Winter Sleep [2014]

More unnerving than the content of any of the VIFF films I saw, these people in the queue beforehand were discussing whether ‘Winter Sleep’ was either five or six hours long. They never resolved it, but the doom-laden words ‘What have I done?’ visualized in front of me. How could I possibly survive such a thing?

you are chatting shit sonFucking hell, though, it was only 196 minutes. I’ve had poos longer than that. And I watched that director’s cut of ‘Dances with Wolves’. What’s all the fuss about? So this just flew by, being the opposite of any experience I’ve had with poetry slams and open mic improv events, where I just want to crawl out my own face.

I love a long dialogue scene, and this has a load of them. Initially, I wasn’t keen on having the lead character as a landlord who we’re supposed to feel sorry for because of his troublesome tenants. But this initial surface analysis of what the story’s about got richer and denser as time went by. Just like landlords, yeah? Am I right? Fucking awesome opinions.

discount seasonAside from a couple of the smaller roles, everyone in this is a fully developed person, having to deal with other fully developed persons and often not enjoying it. It could be suggested that it’s because of the length of the story we get such detailed characterizations, but how many hours has ‘The Big Bang Theory’ been going on for now?

The scenery’s pretty amazing to look at, a wintry hotel seemingly cut out of bulbous rock formations, but the greatest moments are always just two people in a room. Top of them all being the extended brother-sister argument between Aydin and Necla. Whereas any number of verbal fights in cinema would typically lead to physical confrontation, the dialogue blocked by a third party, or the characters just walking away in annoyance, here we see unfold a relentlessly constant sniping of values from two individuals wearily over-familiar with the character of the other, with no escape for either one of them. So great. Best of VIFF.

good chat

Violent [2014]

I don’t trust anyone in formal dress, but shortly after this bunch of musical group members (but tonight they’re filmmakers) started talking about their creation, I was totally won over. Fuck anyone in a top hat, though. That still stands.

violent people not in that wayWhat a lovely bunch they were. And their film was also very good. If I followed the Q&A explanation, ‘Violent’ was originally going to be a music video of one of the songs off their album, then they thought of doing a longer video with all the songs, and finally decided to do a feature film based on the album but without any of the songs in it. These non-Norwegian-speaking British Columbians then went off to Norway, hired their cast when they got there, and went about filming their mostly Norwegian-speaking film. Given that, it’s surprising the project was finished at all.

violent dagnyTold in titled chapters, the story of Dagny looks at key people in her life as she moves to a new town, gets an unglamorous job, then has to leave it pretty quickly. The pace of the film isn’t fast, but it doesn’t need to be, creating a feel of loneliness and cold that fits in well with Scandinavia, but could be anywhere that people live. There’s extremely little overt violence on screen, the title feeling more like it relates to the strength and power of the relationships, letdowns and sudden events on screen. There’s an arthousey motif of a confusing speech and weirdy visuals which keeps being returned to, but when it’s gently revealed what that’s all about for the film’s climax, it was pretty devastating.

Everyone in it performs their distinctive characters very well, but special mention should go to the closing speech of Yngve Seterås as Dagny’s grandfather, which cleverly didn’t feel like it was wrapping anything up until it was halfway done, and the entire performance of Bryn Bowen as Brent, possibly a survivor of death, but definitely a sleepy boy, which I wanted to see again in its entirety as soon as the film was over.

Labyrinth: A Burlesque Re-Imagining

‘When in Rome’ isn’t a good reason to do something. I don’t know what Romans are getting up to these days, but if it’s anything like anywhere else, it’s all kinds of nonsense. I can’t be condoning such a blatantly tacit endorsement of cultural relativism, so I’ll be taking my superior traditions across whatever borders I travel, thank you very much.

So here’s Vancouver, with what I’m told is a vibrant burlesque scene, but it’s going to take more than a plea of social acceptance and assimilation to get me in one of those seats. Lucky for them, though, that they upped their game by promising this:

labyrinth burlesque posterLast time I saw ‘Labyrinth’ in its film form was a double bill with ‘Dark Crystal’. After it was done, someone in the row behind me says how they prefer ‘Labyrinth’, because ‘Dark Crystal’ feels like it was made up as they went along. This may be the most offensive thing I’ve ever heard. It still hurts.

o the injustice of itWhat would have made this stage production worse is if it had been more professional. As it was, the homemade effects, budget costumes and dance numbers that could have had a couple more rehearsals made it all the better.

There’s clearly a love of the original film, but also a very funny awareness of what’s mockable about it. Early on, Sarah’s father portrayed as an explicitly ‘cool dad’ backed by the Seinfeld guitar twang combines with jokes about her age-appropriateness for all the script asks her to do. We wonder, is fifteen a good age for adults to insist children go out dating, let alone for them to receive proprietary interests from Goblin Kings?

