tell exactly what it’s supposed to be, perhaps a symbolic arthouse parody/critique of nuclear family life?

Sometimes it seems like psychodrama, sometimes comedy… sometimes we get effectively haunting phantom visuals and sometimes the kid is sitting on a toilet wiping his ass with bible pages.

Lighting can be complex, or scenes can be lit with a single spotlight with inky blackness all around. The actors often look distraught, and the kid spends half the movie crying (and 15 minutes playing with an aerosol can). Their movements can be theatrical, like they’re hitting the marks of a dance routine (in fact, one scene is presented as a stage performance). Camera has some unique methods of moving and reframing to change a scene without cutting, and the kid acknowledges the camera in at least one scene, waving it forward as the family lurches haltingly through a field.

The movie is fully silent, but in accordance with the Director’s Intent (presumably), I played John Zorn’s The Mysteries album followed by the last 20 minutes of Filmworks XXV.

The kid would grow up to be a painter, worked on Genealogies of a Crime, and his dad was an actor, appearing in Truffaut films around this time.

by ·Comments Off on Tricked (2012, Paul Verhoeven)

How weird to be watching the DVD extras before the film – I can’t tell if the distributor thought this was necessary, or if Netflix fucked something up (they’ve done worse before)… no, a Cinema Scope review confirms that the 50-minute movie is meant to be preceded by 40 minutes of promo fluff interview material. I lasted less than 10 before skipping ahead.

Not sure if the rest of the promo fluff covers this, but I read online that this was somewhat of a failed experiment. Control freak Verhoeven decided to solicit movie scripts from the public based on a short intro scene, then film segments piecemeal with amateur actors… but he wasn’t happy with the story submissions, so he wrote his own script, cast professionals, and shot it. We’re left with a 50-minute light infidelity comedy that ends with a couple of main characters zipping off to a Rammstein concert. I suppose instead I’ll try Mary is Happy, Mary is Happy or Mysterious Object at Noon to get my fix for disjointed, crowdsourced stories.

Remco (an actor from Black Book) has a long-suffering wife, horny son and Rammstein-loving daughter. His business partners are trying to sell out their company, using Remco’s pregnant mistress to blackmail him into agreeing. Meanwhile the daughter and her best friend Merel (who is sleeping with Remco) figure out the mistress is faking her pregnancy.

Ignatiy in AV Club:

The fact that it’s fast-paced and diverting (rather than, say, a god-awful mess) is a credit to his skill at black comedy … Bereft of subtext and shot in a largely handheld, TV-ready style, it lacks Verhoeven’s usual deep bite, despite the cynical punch line of the ending.

by ·Comments Off on Resident Evil 1-3 (2002-2007)

Resident Evil (2002, Paul W.S. Anderson)

Paul W.S. Anderson is beloved by Cinema Scope writers, who have grown increasingly excited since he returned to directing parts 4-6 of this series. I saw part one in theaters and thought it was quite bad, skipping the sequels even though the first ends with a killer setup for future installments. So, rewatching it now looking for glimmers of auteurist excellence, then we’ll see how many more Resident Evils I can get through. But first, let’s hear from the termite-art critics on letterboxd:

Autumn Faust:

Genuinely Romeroesque, Anderson sifts his formal preoccupations through immediate objective… and economic allegory … Anderson’s penchant for repeating shapes and patterns lends itself to depicting an environment of conformity for Milla Jovovich’s Alice to attempt to recover her identity within.

Silent Dawn:

With this first installment, Anderson is not only focused on the classicist nature of the narrative but also developing a deceiving signature, paying attention to movements within spacing while observing how the main characters are affected. However, even “character” is a strong word for Anderson’s world. Besides Alice, stock feelings and conversations are the norm, highlighting a top-down observatory creation that is constantly being manipulated, shifted, and flipped on its head. It’s an evident theme from the beginning sequence – an escaped viral infection and an AI’s deliberately inhumane attempt to control the issue – and it’s pushed further and further through each immaculate scene, an array of delicious, pulpy construction rampaging against abstract, controlled motion.

