Films I Saw at CIFF: Leaving aside competition films I saw elsewhere, and usually later Ranked in order of preference My Golden Hugo My Joy A (Ukraine/Germany, dir. Sergei Loznitsa) - Like Russian Ark dreamscape restaged as Wages of Fear-style suspenser, in mordant, purgatorial key of Romanian New Wave Certified Copy A (France/Italy/Belgium, dir. Abbas Kiarostami) - Disarmingly lived-in, even warm for a study of romantic skepticism and ambivalence; concepty, yes, but rings with truth On Tour (Tournée) A/B+ (France, dir. Mathieu Amalric) - Lifts Blowzy Troupe and Seedy Manager out of flat cliché. Vibrant, gangly, bristles with visual and sonic life. How I Ended the Summer A/B+ (Russia, dir. Aleksei Popogrebsky) - Beats even The Return for unusual but thick suspense. Strong actors and images, amazing sound design. Love Like Poison A/B+ (France, dir. Katell Quillévéré) - Subtle, unsettling coming-of-age drama, graced by wholly plausible sense of place. One of Chicago Film Festival's best! The Robber B+ (Austria/Germany, dir. Benjamin Heisenberg) - Exquisite suspense, gripping scene structures. May not "say" a lot, but oh, to be in the grip of such formal chops! Tuesday, After Christmas B+ (Romania, dir. Radu Muntean) - Rare infidelity drama to afford rounded viewpoints to husband, wife, and mistress. Delectably long takes. Leap Year B (Mexico, dir. Michael Rowe) - This year's Caméra d'or winner elevates lurid premise, vague plot hinge with well-calibrated framing, tone, color (full review) The Tree B (Australia/France, dir. Julie Bertuccelli) - Survives looming, 600-ton metaphor via color, energy of frames, acute observations. Key: resist reading end as "happy." Uncle Boonmee Who Can Recall His Past Lives B (Thailand, dir. Apichatpong Weerasethakul) - Offhand return of dead sister-wife a great moment, anchors swell first half, but film grows desultory, even hollow Sex Magic: Manifesting Maya B (USA, dirs. Jonathan Schell & Eric Liebman) - Second half opens but shuts unsettling subplots; all along, though, a detailed, funny, unpredictable portrait of sex guru (full review) Caterpillar B (Japan, dir. Kôji Wakamatsu) - Takes huge risk on relentless, blunt repetition. Not always in great taste, dulls over time, but really gripping stuff. Heartbeats B (Canada, dir. Xavier Dolan) - Admittedly fine line between playful and hollow pastiche, but I found moods, colors, and sounds more engaging than not Black Swan B (USA, dir. Darren Aronofsky) - Frazzling dread, superbly lensed, good for shabby shocksand yet a thin pillowcase of cliché, stuffed with cheap tricks (full review) A Screaming Man B (Chad/France/Belgium, dir. Mahamat-Saleh Haroun) - A bit blunt and lethargic, especially at outset, but gradually makes case for this approach; end has real impact Rabbit Hole B (USA, dir. John Cameron Mitchell) - Script changes a mixed bag. Gets richer as it goes, largely thanks to smart, well-cast actors. Welcome back, Nicole. The Sentiment of the Flesh B (France, dir. Roberto Garzelli) - "Shocking" last act surprises less than nervy, more abstract middle; solid but well short of In My Skin Conviction C+ (USA, dir. Tony Goldwyn) - As single-minded as its heroine, ignoring heaps of context, but sibling bond, acting ensemble achieve humbling power Family Tree B (France, dirs. Oliver Ducastel & Jacques Martineau) - Pat ending, dogged motifs (faces looking out windows, to infinity) blunt a well-acted drama among very plausible clan Black Field B (Greece, dir. Vardis Marinakis) - Handsome but underfed 17thC drama, like Rescue Dawn between hunky Turkish deserter and, let's say, unusual Greek nun If I Want to Whistle, I Whistle C+ (Romania, dir. Florin Şerban) - Has its moments, but adopts motifs of recent Romanian hits as dour tics. Holds viewers hostage. The Housemaid C+ (South Korea, dir. Im Sang-soo) - Some pulpy energy and occasional smarts, but woozily over-directed, with nothing new to say. Jeon adds what she can. (full review) The Next Three Days C (USA, dir. Paul Haggis) - Paul Haggis goes Tony Scott. Some sharply staged scenes (a broken key, a gasping passenger) but hobbled script. Man at Bath C (France, dir. Christophe Honoré) - Some tangible melancholy, but undisguisedly