Easily the best element is the character of David Bowie’s Jareth, reinterpreted by Draco Muff-Boi (possibly a stage name, must check). Perfectly aping his, as it turns out, imitable acting style for the role, the show’s at its most hilarious whenever this ridiculous villain is on stage – doubly so for all the showdowns with Hoggle. Don’t make him into a Prince of the Land of Stench, please!

Other points of high merit must include Fiona Ample as Sir Didymus, aided by the ‘weirdly sexy dog’ Ambrosius (no credit given), who only looks slightly less like a model for a carpet remnant store than Digijon as a perfectly-voiced Ludo. Ginger Femmecat’s range of highly theatrical facial expressions for the ever-emoting Sarah are also a joy to see. I also think some of these names might not match their birth certificates either.

Very pleasing as well that the two worst scenes in the film were either removed completely (that old man with a bird’s head on his head), or less directly referenced (the fireys, which here just has everyone putting orange underwear on for a few minutes).

go the fuck away

i’m a massive wanker!

Here’s an exercise in lazy writing as I just list some of the musical choices I liked, mostly because they and the dances they came with were funny:

  • Sarah’s character introduction plays out to Wheatus’ ‘Teenage Dirtbag.’
  • Hoggle’s first meeting with Sarah follows up with him dancing with intended allure to Carly Rae Jepsen’s ‘Call Me Maybe.’
  • Better and even more appropriately, Sir Didymus arrives to a routine of Ylvis’ ‘What Does the Fox Say?’
  • Betterer and appropriatelyer still, ‘My Humps’ introduces the landfill-carrying The Junk Lady.
  • The masquerade ball sequence ditches the original soundtrack, going with Lady Gaga’s ‘Bad Romance.’

all these remakes they have these daysI’d happily go to anything else this group put on. Except I won’t, because the other main thing they do is ‘Star Wars’ burlesque – e.g. ‘Part IV: A Nude Hope,’ ‘Part VI – The Reveal of the Jedi’ – and my intense lack of interest with that franchise is going to be a lot to get over, whether I’m in Rome or anywhere else.

The Editor [2014]

the editor people 1Months ago, J (of J and S) recommended me the Rio Theatre and ‘Manborg’. I tried them both, I loved them both. Now I’m sitting in the Rio Theatre watching Astron-6, the people behind ‘Manborg’, introduce their new film. They also announce their intention to collaborate with J and S who, sitting a few rows away, shout back their appreciation. The only thing ruining this theme of recurrence and symmetry is that J also praised this recording of Michael Fassbender reading ‘Dracula,’ but sadly neither he nor his penis are in the room this evening.

There’s some cock in the film, though. However, one of my gripes is there could have been a lot more. But I guess that’s often true in narrative cinema. Something must be done. Something must be done.

the editor posterAs the given intro speech made clear, you’re most likely to find ‘The Editor’ funny if you’ve seen some Italian giallo films, but there’ll still be some laughs if you haven’t. It’s definitely a fuckload better than Argento’s recent ‘Giallo’ itself, and also way more successful than the sort-of-interesting failure ‘Tulpa’, which tried to revive the genre either seriously or mockingly – I’m still unsure which. But as the outro speech also noted, this story of a film editor also has the problem of being overlong. That’s well ironic, innit? Also, you see that man who’s playing the editor? He also edited the film in which he’s pretending to be a film editor. What a life we’re all living right now, am I right?

So it could do with losing ten minutes, most clearly from the third quarter. But it very accurately recreates the most entertaining features of giallo cinema, with wonderfully recognizable characters, haphazard scene structuring, ludicrous dialogue, people doing outlandish and suspicious things for no clear reason, and a particular flavour of sex and violence. The cast perform it with clear love and, best of all, Udo Kier turns up. And that’s always worth celebrating.

udo kier in earlier times

udo kier in earlier times

However, all Astron-6 members deserve much appreciation for their own chucklesome acting, which they’ve combined with taking on a significant proportion of off-camera roles as well. Credit should also be given for parodying a genre known for its bullshit elements, taking the time to recreate that bullshit, and not ending up with the parody you’ve made being so much like the bullshit you’re parodying that it’s bullshit itself. There’s a fine line there, and it’s skillfully not been crossed. Maybe that’s where ‘Tulpa’ went wrong? I still have no clue.

I don’t know the exact numbers, and I’m not going to make any attempt at looking things up, but if the audience for the much cheaper ‘Manborg’ was people familiar with ‘80s direct-to-video low budget sci-fi, the considerably more expensive (but still minimally funded) ‘The Editor’ is pitched towards what surely must be an even smaller audience of those who know giallo. I just hope this pays off for them.

the editor people 2Congratulations, Astron-6. Please make more films once you’ve had a rest after this one. I’m serious about the dick thing, though.