And now the reality – it’s still a pretty bad movie. The characters have almost no traits, the Prodigy-esque music and ugly CG creatures badly date the film, and the middle half is underlit action with a too-close camera and an occasional Cube-ripoff setpiece or cool-blue flashback. Plotting is weak from the start… I don’t believe for a second that a team of super-soldiers responding to an extreme emergency would take along two amnesiacs and a suspicious rookie cop. But I guess it’s faithful in spirit and visuals to the video game series, and Anderson makes his future wife Milla look rad most of the time.

Our heroes:

I like that instead of CG, they just put gore-sweaters on real dobermans:

Milla Jovovich (Fifth Element) lives in the mansion gateway to an underground Umbrella research lab with her fake husband James Purefoy (High-Rise, John Carter), wakes up with amnesia then is interrupted first by cop Eric Mabius (IMDB trivia: “Eric loves mustard and puts it on everything”) then a team of troops led by Colin Salmon (two James Bond movies in the 90’s, Alien vs. Predator). Colin gets Cube’d early on, then Michelle Rodriguez (Machete, Fast & Furious) takes over as team leader, maintaining her head-down/eyes-up badass pose long after it gets tiring. They’re investigating why the lab’s AI killed everyone – turns out this was to contain a zombie-virus unleashed by Purefoy. It also turns out Milla and Eric were working together to take down Umbrella, but given the apocalyptic wasteland that Milla finds after escaping, the company’s not their biggest problem anymore.

The commentary is great, the actors hanging out and talking shit about movies and video games and getting drunk while Anderson tries in vain to focus on what’s happening onscreen. Milla to Michelle: “Yo-va-vich! How difficult is it, for god’s sake? We made a movie together.”

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Resident Evil 2: Apocalypse (2004, Alexander Witt)

When this originally opened (and I skipped it, having not enjoyed the first movie) I didn’t realize the ambition of the full series – you don’t usually use the Apocalypse subtitle in your first sequel. We’re now in the hands of director Witt, who has worked on 50 major movies, getting his start with Bergman and Fassbinder in the late 1970’s. Anderson’s still around as writer and producer, but he was off directing the detestable Alien vs. Predator. This movie looks a hundred times better than the first. There’s sometimes a low-framerate blur-cam on the zombies, making me think they’re compensating for makeup shortcomings, and fights are shot like garbage, but everything else is slick looking with less-horrendous music. Not saying I’m yet convinced of the masterpiece status of the Resident Evil series, but it’s a step in the right direction and I’m actually looking forward to the next episode. The critics disagree: “a disastrous step down”… “atrocious direction”… “mostly incomprehensible.”

Picking up right where we left off, Alice walks out into the ruins of the zombie-infested city. She meets badass supercop Valentine (Sienna Guillory of High-Rise) after Alice drives a motorcycle through a stained-glass window, blows it up in midair and kills the beasts that were terrorizing Valentine’s squad with an array of guns. So, Alice has been upgraded since the first movie, and so has her sidekick (Valentine > Michelle Rodriguez). The two of them will soon team up with Umbrella troop Carlos (Oded Fehr of the Brendan Fraser Mummy movies) and comic relief act LJ (Mike Epps, star of the Uncle Buck TV series).

Carlos and LJ:

Meanwhile, with the city overrun, Umbrella is trying to rescue lead viral scientist Dr. Ashford (Benmont in Dead Man, Lord Portley-Rind in The Boxtrolls), who refuses to comply unless they also rescue his missing daughter, so Alice, still technically an employee, is put on that task. And Umbrella is happily using the chaos to test their new mega-mutant (formerly Eric from part one, now a bazooka/chaingun-wielding guy in a rubber cenobite suit, which is a huuuge step up from the CGI in part one), having him target city police for some reason.

Very videogamey – check out the ammo count in the corner:

Dudes hide their zombie bites then turn on their friends at inopportune times – this is gonna happen in all the movies, isn’t it? We’ve got a cowboy sniper cop, a corporate baddie named Major Cain (Thomas Kretschmann of Argento’s Dracula 3D), a reporter who gets eaten by children and a nuclear blast. Milla now has super-rabbit jump skills, and once she runs straight down the side of a building – it’s cable-assisted, but still great.