half-conceived. Honoré not gifted enough to sell drafts as ersatz films. Sasha C (Germany, dir. Dennis Todorović) - Funny-sad coming-out drama with blankish protag, aloof hunk, Ethnic Family That Isn't Ready; amiable but so overfamiliar (full review) Amphetamine D+ (Hong Kong, dir. Scud) - Hmmm. Across the Universe for suicidal Asians? Lovers on the Bridge as gay karaoke-booth video? Unusual, at least. Films from the Main Competition: Full lineup available here (opens in a new window) Listed alphabetically Graded titles reviewed above Asleep in the Sun (Argentina, dir. Alejandro Chomski) Brother & Sister (Argentina, dir. Daniel Berman) Certified Copy A (France/Italy/Belgium, dir. Abbas Kiarostami) Drunkboat (USA, dir. Bob Meyer) How I Ended the Summer A/B+ (Russia, dir. Aleksei Popgrebsky) The Last Report on Anna (Hungary, dir. Márta Mészáros) Mamas & Papas (the Czech Republic, dir. Alice Nellis) The Matchmaker (Israel, dir. Avi Nesher) My Joy A (Ukraine/Germany, dir. Sergei Loznitsa) Nannerl, Mozart's Sister (France, dir. René Feret) The Princess of Montpensier (France/Germany, dir. Bertrand Tavernier) The Robber B+ (Austria/Germany, dir. Benjamin Heisenberg) A Screaming Man B (Chad, dir. Mahamat-Saleh Haroun) A Somewhat Gentle Man (Norway, dir. Hans Petter Moland) Sword of Desperation (Japan, dir. Hideyuki Hirayama) Trust (USA, dir. David Schwimmer) Tuesday, After Christmas B+ (Romania, dir. Radu Muntean) We Are What We Are (Mexico, dir. Jorge Michel Grau) Films from the New Directors Competition: Listed alphabetically Graded titles reviewed above All Good Children (Ireland/Belgium, dir. Alicia Duffy) Black Field B (Greece, dir. Vardis Marinakis) Erratum (Poland, dir. Marek Lechki) Faith (Shahada) (Germany, dir. Burhan Qurbani) Go for It! (USA, dir. Carmen Marron) The Happy Housewife (The Netherlands, dir. Antoinette Beumer) Heartbeats B (Canada, dir. Xavier Dolan) Love Like Poison A/B+ (France, dir. Katell Quillévéré) Missing Man (Russia, dir. Anna Fenchenko) The Myth of the American Sleepover (USA, dir. David Robert Mitchell) Norman (USA, dir. Jonathan Segal) The Sentiment of the Flesh B (France, dir. Roberto Garzelli) Skeletons (UK, dir. Nick Whitfield) The Tree B (Australia, dir. Julie Bertuccelli) Films from Outrageous (Queer Program): Listed alphabetically Graded titles reviewed above Amphetamine D+ (Hong Kong, dir. Scud) Beautiful Darling (USA, dir. James Rasin) Family Tree B (France, dirs. Olivier Ducastel & Jacques Martineau) For 80 Days (Spain, dirs. Jon Garaño & José Maria Goenaga) Heartbeats B (Canada, dir. Xavier Dolan) Loose Cannons (Italy, dir. Ferzan Ozpetek) Man at Bath C (France, dir. Christophe Honoré) Postcard to Daddy (Germany, dir. Michael Stock) Sasha C (Germany, dir. Dennis Todorović) More Films I'm Most Curious to See: Full lineup not yet available, but sneak preview here (opens in a new window) Listed alphabetically Graded titles reviewed above Cameraman: The Life and Work of Jack Cardiff (UK, dir. Craig McCall) Cold Weather (USA, dir. Aaron Katz) Copacabana (France/Belgium, dir. Marc Fitoussi) The Defiled (USA, dir. Julian Grant) Michel Ciment: The Art of Sharing Movies (France, dir. Simone Lainé) La nostra vita (Our Life) (Italy, dir. Daniele Luchetti) Of Love and Other Demons (Costa Rica/Colombia, dir. Hilda Hidalgo) The Place in Between (France/Burkina Faso, dir. Sarah Bouyain) Red Hill (Australia, dir. Patrick Hughes) Revolución (Mexico, dir. Miscellaneous) Southern District (Bolivia, dir. Juan Carlos Valdivia) Tehroun (Iran/France, dir. Nader T. Homayoun) Tony and Janina's American Wedding (USA/Poland, dir. Ruth Leitman) Waste Land (UK/Brazil, dir. Lucy Walker) Opening, Centerpiece, and Closing films are Stone (USA, Curran), 127 Hours (USA/UK, Boyle), and The Debt (USA, Madden), respectively Special and Gala Presentations include Black Swan (USA, Aronofsky), Conviction (USA, Goldwyn), Fair Game (USA, Liman), Hereafter (USA, Eastwood), Legacy (UK/Nigeria, Ikimi), Made in Dagenham (UK, Cole), The Next Three Days (Surprise Film; USA, Haggis), Rabbit Hole (USA, Mitchell), Red (USA, Schwentke), Revolución (Mexico, Misc.), Tamara Drewe (UK, Frears), and The Tempest (USA, Taymor) |
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