Life After Beth (2014)

I didn’t even realize Aubrey Plaza was in ‘Life After Beth’ until I was sitting there watching it, even though this is what the poster out front looked like.

life after beth posterLike, what else haven’t I noticed lately? Am I ok? I’m glad of it, though. The first five seasons of ‘Parks and Recreation’ saw her contemptuously eyerolling so hard she must have picked up skull fractures, and I’d declare her one of the most entertaining talk show guests ever if I had much comparison to go on. And there’s also John C. Reilly in there, who’s also lovely, and I hadn’t seen since months back when ‘Carnage’ was running.

carnage posterJ C R – Oh, hey. I just got a new role. It’s going to be filmed in France!

F o J C R – That’s great! Does it make use of the beautiful scenery for which the region is so famous? The limestone cliffs of Normandy, perhaps. The Alps? Could it be the heathland in Pointe du Van? Other details lifted from Wikipedia?

J C R – Um, no. No, it doesn’t do any of that.

F o J C R – Ah, a tense city-based drama, of course. Paris? Rouen? Saint-Denis? I know there’s more, I just need to go back to Wikipedia again.

J C R – No, that’s not exactly the reason either.

F o J C R – How odd. Why can’t you just film it here in the US?

J C R – It’s a Roman Polanski film.

F o J C R – …I see. Well, you have fun. I’m going to be working right here with Woody Allen.

i'm fineAn off-screen snake bite kills Beth very early on, and then it’s the story of the sad boyfriend, wishing he could have been a better partner and moping about with a cadaverous complexion of his very own. But then he sees her walking round her parents’ house, and is eventually pleased to find she’s tunneled herself back from the grave.

Her parents would rather she didn’t leave the house, and would also rather she isn’t told she’s been dead for a while. Thanks to her unusual mood swings, new-found love of attics and fragmented memory, keeping up this deceit isn’t too hard at first. But trouble emerges, as do a number of other previously dead people.

It’s no surprise this is the director’s first feature, but it’s definitely funny enough to get past any roughness it has. And as things for the main cast get progressively worse, and the world collapses around them, this does get handled nicely, and happily escapes being shit farce, so well done there. The promise of a new relationship direction for one of the characters at the very end of the film may have been efficiently set up along the way, but I could have done without it. And an unpleasant revelation about someone else may get a laugh in itself, but sours all their earlier scenes. This ain’t Lars von Trier, mate.

It Follows [2014]

Couldn’t go to FrightFest this year, because of reasons, but none of those apply to the Vancouver International Film Festival. A good load of its offerings have a bunch of continental sorts sitting in darkened rooms while not saying anything to their families, and I’ll definitely be checking some of those out, but I need to fill the horror hole first of all.

it's followingJay discovers the evil of doing sex after a new boyfriend lets her know – as he’s sprinting his way out of her life – that there’s now this thing what’s going to follow her about, and if it catches her, she’s totally dead. And then it will go back to following the last person, which in this case would be him. If Jay wants to get rid of it, the best idea is to do someone else, then it’s their problem. Until it kills them, then it will be her problem again. This is quite a tricky circumstance to be in, and she’s not pleased.

Are the zombies that walk scarier than the zombies that run? Neither of them are, so never mind. But this has what’s probably a sexually-transmitted demon who comes to get you, but it only walks slowly. It also doesn’t speak, and keeps changing form, sometimes as someone the victim knows, sometimes as a stranger. And it’s also only visible to people in the cursed fuck-chain. I liked these rules, I thought they were good.


different film, appropriate sentiment

The music helps a great deal, and some great shots are used of figures in the far background walking towards the blighted character that may or may not be the superbly strong and patient monster. Is it just a passerby? Or should they be getting up and going for a quick jog? Also good is how effectively worn down by the continual escaping Jay gets as the story goes on, clearly exhausted and wondering how long she can keep it together. The budget’s not high, but it doesn’t need it, making effective use of the cheapy convention of having a visually nasty thing happen early on, raising the tension for the rest of the film as it’s made clear how much of a body-mangling dick this thing is.

Nicely creepy, you’d probably like it if you liked ‘Fallen.’ If you haven’t seen ‘Fallen,’ I at least tried to make a comparison. I don’t get paid for this, you know.

Fading Gigolo [2013]

that subplot with vanessa paradis didn't make any sense either

When spaceships explode and they go ‘Bang’ in a vacuum, that’s really good that is. When she goes by that one tree and out of all of them, that’s where the hefty lad with the axes and stuff is hiding, that’s brilliant. Some man gets designs on some woman and he wins her over with actions that would totally constitute harassment and intimidation but it’s passed off as not only ‘comedy’, but also ‘romantic’, I’m there loving every second. Woody Allen voicing an ant, yeah mate, nice one. But Woody Allen being friends with John Turturro and then hiring him out for, like, actual money to Sharon Stone and Sofia Vergara because they want a threesome and that’s the only solution they can come up with to solve this totally unfathomable problem, it may be right to start thinking cinema’s lost its way.

Written and directed by John Turturro.