The movie ends even more cynically than the first – after the company destroys the entire city to contain the outbreak, a reporter’s tape documenting the truth behind the infections gets out, but it’s dismissed as fake news. Alice is captured again in a new city/lab, might now be a clone and has obtained Scanner powers, and after her friends break her out, her eyes flash with the Umbrella logo.

–
Resident Evil 3: Extinction (2007, Russell Mulcahy)

So this is when the series gets good. An early action scene is shot like hot garbage, with the action shot way too close and disorienting edits, but things improve later on. The look and plot are now ripping off Mad Max since the t-virus has turned the planet into a desert shithole, while in the subterranean Umbrella labs they’re ripping off Day of the Dead, trying to domesticate captured zombies. I love how the tech in futuristic movies work – they use Ericsson flip phones and point-and-shoot cameras, but they also hologram-teleconference into meetings. I guess Anderson was busy prepping his dumb Death Race remake, so now we’ve got music-video vet Mulcahy with the first feature of his I’ve watched since Highlander 2: The Quickening.

Carlos and Claire:

A band of survivors led by Claire (Ali Larter of the Final Destination movies) and including Carlos and LJ from the previous movie (but not Valentine – the actress was in Eragon around this time) search for gasoline and survivors in a truck convoy, avoiding the zombie-filled larger cities. There’s also a cowboy sniper in the group – wasn’t there just a cowboy sniper in the last movie? In a probable reference to the video game series, whenever these guys need some item, it’s located in a creepy dark passageway full of hidden zombies. Superpsychic Alice roams alone, traveling by night to avoid Umbrella detection. When they team up, she’s visited by the AI girl from part one, making a welcome return, and the crew fights off a cloud of zombie crows. Carlos gets bit and kamikazes a zombie horde… LJ gets bit too, but he’s the guy in this movie who will hide it until too late.

Firestarter Alice, taking care of the killer crows situation:

Underground, Alice’s evil-scientist father-figure Iain Glen (Tomb Raider, Game of Thrones) is using Alice’s blood to transform other zombies, and also cloning new Alices and running them through fatal tests. When the higher-ups get tired of Glen abusing his authority (using Sneakers tactics) and murder him, he arises as a super-mutant with hentai-tentacle powers and goes on a spree until Alice breaks in and lures him into the Cube chamber. Claire and the few convoy survivors are helicoptering to the last outpost of humanity in Alaska, while Alice has got herself an empty facility, hundreds of Alice clones, and the locations of the other Umbrella bases.

Autumn again:

Eschewing the comparatively innocent side characters, the film ends by reaffirming the overarching series conflict between Alice and Umbrella, only this time, discerning the moral high ground between the two is much more complex task. If Umbrella wins, they’ll exert even more control over the new world they rebuild. If Alice wins, “the cure” isn’t found … it’s possible an organization dedicating itself to the restoration of mankind will have been destroyed by a peeved rogue.

by ·Comments Off on Stop the Pounding Heart (2013, Roberto Minervini)

Possibly even more of a casual hangout movie than The Other Side, refusing any backstory or narrative momentum. And as with that one, I never have any idea if what we’re seeing is pure documentary, or what has been invented for the film. These aren’t complaints! Handheld cameras shoved right into actors’ faces in low lighting while nothing much happens isn’t usually my aesthetic preference, but I do love Minervini’s work so far.

Sara lives and works on a goat farm with her large, homeschooling family (there are “bad influences” in the public schools), sells at farmers’ markets and directly to neighboring families, like the rodeo down the street, where Sara makes smalltalk with young Colby. It’s so low-key that you wouldn’t think there’s a budding relationship there, but for a couple marriage conversations she has at home (and is that an old-fashioned wedding dress she’s wearing in the final shot?). More than half of the movie is rodeo and praying. Substituting for the armed, drunken racist horror that was the last half-hour of The Other Side: a short scene, unexplained, of a cross burning in a field at night.

Hollywood Reporter:

Minervini is particularly successful at suggesting the parallels between Colby and Sara. A skinny, sweet-natured cowboy who’s all sinew but no muscle, he needs focus and determination to master his rodeo skills and avoid injury. A born nurturer with a special feeling for animals, she holds sacred beliefs yet at the same time is needled by doubts and fears that she’s unable to articulate, which her mother assures her are an inevitable part of the battle for inner peace … And while it isn’t quite a performance in the standard sense, it’s difficult to imagine the film working to the extent it does without a figure of such emotional transparency and innate spirituality as Sara Carlson at its center.

EDIT: an essential interview with Minervini at Filmmaker.

by ·Comments Off on Girl From Nowhere (2012, Jean-Claude Brisseau)

Top prizewinner at Locarno 2012, so it’s the closer of LNKarno 2017, and an ass-kicking low-key ghost movie, reminiscent of Personal Shopper down to the direct Victor Hugo references.

Dora (Virginie Legeay of Brisseau’s Exterminating Angels, also his assistant director) appears beaten and bloodied at the front door of Michel (played by the late-Depardieu-looking director himself), he invites her to move in, then strange things start to happen: objects moving on their own, glimpses of robed figures in the hall, and sounds from the closet like a wolf moving a bureau.

I liked the movie’s style, especially once the spirits appeared with charmingly simple ghost-costumes. The whole thing appears to have been shot on the cheap, with medium-res video and occasional mic problems – unless the DVD was just poorly produced. Set mostly in Michel’s apartment (the director’s own, per Cinema Scope), which is wall-to-wall media – books and albums and every classic-cinema DVD boxed set.

Dora tests Michel, suspicious of his intentions. For his part, he seems honestly enthused to have somebody to pay attention to, after living alone for three decades, acting like she’s a long-lost daughter home for a visit. She moves in and helps with his book “about the importance of delusion in our lives”. Then he proposes they marry, so she can inherit his apartment tax-free (there’s a Freud paperback in the movie’s second shot). In the end, the book is finished and he’s killed by a thief – I think with the inheritance issue unresolved.

Boris Nelepo, in an essential article:

So what can a filmmaker achieve with the absolute minimum at his disposal: a small camera (La fille is Brisseau’s first digitally shot film), a minimal space, and an amateur actress in the title role? As with the even more restricted Jafar Panahi, a filmmaker can proudly make a real movie, as if there were no production limitations at all. In La fille du nulle part, Brisseau has created a film of heavenly beauty, warmth, and tenderness, revealing and revelling in the Mélièsian essence of cinema. As with Philippe Garrel in La frontière de l’aube and Manoel de Oliveira in The Strange Case of Angelica, Brisseau understands … that it is the most seemingly naïve, handcrafted effects that best reflect the innate illusionism of film. Indeed, for Brisseau film is itself a magical medium, a portal into a different world … Frequently drawing his protagonists from the world of science … Brisseau continually posits the existence of an intangible world, one invisible to their rationalist eyes until a sudden inspiration, granted by art, mystical epiphany, or physical ecstasy, reveals to them the essential incomprehensibility of the outside world and the limitations of man’s understanding thereof.

by ·Comments Off on Somebody Up There Likes Me (2012, Bob Byington)

I was finally bullied into watching this by the poster in the Ross front entry… Byington must have visited when this opened (before I moved to town). Story of Max (who carries a magic macguffin suitcase) and friends, jumping forward 5 years every 20 minutes (though the actors barely age). The movie plays like a deadpan, vaguely absurd stand-up comedy act – a funny one, but it’s hard to tell if we’re meant to have any affection for these characters.

Max and Kate:

Max is Keith Poulson (Hermia & Helena, Little Sister) who befriends coworker Nick Offerman and marries coworker Jess Weixler (a Rigby in The Disappearance of Eleanor Rigby). As time goes on, Offerman ends up with Weixler and first Max then his son will date the babysitter Stephanie Hunt. Characters are unceremoniously killed – Weixler’s dad’s post-cancer-diagnosis suicide is played for laughs, and Max, now rich from running a pizza and ice cream franchise with Offerman, has a heart attack while racing a breadstick thief in the cemetery.

Max and Jess:

The director, lead actor, and Max’s ex Kate Lyn Sheil are all Alex Ross Perry associates. Byington’s followup starred Jason Schwartzman and Tunde Adebimpe and I have heard nothing about it. His latest premiered a few months ago at SXSW and I have heard nothing about it either.

My favorite visual joke: wedding singer with a four-man band who all look like the same guy. Are those all the same guy??

Rizov liked it roughly as much as I did:

What it basically comes down to is that I find Byington’s comic fixations — rudeness and morbidity — funny and compelling … It’s smart and sad about death, and the stupid decisions casually made on a day-to-day basis by adrift 20/30somethings who think marriage will give them the stability and rigor they lack otherwise. “You never know what’s good for you,” Offerman says, and he’s right.

D’Angelo hated its guts:

[Max] just drifts through life, responding to decades of minor turmoil with the same vaguely bored sneer … there’s no indication here that Byington’s characters, or Byington himself, gives even half a shit about anything at all. Somebody Up There Likes Me seems smugly pleased with its own detachment, a quality underlined by the cutesy-ironic score contributed by Vampire Weekend’s Chris Baio. (Hope you like tubas.)

by ·Comments Off on LNKarno 2012/2017 Shorts

AM/PM (1999, Sarah Morris)

Montage of nicely photographed moments within and above a city (Vegas?), somewhat recalling Broadway By Light with the closeups on signage and unique framings of familiar city objects… “the disorienting world of corporate hotels and casinos which utilise and redefine the spectacle in relation to architecture,” per an official description. Each scene of urban life has its own little MIDI song.

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Capital (2000, Sarah Morris)

Opens in a parking lot, then moves to things we don’t associate as much with the word capital – Washington DC pedestrians, police, mail sorting, the newspaper. I assume we see Bill Clinton get out of a helicopter, but the picture quality on my copy is worse than ever so I can’t be positive. Finally an edit from a restaurant called The Prime Rib to a close-up of cash money, that’s the capital I’m talkin’ about. The music changes just as frequently as the other film, but here it’s darker and less dance-beatsy. I preferred Henry Hills’ take, called Money… or I’d gladly rewatch AM/PM with the soundtrack from this one. Sarah has made a bunch more movies since these. Her cinematographer moved on to Leprechaun 6: Back 2 tha Hood and the Teen Wolf TV series.

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As The Flames Rose (Joao Rui Guerra da Mata)

A new version of Cocteau’s The Human Voice (a copy of which sits prominently on our protagonist’s nightstand) with excellent photography, theatrical lighting changes and fun greenscreen trickery. The lead (only) actor is João Pedro Rodrigues, Guerra da Mata’s codirector on Last Time I Saw Macao, talking on the phone with a longtime lover soon after their breakup, on the day of a huge (real) 1988 fire in Lisbon that destroyed shops and offices and apartments. Joao watches the news coverage on TV, and sometimes his body or his entire room gets overlaid with flame imagery while he sadly discusses the day’s events and the crumbled relationship with his ex. After hanging up, he puts on a James Blake record (in 1988, ahead of his time).

Mouseover to give Joao a new view from his window:
image

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Beauty and the Beat (Yann Le Quellec)

Rosalba puts on the red shoes and starts dancing uncontrollably, and I thought for sure there’d be a connection but no, the premise is that she cannot keep from dancing when she hears music, a condition she tries to hide while working as a Paris tour guide. Her driver has a crush on her, invites her on a date, but is obsessed with Northern Soul records. I guess her secret gets out – anyway there’s lots of music and dancing, and that is fine. He was Serge Bozon, director of La France, and she (clearly) is a professional dancer.

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Chemin Faisant (Georges Schwizgebel)

Drawings with great texture, the lines transforming into new scenes while rhythmic music plays. I know that sentence would describe thousands of animated shorts, but it’s all I got. “Through paintings that interact on the principle of Russian dolls, we are drawn along the swirling path of the thoughts of a pilgrim, a solitary walker,” says a description online.

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Overseas (Suwichakornpong & Somunjarn)

Some handheld followcam action as a young woman in Thailand goes to work as a squid sorter. After work she gets a ride to the police station to report a rape, to obtain a police report for a legal abortion. The cop, who looks to be about 15, is kind of a dick. Codirector Anocha Suwichakornpong made By The Time It Gets Dark, which I heard good things about last year.

by ·Comments Off on Tectonics (2012, Peter Bo Rappmund)

Time-lapse landscape photography with different parts of the frame running at different rates… or moving in slow-motion, then skipping ahead… or fading one time into another… or flipping back and forth between shots from different times… or looping back on itself. Since it’s all about glitching the time-movement, it’s odd that he chose some shots with hardly any movement.

“A survey of the physical qualities and metaphysical quandaries of the United States-Mexico border. Follows the boundary and its immediate surrounding topography incrementally from the Gulf of Mexico to the Pacific Ocean,” says the official description. Rappmund also made a Nebraska movie called Vulgar Fractions, and studied under James Benning (obviously). Cinema Scope has an interview, and a visual map of all the shots in the film. “Repeating images reinforces the stability of the portrayal; it gives viewers a chance to catch small things in dense snapshots; it highlights movement as well as clearly accentuating the static; it breathes a rhythm and a three-dimensional life into pictures that’s difficult to capture with traditional filmmaking techniques alone.”

My still screenshots are can show off the lovely photography, but not the time/motion tricks that bring each scene to life. Atmospheric sound, presumably recorded at each camera site, featuring some birds who got my cockatiels all flustered. It plays like installation art, and my attention phased in and out… I should have been staring raptly at the photography but Katy wrote to ask if I could find any indie movie theaters in Shanghai (short answer: nope), so that took precedence for a while.

Where can I get one of these?

by ·Comments Off on Greatest Hits (2012, Nicolás Pereda)

Naturalistic slowcore – I think it’s another hybrid-doc film, and it was a bad move for my attention span to play this right after Orleans and the Sarah Morris shorts. On the other hand I’ve been meaning to watch anything by Pereda since the 50 Under 50 list almost five years ago, so I’m glad I finally did.

Gabino seems to be rehearsing a breakup poem composed of song titles – ah, no he’s selling mp3 discs of romantic songs, and for some some never-explained reason he thinks he needs to memorize the titles of all included songs. Gabino lives with his mom, has a couple siblings, and his dad is trying to get them involved in a pyramid sales scheme with his friend Gonzo. Gradually we figure out that the dad abandoned the family many years ago and has just returned… Gabino is tentatively spending time with him but mom is trying to throw him out. I lost the thread of things towards the end, when the dad returns as a different actor.

Dad #1 would like to sell you a CD:

Enter Dad #2:

Oddball film techniques: sometimes the action freezes, people standing still without speaking for minutes while some harpsichord-sounding music plays, recalling My Son My Son, What Have Ye Done. At least once we simply repeat a scene, but it plays out differently. A few durational “see how long any audience will put up with this” shots. Then mid-movie, someone behind the camera starts talking to an actor, asking about his past. Role-playing: in my favorite scene, Gabino pretends to be his father, making in-character excuses and pleas while mom rehearses telling him to leave. By the end I didn’t know what’s real, and was convinced that Gabino really sells CDs on the subway, but no, he’s an actor who has been in 40 other movies. He also plays “Gabino” in all the other Pereda movies.

Pereda in Cinema Scope:

Greatest Hits is a film where the same scene happens more than once in the film, and some of the scenes that repeat themselves were separate takes. I enjoy the repetition, but when I see that a take is a bit different than the first one, only I can enjoy this difference. In this film I tried to give the audience the pleasure I would get from noticing the differences from one take to another.
…
At times I sort of interview them, Gabino and his real father, and I ask them real things about their real lives. When the film starts over, in the second half, that’s when it becomes a lot more obvious, because there’s one new actor who’s playing a character that we saw before, but the new actor — my uncle actually — is more of a documentary subject. He doesn’t know when we’re filming him, so he’s just talking away. I told him what the movie was about, but I didn’t tell him at that point that he had to act, I just said we’re making a movie and this is your character.